Hasil untuk "Drama"

Maria Fukelman

Roberto Aulés nació en Buenos Aires el 31 de julio de 1924. Fue un reconocido actor, director y dramaturgo que se dedicó especialmente al teatro para niños, aunque no de forma exclusiva. Su vida tuvo un final trágico cuando, el 3 de abril de 1978, se quitó la vida. El artista es recordado fundamentalmente por la creación su compañía El Teatro de los Niños, sucedida en 1954. Sin embargo, su vínculo con el movimiento de teatros independientes ―no solo en los inicios de su profesión, sino a lo largo de los años― ha sido poco revisitado. Por lo tanto, para el presente trabajo, la propuesta será abordar el desarrollo de Roberto Aulés en el marco de su paso por el teatro independiente. Abstract: Roberto Aulés was born in Buenos Aires on July 31, 1924.He was a renowned actor, director, and playwright who devoted himself especially, but not exclusively, to children's theater.His life came to a tragic end when, on April 3, 1978, he took his own life.The artist is primarily remembered for the creation of his company El Teatro de los Niños, which began in 1954.However, his connection with the independent theater movement —not only at the beginning of his career, but throughout the years— has been little revisited.Therefore, for this work, the proposal will be to address the development of Roberto Aulés within the framework of his time in independent theater. Keywords: Roberto Aulés; independent theatre; childhood; experimentation. DOMINIO ARK: https://id.caicyt.gov.ar/ark:/s30087562/pm7pprq1x

Anna Cariny Dias de Amorim, Heleniara Amorim Moura

This article echoes the importance of attentive listening to both noise and subtlety in order to grasp the richness of the Reinado de Nossa Senhora do Rosário (Our Lady of the Rosary) in Divinópolis, Minas Gerais (Brazil). The proposed discussion considers the soundscape of the Reinado in conjunction with the Bantu philosophy of Vital Force. The listening that guided the path of this writing stems from the author’s experience as a member of the Terno de Moçambique from the Interlagos neighborhood. The sounds that inhabit the festival are presented as poetic elements that echo and shape the history of the Reinado and provide a form of community resistance that sustains the culture and memory of Afro-descendant peoples in the Central-West region of Minas Gerais.

Adewale Christopher Oyewo, Azeez Akinwumi Sesan

The persistence of violence in Nigeria’s socio-political space has called for critical interventions of government and other stakeholders with a view to finding solutions from ideological and combative fronts. Nollywood filmmakers have been consistently intervening in national discourses aimed at ushering in peace and national cohesion through the subject matter and themes of their films. Pascal Amanfo’s Nation Under Siege (2013) is one of the Nollywood films that have intervened in ideological discourse aimed at sustainable peace in Nigeria. With the tenets of psychoanalysis, the article critiques the film’s focus on Boko Haram insurgents. With content analysis, the article found that the film highlights the operative strategies of the insurgents and the ineptitude of the government in the fight against them. The film, however, upholds the view that ideological warfare should also be engaged in the fight against the insurgents as underlined in the characterisation and role of Lina, a prostitute in the film. With the topicality and relevance of the film to ideological discourse, Nollywood has come of age considering the quality of its story and boldness to take risk in the face of state censorship.

Aikaterini Karampatea, Adriana Skendi, Maria Irakli et al.

For a long time, sulfur dioxide (SO₂) has been the most universally used additive in winemaking. With its wide range of effects, ease of use, and low cost, sulfur dioxide has not yet been completely replaced by any process or substance. Since the expected trend for the near future is to keep reducing the concentration of sulfites, many investigations focus on alternative chemical, biological, or physical processes. This study aims to evaluate the chemical, antioxidant, and sensory impact of a plant-based product used as sulfur dioxide replacement (SDR) in white, rosé, and red wines produced as a result of the application of different vinification protocols. The physicochemical and sensory evaluation of the different wines produced showed that this plant-based product could be a good candidate, but appropriate winemaking treatments and optimization are needed to limit wine defects.

Leonor Madureira

Ritos fúnebres, assombrações e outros processos escatológicos para encarar a vida

Christine Matvienko

Jacek Woźniak

Indira Parthasarathy is the author of many works that touch upon historical issues but are in fact reflections on contemporary India. Although the narrative of some of them takes place in the past, they cannot be called historical literature. While the author is not really interested in describing the past per se, as is also often the case with other contemporary Tamil writers, clear references to the past and history help him showcase contemporary issues, current problems, and life as it is here and now. The article briefly discusses two plays, whose protagonists are historical figures; a novel based on a contemporary event that has become an integral part of the history of Tamil Nadu; and two other works which came to be written on the basis of writer’s own life experience in Poland and are in a way related to the history of that country.

