Hasil untuk "The performing arts. Show business"

Elena Anatolyevna Kari-Yakubova

The article examines the system of professional choreographic education at the State Academy of Choreography of Uzbekistan. In the process of optimizing the educational program, the need to synchronize theoretical and practical related disciplines has been identified. Such coordination contributes to more effective knowledge acquisition as well as the rational use of academic hours. One of the important directions of work is the “Ustoz-shogird” (“Teacher–Student”) principle, which enables students to gain experience directly from masters of the arts. In the educational process, it is essential to actively apply modern information technologies, innovative teaching methods, and the achievements of world choreography. The active involvement of students in national and international scientific and practical conferences fosters the development of the scientific potential of creative youth. Participation in academic mobility programs provides opportunities to acquire international experience. Cooperation with leading choreographic universities is one of the key areas in the development of the educational system at the State Academy of Choreography of Uzbekistan.

Luciano Flávio De Oliveira

Mujeres en la historia (Parte 1 y Parte 2) son dos experiencias tecnoviviales (Dubatti, 2020) dirigidas por Cecilia Della Torre en Buenos Aires, en 2020 y en 2021, respectivamente, durante la pandemia de COVID-19. En este texto analizamos esas experiencias a la luz de las ideas sobre la memoria, así como sobre los lugares de memoria de Pierre Nora (1992); de la representación del pasado de Roger Chartier (2007); y experiencia tecnovivial discutida por Jorge Dubatti (2020). Ya para reflexionar sobre la noción de ficción, dialogamos con Chartier (2007) y con Trombetta (2019). Nuestro objetivo es esclarecer de qué manera dos puestas en escena contemporáneas, ocurridas por streaming, contribuyen a la representación y valorización de las memorias y experiencias de destacadas mujeres históricas argentinas como Alfonsina Storni, Mariquita Sánchez de Thompson, Lola Mora y Juana Manso.

Márcio Marques de Carvalho

Este artigo apresenta uma breve biografia de Alfred Jarry, que embora seja conhecido no Brasil como o autor de Ubu Rei, foi um artista eclético cujas influências se desdobram nos campos do teatro, da literatura, do desing gráfico, das artes visuais e do que viria a ser a performance. São contextualizadas algumas de suas inovações na literatura, no design e na encenação teatral. São apresentadas informações de seu contexto familiar, de sua vida escolar, e de como através de um modo de vida excêntrico construiu para si uma imagem espetacularizada.

Alessandro Guglielmo, Anja Plonka, Csenge Kolozsvari et al.

Csenge Kolozsvari, "Bodylandscapes I." (10:58). A proposition for remembering the ecological ways of belonging, a feeling into other ways of knowing, connecting into the vastness that surrounds us and moves across us, becoming-environment once again. // Anja Plonka, Marko Stefanovic, and Rasmus Nordholt-Frieling, "Breathing Gaia: Searching for Kinship Around Walensee" (8:28). The video essay creates a speculative-utopian body and existence of human and non-human. The body as an archive of traumatic inscriptions practices transformation as a being in resonance with Gaia. // Jessica Marion Barr, Jenn Cole, and LA Alfonso, "Our Bodies, These Lands: Practising Reciprocity" (6:03). As artist-researchers with embodied practices and relationships with lands and waters, we explore a unique part of Michi Saagig Nishnaabeg territory wherein “rockmills” or “kettles” offer spaces for our human selves to be held and surrounded by massive ancient rock beings. // Alessandro Guglielmo, "Wisdom and Trouble: Notes on Blood, Care, and Death in Multispecies Settings" (9:30). In this video essay, I employ my emplacement as a vegetarian anthropologist witnessing the killing of a non-human being to produce an understanding of more-than-human ecologies. I reflect on narratives of death, and the trouble of care and killing in multispecies settings.

