Hasil untuk "Drama"

G. Schellenberg

Maria Rosaria D'acierno Canonici Cammino

This paper, dealing with the Greek-Roman theatres, aims to focus on four main issues: 1) the origin and the evolution of the theatre and its social role within the Mediterranean area (Milizia); 2) the importance of the Greek and Roman cultures, which, while conquering new lands, spread their culture, too (Mazzarino); 3) how theatres evolved under the Greeks, and under the Roman Empire (Neppi Modona), and 4) to prove that war, not only destroys people, but, moreover, destroys the entire world. Piro considers war any behavior that tries to subdue people by negating their rights, their religion, and their culture. [1] The fusion of the Greek and Roman cultures left their signs whenever and wherever they arrived. The Greek-Roman theatres are an example of the importance of fusing cultures; a fusion which enriches both the people conquered and the people conquering. While talking about drama, as the expression of social aggregation, Milizia writes: "The Greeks and the Romans are the only people who really knew the very spirit of society." [2] In order to follow its aim, this research wants to give a quick look at the first inhabitants of the Mediterranean coast, so as to understand how trade helped them to share both goods and culture. History is a very important subject, not simply for acquiring information, but, moreover, for getting new experiences from past events. We say that grandparents are a great resource, because they provide children with advice which can help them when something new has to be solved. This is also the role of history, to judge the results of people's behaviour when facing political problems. For this reason, talking about the peoples who lived around the Mediterranean Sea, admiring their archaeological sites, and studying the history of their age will facilitate the understanding of the context in which those peoples lived and had to make important decisions. In so doing, it will be easier to judge the results of their actions, and acquire experience from them. In brief, even though war had at first appeared a means to solve problems related to wellness, patriotism, motherland, goods exchange, religion, language, etc., at last, the great conquerors of the past understood that cooperation among peoples is the best way to achieve prosperity both economically and culturally. Nowadays, we are surrounded by wars in every angle of the world, as if it were the first time that a country refuses to share a land, or refuses to accept foreigners, or complains about either a political or religious creed. So that, during this journey of mine, among the mediterranean peoples of the past, I learned a great lesson; a lesson I hope to transfer to you; a lesson I could understand while admiring the archaeological remains left all around the Mediterranean Sea. So, while looking at them, I realized that those wonders are the result of cooperation and not of hate among peoples of different language, religion and culture; peoples, who at last, understood that war, as Pope Francesco says, is a defeat for everybody. "With war, a senseless and inconclusive venture, no one emerges a winner; everyone ends up defeated, because war, right from the beginning, is already a defeat, always. Let us listen to those who suffer its consequences, the victims and those who have lost everything. Let us hear the cry of the young, of ordinary individuals and peoples, who are weary of the rhetoric of war and the empty slogans that constantly put the blame on others, dividing the world into good and evil, weary of leaders who find it difficult to sit at a table, negotiate and find solutions." [3]

Nomfundo Ncanana

The concept of the inner child represents the emotional and experiential core of individuals, often shaped by early life experiences. This article focuses on research which explored the significance of play in awakening this inner child in black Indigenous African adults, particularly in the context of Drama Therapy. By utilizing methods such as neuro-dramatic play and guided play, this study seeks to understand how play can serve as a therapeutic tool to reconnect individuals with their past, promote healing, and enhance personal growth. The colonized African child growing up under post-colonial times may have the experience and memory of being deprived of play due to colonial factors that include Apartheid, land displacement, and but not limited to slave labour. A way to activate memories is through using the body as a vessel that allows the flow of experience to take place. This is why play is an important element of the research that informs this article as it assists one to understand how play can contribute to traveling to and navigating that space in time, using the body. The article aims to explore how play can awaken the inner child in black Indigenous African adults, contributing to the understanding of play within the context of Drama Therapy. I argue that the exploration of play can foster connections within communities and promote emotional healing, particularly in a post-apartheid South African context where historical traumas and socio-economic disparities persist. The study ultimately seeks to contribute to the field of Drama Therapy by emphasizing play as a vital process for self-discovery and emotional well-being.  