Anastasiia Nikolaevna Gorbunova

This article examines one of the most stressful and difficult periods in Herzen’s life associated with the writer’s ideological crisis of the late 1840s, which was reflected in his journalistic works of the 1850s. This research is an attempt to carry out a comprehensive analysis of the book From the Other Shore as an autobiographical text in order to trace the formation of a new concept of the author’s personality and ways to overcome his ideological crisis. The article examines the nature of autobiographism in Herzen’s creative writing of the 1850s, which L. Ya. Ginzburg defined as historical autobiographism. Romantic autobiographism of the 1830s and socio-psychological autobiographism of the 1840s were replaced by historical autobiographism (definition by L. Ginzburg). Issues of historical order become part of the writer’s personal life. Moreover, Herzen personifies the principles of historiosophy: he regards the experience of an individual as the experience of humanity at large. However, Herzen’s uncertain position in European democratic social circles was responsible for the crisis as well. That is why Herzen formulated and chose for himself the position of an outside observer. The method of historical analogies (definition by R. Нestanov) highlights this new view — Herzen compares the events of Europe with the events of the end of Ancient civilization and juxtaposes himself with Roman philosophers. Furthermore, he uses the technique of dramatising the present, and, consequently, history itself, which leads to the effect of double reflection (reflection of reflection or meta-reflection), and helps him distance from the present and overcome the emotional drama of the late 1840s — early 1850s.

Wanda Świątkowska

The article presents the history and principles of theatre education at Reduta in its successive forms: from Koło Adeptów [The Apprentice Circle], established in 1921, through the Reduta Institute, to Okop [The Trench], which was the last pre-war incarnation of the school. Based on documents and memoirs, the article discusses Reduta’s comprehensive and holistic model of education, in which regular theoretical classes were accompanied by practical and physical exercises. A crucial part of the education process was student participation in the theatre’s daily operations: rehearsals, preparation of stage productions, and tours. The aim of the school was to offer future artists comprehensive preparation for various theatre functions, as well as to produce ideologically engaged social activists, who consider serving the society through art as their primary task and mission. A comparison between Reduta’s schools and other educational initiatives confirms that in terms of scope, curriculum, work methods, practices, as well as atmosphere, the former were indeed pioneering and stood out from traditional pre-war drama teaching. Published as an appendix to the article is its source material: Juliusz Osterwa, Okop, edited and with an introduction by the author of the article.

Rully Aprilia Zandra

Gesang and Didi Kempot, in dominating the market of the music industry in their era, incorporated local capital, i.e., the site in lyrics and scales in melody. Likewise with Markasan. However, little is known about the site and melody used by Markasan as a tool to dominate the keroncong market in East Java in the 1960-1965 period. This study aims to reveal lyrics and melody that songwriters can use to dominate the music competition market in their day. To address this gap, observations, interviews, and documentation studies were carried out. The subjects are Keroncong-Markasanan musicians and RRI as melting pots of keroncong in Surabaya. Through ‘Blauran Wayah Sore’ song, we can observe Markasan’s efforts to construct songs, build resistance, and perpetuate domination in the music industry competition in his day. This research provides a strategy to utilize cultural capital consisting of lyric styles, popular site names, local scales, and identification of favorite song scales in a best-selling effort in the music industry today.

