The research examines the dramatic construction in Mohammed Ismail's performances directed at children, focusing on the aesthetics of arranging structural elements that shape children's theater. This form of theater plays an important role in building and strengthening the educational process while maintaining artistic value. The study consists of four chapters. The first chapter presents the methodological framework, which defines the methodological foundations. The second chapter provides the theoretical framework, which is divided into three sections: the first discusses the concept of aesthetics as a perception that enables children to distinguish between things; the second explores the concept of dramatic construction, which represents the backbone of theatrical performance and its manifestations in children's theater; and the third addresses the aesthetics of dramatic construction in children’s theater performances, which highlight the educational and cultural values that shape children’s perceptions. This chapter concludes with indicators derived from the theoretical framework. The third chapter outlines the research procedures, including the research population and sample, the analytical tool, and the methodology adopted. The fourth chapter presents the results and conclusions, derived from the analysis of the selected sample.
The contribution is an interview with Umewaka Rōsetsu (1948) Shite-kata of the Kanze school. Fifty-sixth generation of the Umewaka Rokurō family. Second son of Umewaka Rokurō LV. Studied under Umewaka Minoru II and his father. He made his stage debut in 1951 as a child actor in Kurama Tengu. In 1954, he played his first leading role (shite) in Shōjō. While delving into nō classics, he also actively promoted the re-examination of the repertoire, the revival of other dramas and the staging of new nō plays. Over time, he received many awards, including the Ministry of Education's award for artistic encouragement for new artists in 1986 and the Japanese Academy of Arts' award in 1998. In 2007 he became a member of the Japanese Academy of Arts and in 2014 he was recognised as Ningen kokuhō (Living National Treasure). Director of the Umewakakai Association and director of the Umewaka Nō Academy, he is the author of Makoto no Hana published by Sekai Bunka.
Anthropology, Dramatic representation. The theater
Se propone la definición de una nueva retórica para la puesta en escena, recurriendo a figuras de la retórica clásica aplicadas a un contexto visual, específicamente, escénico. La tesis de este trabajo es que existe una autonomía propia de la retórica del espectáculo en vivo, la cual está fundada en la relación entre cuerpo interpretante y contexto espacial y objetual de la escena. Se genera así una poiésis del teatro mediante la utilización de figuras sintácticas y semánticas identificadas y comentadas a la luz de las características de las artes escénicas. En este ensayo, se deja abierto el debate de las posibles figuras retóricas que pueden relacionarse con la puesta en escena del espectáculo en vivo.
Signe Hebbe (1837-1925) was one of the most prominent Swedish actresses and singers. Since her stays in Paris, in the mid-1960s, having a deep admiration for Adelaide Ristori, she became her friend and pupil. Around this intimate friendship, in 1880, there was a possibility that Ristori could act a historical drama by Ibsen, which unfortunately did not happen. Following the teachings of Ristori, as well as of Lamperti and Ernesto Rossi, Hebbe introduced an acting style considered more realistic for the categories of the time and as a pedagogue, between 1877 and 1925, contributed to form a generation of important Swedish artists, transmitting the fundamental lesson of her Italian teachers to the mid-20th century.