Erin Ball

This writing accompanies the documentary video of a workshop that Erin Ball helped to facilitate in July 2022 for the Disability community (including but not limited to Mad, Deaf, Neurodivergent, and/or Disabled). In this text, Erin Ball, a circus artist who is a double below-knee amputee, discusses embodied personal knowledge as a practitioner and workshop leader in the emerging area of aerial arts that strives for inclusion. Erin describes the philosophical and pedagogical approaches taken to making the aerial workshops more accessible to communities often excluded from circus arts.Ce texte accompagne le documentaire vidéo sur un atelier co-animé par Erin Ball en juillet 2022 à l’intention de la communauté des personnes handicapées (et plus particulièrement des personnes sourdes, neurodivergentes, atteintes de pathologies mentales et/ou handicapées). Dans ce texte, Erin Ball, une artiste de cirque qui est aussi amputée des deux jambes sous le genou, analyse le rôle de la cognition incarnée en tant que praticienne et animatrice d’ateliers dans un domaine émergent – les disciplines aériennes – qui recherche une plus grande inclusivité. Erin décrit les approches philosophiques et pédagogiques qui tendent à rendre les ateliers aériens plus accessibles aux communautés le plus souvent exclues des arts du cirque.The article's corresponding video can be found on YouTube: https://www.youtube.com/watch?v=vIW1uPe76no

Francisco Wagner Bezerra Rodrigues

O objetivo principal deste ensaio é fazer uma análise das experiências de criação do grupo teatral brasileiro Teatro da Travessia com o diretor Philippe Goudard (França) e com o grupo teatral Cie. Singulier Pluriel (Québec), tendo como material norteador da reflexão conceitos como cultura, fronteiras, grupos étnicos, entre outros. Utilizamos como material suplementar o conceito de cultura tal como é vista no campo da performance, tendo como referência os escritos de Richard Schechner e Diana Taylor. A ideia de colocar esses conceitos lado a lado é de propor uma análise dos mesmos mais diretamente ligada ao campo teatral. Mais que tentar definir o que é cada um dos conceitos, propomos aqui uma reflexão, por assim dizer, performativa, pois que será também um saber enquanto se faz, um entender em processo.

Luciana Hartmann, Ana Carolina de Sousa Castro

Este artigo propõe uma reflexão teórico-prática sobre os impactos da pandemia de Covid 19 em uma pesquisa sobre o Teatro do Oprimido, realizada com professoras de artes do Distrito Federal. Como pensar/fazer uma educação libertadora em um contexto de crise sanitária, política e econômica que condicionou as práticas escolares ao ensino remoto? Pensada inicialmente para ser realizada com estudantes do Ensino Médio, esta pesquisa foi reorientada no sentido de verificar como a Estética do Oprimido, proposta por Augusto Boal, em diálogo com a Educação Libertadora de Paulo Freire (2003), pode se apresentar como uma perspectiva que auxilie professores/as de Artes Cênicas em tempos pandêmicos e, esperamos, pós-pandêmicos.

Pamiętnik Teatralny

Short editorial introduction to Pamiętnik Teatralny 71, no. 4 (2022).

Sandra Biberstein

In wartime and post-war situations, the opposition of friend and enemy—based on national divisions—often condemns the dead “enemies” to be ungrievable. To grieve for the excluded others in such times means to break with the friend-enemy opposition. This article examines how the friend-enemy opposition is broken in the case of the actions of Women in Black and Dah Teatar in the context of the civil war in Yugoslavia. By analyzing the vigils of Žene u crnom (Women in Black) in Belgrade and the play Priča o čaju (The Story of Tea) by Dah Teatar, the author discusses the particular strategies through which grief was made possible beyond the friend-enemy opposition and how these strategies open a communitas of mourning. The term “communitas of mourning” refers to the concept of grievability, proposed by Judith Butler in Frames of War.