Laura Estill, Luis Meneses

This essay demonstrates how topic modeling can be fruitfully applied to TEI-encoded plays, which allows scholars to analyze speeches by individual characters. Our analysis centers on Shakespeare’s corpus and characters who reappear in multiple plays. Specifically, we use topic models to show that young Prince Hal (in 1 and 2 Henry IV) does not speak the same language as his later self, Henry V (in his titular play): his linguistic shift mirrors his shift in status. Hal himself announces, “I have turned away my former self”—his change in diction bears out his assertion. Conversely, topic models reveal that Falstaff is Falstaff across multiple plays and genres (notably, 1 and 2 Henry IV and The Merry Wives of Windsor), despite scholarly claims to that the Falstaff of comedy is a watered-down version of the braggart drunk of the history plays. Ultimately, we hope that this algorithmically-informed analysis of Shakespeare’s plays is not taken as a final answer, but, instead, as a prompt. As this research reveals, topic modeling plays with attention to each speaker opens the door for new comparisons, and in turn, expands on previous interpretations of literature.  Cet essai démontre que les modèles à thèmes (topic model) peuvent être appliqués avec succès à des pièces encodées en TEI, ce qui permet aux érudits d’analyser le discours de personnages individuels. Notre analyse se concentre sur le corpus de Shakespeare et sur ses personnages qui réapparaissent dans plusieurs pièces. Particulièrement, nous employons des modèles à thèmes pour montrer que le jeune Prince Hal (1 et 2 Henri IV) ne parle pas le même langage que celui qu’il parle après être devenu Henri V (Henri V): son changement linguistique reflète son changement de standing. Hal, lui-même, annonce: « j’ai renoncé à mon passé » —son changement de diction confirme cette affirmation. Inversement, les modèles à thèmes révèlent que Falstaff est Falstaff à travers plusieurs pièces et genres (notamment, 1 et 2 Henri IV et Les Joyeuses Commères de Windsor), malgré des affirmations érudites que le Falstaff dans la comédie est une version édulcorée du vantard ivre des pièces d’histoire. Finalement, nous espérons que cette analyse algorithmique des pièces de Shakespeare n’est pas considérée comme une solution finale, mais plutôt comme une réplique. Comme cette recherche le montre, l’usage de modèles à thèmes pour analyser des pièces, ce qui se concentre sur chaque personnage, offre de nouvelles voies de comparaisons et étoffe donc nos interprétations de la littérature. Mots-clés: Shakespeare; pièces de théâtre; modèle thématique; modèles à thèmes; Falstaff; Prince Hal; Henry V; Henri IV; Joyeuses commères de Windsor

I Nyoman Suaka

The purpose of this article is to examine Tuwung Kuning (Yellow Egg Plant) folklore based on the feminist approach. The object of the study is the drama script and performance Tuwung Kuning recording. Data were analysed with hermeneutic method, namely the interpretation of text both written and audiovisual texts. The results of the study show that the manuscripts and theater express the theme of domestic violence. The female character of the story, Tuwung Kuning, is very weak and in an oppressed conditions. The bullying was carried out by the husband and by environmental conditions of a gambler family. The female character was powerless and oppressed by male-based power of patriarchy, even though in a state of old pregnancy, when giving birth and caring for the child. She was threatened, terrorized and killed. This condition is very contrary to the spirit of feminism that fights for gender equality so that the position of women is equal to men. The change in the fate of this female character is not by herself, but by an angel, as a fortune.

Kjetil Rødje

This article proposes a reconceptualization of the term “actor” within motion pictures and presents the argument that “acting” is a matter of distributed agency performed by heterogeneous assemblages. What constitutes an actor is what I will label as a “cinematic actor assemblage,” a term that comprises what is commonly known as human actors as well as material entities that play an active part in motion picture images. The use of intra-diegetic cameras in contemporary found footage horror films constitutes a particular case of such cinematic actor assemblages. Through a dynamic relational performance, cameras here take on roles as active agents with the potential to affect other elements within the images as well as the films’ audiences. In found footage horror the assemblage mode of operation creates suspense, since the vulnerability of the camera threatens the viewer's access to the depicted events. While human characters and individual entities making up the camera assemblage are disposable, the recording is not. Found footage horror crucially hinges upon the survival of the footage. I will further suggest that these films allow filmmakers to experiment with the acting capabilities of intra-diegetic cameras.

Alda Regina Tognini Romaguera, Alik Wunder

Our interest is to think of politics and poetics of images and words in writings traversed by the experiences (workshops, soirées, exhibitions...) that have taken place in the extension and outreach project Reading and Creation Workshops with Words and Images developed by Fabulografias - ALB Center for Reading, throughout the years 2013 and 2014. How to extract the significance from words and photographs and make them vibrate, make them multiple? Launch the event in gatherings, thoughts and poetics and photographic compositions. One of the challenges of a plane of collective experimentation around the minority becoming, winds that blow in the meetings of the Collective Group Fabulografias. Among other things: doing away with the discursive orders and making life resonate from within a tense silence that drifts nearby. Compose an education that differs, blowing from within the potencies of art and the philosophy of Gilles Deleuze.

E. Csapo, W. Slater

Catherine Belsey

Alice Miller

Carmen Trueba

The nature of tragedy is a matter of controversy. The intelectualist vision of tragedy has gained ground in the last years. In this paper I intend to discuss on the heterodox and extreme version of the cognitivism, defended recently by Pierluigi Donini in La tragedia, senza la catarsi, which firmly rules out the emotional or cathartic function of tragic drama and asserts that “the function of tragedy is not catharsis, but its crowning or last stage: understanding”. The revision of the arguments stated by Donini will allow to enlighten some obscure points in the aristotelian theory of tragedy, particularly the place of music and entertainment in tragic drama.

Michael Mateas

S. Kao, Cecily O’Neill