Aries Budi Marwanto, Johan Ies Wahyudi, Raden Ersnathan Budi Prasetyo
There was a lot of used roof tile discovered throughout the village. However, the community did not turn it into usable items. The roof tile waste motivated us to turn it into artwork. This artistic research focused on the production of repurposing ceramic pieces utilizing roof tile waste materials. This creative study made use of the experimentation, reflection, and formation phases of Dharsono's artistic creation approach. This artistic creation process resulted in a jug of art entitled "Wanawarih." This artwork is full of symbolic expression values about the trilogy of vitality, namely forest preservation, water function maintenance, and earth manifestation
Arts in general, Dramatic representation. The theater
Mohammad Hossein Banaei Keshtan, Seyed Sadegh Zamani, Naser Aghaie
Sartre is a great philosopher and creative artist who has skillfully put the ideas of existentialism thoughts in writing in the works of art, especially the plays. The current study aimed to investigate and critique Sartre’s efforts in extending the philosophical thoughts of existentialism, such as the “distancing,” “look,” “choice,” etc., to the style of performance, directing, writing, and acting, and even the stage and the spectator. In this regard, first, the esthetic thoughts of Sartre in art and especially the theatre are addressed, which have been expressed about the subjects such as “theatre of the situation,” mental analysis, time, place, etc., which are founded based on the existentialist thoughts. Second, we would investigate and critique these theories and answer the question, do these theories apply to all arts and all styles of art and schools, especially theater, or not? Or, in other words, how much these theories and the extension in the mind of Sartre are approved by the experts of the field and the esthetic theoreticians?The current study is descriptive-comparative-analytical research using over 30 years of experiments and directing, writing, researching, and teaching experiences of the author.
This text is an analysis of Krzysztof Warlikowski’s 2011 production, African Tales by Shakespeare, tracing the project of community taken up in the performance. The central thesis takes this to be neither a national community nor a dispersed, intersectional coalition, as Bryce Lease has formulated the difference between Polish political and traditional theater, but rather a transitional community—unstable, unsuccessful, and rooted in the experience of political transition. The author, by invoking references to the visual arts present in the performance, points to other community projects emerging from the experience of transition while showing how, when appropriated for the purposes of performance, their meanings change radically. In the masculine, phallic, and violent world of African Tales, art and philosophy born of the experience of femininity are lost, twisted, and forgotten. Among the most important threads of analysis, however, is the way racialization and racism function in the play. From this perspective, the problematic status of the community the play establishes is most clearly seen: as a community of phantasmic, aspirational, transitional whiteness.
Dramatic representation. The theater, The performing arts. Show business
Purpose of the article is to research the role of music in the play «In the Garden of Light»by works of G. Skovoroda in Kiev Theater «MIST» and its links with major concepts of action.Methodology. In research, the methodology was used the historical-cultural approach as well asmethods of analysis, comparisons, and synthesis. These methods allowed considering music in itsrelations with the main ideas of the play. Scientific novelty. First the play «In the Garden of Light»is being studied from the standpoint of the unity of dramatic action and music in connection withBaroque atmosphere and aesthetics. Music now is introduced in scientific usage and composeorganic whole with the play. There are works of the Baroque period, vocal and vocal-instrumentalworks in the audio recordings, and tunes of Ukrainian folk instruments. Conclusions. Semanticconcepts of the play are inextricably linked with the music. Music accompanies the action, conveysthe atmosphere of the Baroque period, shows the emotional and sensual state of characters, soundssemantic action counterpoint, organizes metro rhythm of acting plastic and brings the humor tosome of the scenes.Key words: Ukrainian Baroque, play, baroque drama, concept, happiness, monody, cant
Dorot Ruth, Mosaic of Israel’s landscapes as an expression of geographical, cultural, and religious diversity. “Images” vol. XXV, no. 34. Poznań 2019. Adam Mickiewicz University Press. Pp. 87–113. ISSN 1731-450X. DOI 10.14746/i.2019.34.06.
Israel is tiny in its dimensions, yet huge in the spectrum of its landscapes. It is ancient in its history, yet young as a state. In honor of the 70th independence day of the State of Israel, celebrated in 2018, this paper presents a mosaic of 12 landscape paintings, from the country’s most southern point to the most northern one, by Israeli artists who represent, in diverse styles, the state’s geographic and historic wealth in a visual-artistic sense.