L. Archer Porter

The Covid-19 pandemic ushered in a new paradigm of domesticity that manifested in and through the body. The complexities of domestic corporeality, however, predate this particular crisis. The inhabitation of the domestic realm is inherently riddled with contradictions of space, subjectivity, and sociality. In this article, I consider the many paradoxes imbuing the homebody both before and during the onset of the pandemic, arguing that crisis exacerbates the existing tensions that the homebody engenders, but it does not produce them. I examine the case of home dancer Marlee Grace and her Instagram activity prior to and during the quarantines, lockdowns, and stay-at-home orders of 2020. Grace's performed contradictions for her new media audience demonstrate that the homebody—though its complexities are amplified by the pandemic—has always been in crisis.

Gabriela Pereira Fregoneis, Matteo Bonfitto

O corpo e suas possíveis representações de si nos coloca enquanto devir de ser/estar no mundo, construindo imagens e consequentemente subjetividades. Não somos um, somos plurais que buscam incessantemente, por meio da arte e performatividade, novos modos de existência dos nossos corpos. É com o corpo e suas produções de imagens que nos relacionamos, compartilhamos afetos e nos habitamos enquanto sujeitos. Refletiremos nesse artigo sobre as construções do sujeito-corpo por meio das representações de si, no conflito do olhar estético entre o que se é e o que transborda através das construções/desconstruções das imagens de si.  

Isabel Santibáñez

Galería

Janusz Degler

Banned in 1949–1955, Witkacy was reclaimed for Polish culture in the process of political change in 1956. His work has the extraordinary capacity to renew meanings and to resonate with what is happening at a given moment, in changing political, social, and artistic contexts. There appears to be a pattern to the post-war reception of his oeuvre: there is a surge of interest in it whenever an important event followed by some major political shift occurs (December 1970, August 1980, December 1981, June 1989). The stage history of The Shoemakers, his most outstanding political play, confirms that assertion. One of the main characters of the play is Gnębon Puczymorda (Pugnatsy Jawbloatski in Daniel Gerould’s translation), an embodiment of the vices of Polish nobility which Witkacy thought to have caused the downfall of Poland in 1794 and whose remnants he still detected in the social and intellectual life of Poland. Witkacy described and attacked them fiercely in his 1936 study Niemyte dusze (Unwashed Souls), though no publishing house decided to publish it in his lifetime. His historiosophy turned on a vision of happiness enjoyed by the humanity that would be achieved in an egalitarian, perfectly well organized society resembling an anthill where there was prosperity, equality, and justice but no room for expression of individualism. Although Witkacy realized that the process was irreversible, he thought it was an artist’s duty to try to stop or at least slow it down.

James Tartaglia

In this paper I describe and provide a justification for the fusion of jazz music and philosophy which I have developed; the justification is provided from the perspectives of both jazz and philosophy. I discuss two of my compositions, based on philosophical ideas presented by Schopenhauer and Derek Parfit respectively; links to sound files are provided. The justification emerging from this discussion is that philosophy produces ‘non-argumentative effects’ which provide suitable material for artistic expression and exploration. These effects – which are often emotional – are under-recognised in philosophy, but they do important philosophical work in demarcating the kinds of truths we want to discover, and in sustaining our search for them. Jazz-Philosophy Fusion can help to increase metaphilosophical self-consciousness about these effects, while also helping to counteract any undue persuasive force they may achieve. Jazz is a particularly suitable medium because it has independently developed a concern with philosophical ideas; because of strong parallels between jazz and philosophy which explain their mutual openness to fusions, and because improvisation very effectively facilitates the direct audience engagement essential to inducing these effects.

Ana Laura Barrios

D. McGhee

Cláudia Müller Sachs

A entrevista aborda a influência da metodologia de Jacques Lecoq nos processos criativos da diretora. Ela fala sobre seu trabalho com os atores a partir do corpo, seus métodos de improvisação, de criação e de construção dramatúrgica, diretamente relacionados ao conhecimento e experiência vivida naquela escola.

M. Diamond

N. Foss, Peter G. Klein

A. Nordin