Marek Mosakowski

This article discusses the ways in which performances were disciplined in revolutionary France between 1789 and 1794. It presents the socio-political contexts of two legal acts regulating the production and staging of plays: the relatively liberal Le Chapelier Law of 13 January 1791 and the repressive Decree of the National Convention of 2 August 1793, which turned French theater and opera into a propaganda platform of the Jacobin regime, imposing ideology and topics on the artists. The artistic practice of the time is illustrated by two operas: Étienne Nicolas Méhul’s Hadrian, Emperor of Rome and François-Joseph Gossec’s The Triumph of the Republic. The former was suspended one day before the premiere, scheduled for 13 March 1792, as the Paris Commune deemed it overtly monarchical and politically incorrect in a France where the foundations of the Bourbon monarchy were already shaking, and the extremely polarised public sentiment was about to pave the way towards a republic. The latter was composed shortly after the fall of the monarchy and staged in early 1793. The Triumph of the Republic set new aesthetic standards for French republican and patriotic opera. Gossec’s work is discussed as an example of the principles of the new cultural politics of the Jacobin dictatorship, based on unprecedented repression and censorship.

Katja Frimberger

André Lee, Jabreel Al-Sarea, Eckart Altenmüller

Botulinum toxin (BoTX) is the standard treatment for task-specific dystonias (TSDs) such as musician’s dystonia (MD). Our aim was to assess the long-term changes in BoTX treatment in a highly homogeneous and, to our knowledge, largest group of MD patients with respect to the following parameters: (1) absolute and (2) relative BoTX dosage, (3) number of treated muscles, and (4) inter-injection interval. We retrospectively assessed a treatment period of 20 years in 233 patients, who had received a cumulative dose of 68,540 MU of BoTX in 1819 treatment sessions, performed by two neurologists. Nonlinear correlation was used to analyze changes in the parameters over the course of repeated treatments. Post-hoc we applied a median-split to classify two subgroups (high-BoTX, low-BoTX) depending on the total amount of BoTX needed during treatment. Across all patients, we found a decrease of dosage for the first approximately 25 treatments with an increase afterwards. The number of muscles and inter-injection intervals increased with time with a discrete decrease of inter-injection intervals after about 35 treatments. Subgroup differences were observed in the amount of BoTX and inter-injection intervals, with continuously increasing inter-injection intervals and decreasing BoTX dosage in the low-BTX group. Both groups showed a continuously increasing number of injected muscles. In summary, we found nonlinear changes of BoTX dosage and inter-injection intervals and a continuously increasing number of injected muscles with treatment duration in TSD-patients. Furthermore, we, for the first time, identified two subgroups with distinct differences. Increasing inter-injection intervals and decreasing BoTX dosages in the low-BoTX group indicated improvement of symptoms with continued treatment. Continually increasing BoTX dosages with unchanged inter-injection intervals in the high-BoTX group indicated deterioration.

Savas Patsalidis

Yuzar Purnama

Indramayu community still believe with the customs of his ancestors. In some areas, we can found the traditional arts, beliefs, ceremonies, games and story. On this occasion, the writers wanted to examine folklore mythology Saedah Saenih. The existences of Saenih Saedah story is very attached to some people in Indramayu, as if the story is real.  The story is famous, and it appeared in the drama, lyrics, and even once made into a movie. The problems outlined in the form of questions, the myth of what is contained in the story Saedah Saenih? How far the myth Saedah Saenih for the community? what moral values that is contain in the story Saedah Saenih? This study aims are to get a complete and clear picture of the mythology in Saedah Saenih folklore. This study used a qualitative approach with descriptive method. The study begins literature, data collection, classification, analysis and reporting. In conclusion, the mythical story Saenih Saedah very attached to the people of Indramayu. The contents are considered real story is characterized by the belief that the existence Saenih still in the river Sewo in white crocodile manifestation. Compliance form of throw money, as it passes through the bridge Sewo to avoid disaster. They also believe Sarkawi transformed into a floating bale, Maemunah be pring ori, and Saedah into a tree on the river bank Sewo.

Giulia Reis

Jaime Pena

DVD

V. González Diéguez

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Michelle A. Honeyford, Wayne Serebrin

In response to concerns about declining writing instruction in K-12 classrooms, this qualitative interview study draws on ethnodrama to better understand teachers’ experiences teaching writing in one Canadian province. Through dramaturgical coding of 21 transcripts, we examine teachers’ objectives, conflicts, and tactics in teaching writing, as well as the significant role of educators’ subjectivities as writers and writing teachers, the settings in which they work, the people who influence their thinking and practice, and their engagement in reflexive inquiry. Two dramatic vignettes explore these themes. We then discuss implications for creating a province-wide professional learning network in critical writing pedagogies.