Enquanto forma de acesso a determinado objeto cultural, o arquivo se institui no espaço entre a lembrança e o esquecimento, permitindo a preservação, a conservação, e a apresentação de conteúdos para além de seus momentos de criação. Sua dinâmica de constituição e valorização determina como se constituem acervos e suas formas de contato com o público, desde o momento em que são criados e enquanto continuarem sob a guarda dessas instituições. Nesse sistema, que mostra que a criação de arquivos e sua disponibilização é elemento fundamental para a manutenção da memória cultural, é preocupante que a dança encontre, até o momento, pouco espaço dentro de instituições museais. A maior dificuldade da guarda da dança é seu traço mais íntimo: a realização e transmissão corpo a corpo dessa arte identificam que o arquivo mais próximo da dança trata-se de um arquivo corporal, vivo e pulsante, que frequentemente escapa às formas de catalogação às quais os museus estão habituados. Dentro dessa problemática, este artigo aborda a conceituação dos arquivos da dança, especialmente dos arquivos do corpo, investigando alguns exemplos de sistemas de preservação dos mesmos, ao se indagar acerca das particularidades desses arquivos, de sua determinação, e das propostas institucionais pontuadas, ilustrando, para além de sua dificuldade, a importância e o interesse em se preservar a dança, sua memória e seus arquivos.
O objetivo deste artigo é estudar os limites do discurso e das estratégias estéticas da performance drag king, inspirados pela teoria butleriana em Problemas de gênero [Trouble dans le genre]. Enfatizamos o risco potencial – mas realmente problemático – da estigmatização de homens vindos de minorias étnicas e de populações pobres em diversas ações drag kings. Assim, qualificamos de pós-drag as performances que abordam as intersecionalidades do gênero, da sexualidade, da raça e da classe sem reproduzir os estereótipos da hegemonia heterossexual branca.
O artigo propõe uma interseção entre arte e filosofia aproximando uma pratica de atenção em uma seção de Tuning Scores, descrita pela coreografa e video-maker americana Lisa Nelson, a relação do individuo com o meio e com outros indivíduos, pensada pelo filósofo francês Gilbert Simondon. O fragmento de descrição de Lisa Nelson acerca da atenciografia do corpo será lido em conjugação com os caracteres que Simondon apresenta na relação interpessoal: individuação, individualização e personalidade.
In Ogni anno punto e da capo wrote and directed, but not recited, by Eduardo in 1971, you can get much more significant implications than the tone of the show – a fun reinvention of the revue of the Thirties – could let believe at first. The show stands, in fact, as the peak of an intense season of exchanges and collaborations between Eduardo and the Piccolo Teatro of Milan, also promoted by the interest of Eduardo for modern prerogatives of the role of director. Making use of critical and documentary evidence of the period, the contribution reconstructs the show by Eduardo, focusing on his own directing perspective, characterized by metatheatricality and autobiography, towards a regeneration of national dramaturgy by the lifeblood of the Neapolitan theater tradition.
Vezio Ruggieri (Università degli Studi di Roma La Sapienza – Rome, Italie), Lea Walter (Associazione Psicofisiologi Clinici per l’Integrazione Sociale – Rome, Italie)
Cet article a pour but de présenter comment les apports du modèle psychophysiologique bio-existentialiste élaboré par Vezio Ruggieri et ses collaborateurs peuvent jeter une lumière nouvelle sur les processus sous-jacents le jeu de l’acteur tels que la présence scénique, le processus d’identification avec un personnage et le complexe mécanisme de la prosodie. Cet encadrement théorique, qui voit le rapport corps-esprit dans une relation circulaire, éclairera le lecteur sur les bases physiologiques de la perception et de l’imagination ainsi que sur le rôle fondamental que la structure musculaire joue dans la construction de ces phénomènes.
Cássia Navas Alves de Castro (Universidade Estadual de Campinas – UNICAMP, Campinas/SP, Brasil)
A partir de estudos de caso de uma longa trajetória em pesquisa, articulam-se exemplos, descrições, propostas e discussões sobre a investigação em dança, com foco em dois aspectos – a entrevista e a escrita. Aponta-se para procedimentos do inquirir-se – como a pergunta-stick – e formatos de sua escritura – como a entre-escritura –, visando à ampliação do debate sobre métodos, processos e sistemas metodológicos nas artes da cena contemporânea como contribuição para a discussão sobre caminhos metodológicos oriundos desse mesmo campo do conhecimento.