Jim Marbrook

This article is an attempt to document some of the filmmaking processes and highlight some of the specific factors that determined the final form of the film Cap Bocage. I see this as an opportunity to outline more personal reflections on process. This article will firstly give context to some of the filmmaking challenges by discussing the idea of the voice of a documentary (Nichols, 2010, p. 256) as it relates to subject matter. Here I will emphasise the idea of a personal approach to story that sometimes runs adjacent to the traditional techniques one may find in more expositional work or in a purely journalistic rendering of the narrative. This article also explores two other works that concern themselves with militant struggle in New Caledonia. One is the feature length drama Rebellion (Kassowitz, 2011) and the other a documentary: Tjibaou le pardon (Dagneau, 2006). While the approach to the history of militancy in the films is different, both works are good examples of the challenges filmmakers face while tracing stories involving conflict or societal trauma. Image: Florent Eurisouké in a still from Jim Marbrook’s 2014 documentary Cap Bocage.

The Editors

Lic. Maria Belen Errendasoro

El presente trabajo aborda el estudio de la Danza Aérea poniendo el énfasis en el elemento lúdico que trama la relación del artista con la danza y el aire. Para este fin se sirve de la clasificación de juegos desarrollada por el sociólogo y ensayista R. Caillois.

Revista El Peldaño

Número completo para descargar, con todos los artículos.

Cristiana Bertazoni

The article looks closely at the Quechua play "Apu Ollantay" in order to better understand the relationships of power that the Incas established with the Amazonian corner of their empire, known in Inca terms as Antisuyu. It is argued that the drama "Apu Ollantay" functioned as a social and political device in order to enhance Inca imperial magnitude and project an image of a magnanimous ruler.

Livia Giunti

In 1990 Raymond Bellour defined the practice of film analysis as “an art without future” because of the intrinsically different language it used in relation to its object; specifically, he was referencing oral communication (seminars and teaching classes) and creation through visual arts as the only specific spaces left for film analysis. His idea was to overcome critical and theoretical writing in favour of an action on film. What is the relevance of these reflexions in the new media landscape? By envisioning a dialogue between new and old tools, one can reflect on the way digital devices are shaping emerging practices. If the viewer is becoming an actor, then perhaps the researcher is able to become an editor who – by deconstructing the film – can also produce new audio-visual and graphic material. Computer-assisted analysis involves a range of different tools, from statistics to annotation to presentation, and each tool has practical as well as methodological implications. In this article, I examine the conception, application, and potential of four such computer programmes from the perspective of the history of cinema and film analysis. I also hypothesize that active reading tools such as Advene, while helping to promote new practices, may also encourage new approaches. I argue that the computer amounts to a real assistance tool for the practice of analysis. Our desire to deconstruct and analyse films is today more alive than ever, and digital tools can help us not only to “grasp” the film, but also to grasp its impact on us, as well as the path to our comprehension of it.

Michał Mazurkiewicz

The aim of the article is to show the role of sport in American society against the background of a very important—for many reasons—period of great social transformation in the United States, one which visibly gathered pace in the 1920s. The author presents different aspects of popular culture, which was in full bloom on account of the following factors: the joy after World War I, a sense of optimism, the development of the economy and industry, the growth of big cities, and the greater affluence of the citizens. The analysis of that unusual decade corroborates the role of sport and its great power of influence on society. In an age when technology and mass production had robbed experiences and objects of their uniqueness, sports provided some of the unpredictability and drama that people craved when looking for romance and adventure. The reasons for the popularity of sport in the USA are presented, as well as the major sports diciplines and heroes of American sport who, in a time when mass production seemed to be making individuals less significant, met with a favorable response—people clung to the heroic personalities of sports figures. The analysis of the beginnings of professionalism in sport, the beginnings of organized support, and sports broadcasting, leaves no doubt as to the significance of the period. As the article demonstrates, it was a time of rapid and profound transformation in the realm of sport. Every serious examination of phenomena in contemporary American sport—and this is also true in the case of other countries—without a knowledge of the specificity of sport in the 1920s, would be far from perfect.

R. B. Branham, J. Winkler, Froma I. Zeitlin