Hasil untuk "The performing arts. Show business"

Larissa Loeza Goycochea

Este artículo busca explorar las piezas escénico-digitales Escenas para Kill Me de la artista Marina Otero (julio 2023, Museo Moderno de Buenos Aires, Maratón El borde de sí mismo) y Lázaro de la compañía de teatro mexicano Lagartijas Tiradas al Sol (2020, Mis Documentos), con el objetivo de reflexionar sobre el rol que juega la exposición de lo íntimo en la creación de posrealidades, así como la develación del archivo personal y el narcisismo como ejes de investigación artística en la escena contemporánea.

Marzenna Wiśniewska

Artykuł jest recenzją książki Polifonia: Rzecz o pracy twórczej Teatru Węgajty pod redakcją Katarzyny Kułakowskiej, wydanej przez Instytut Sztuki PAN w 2023. Autorka poddała analizie konsekwencje przyjętych metodologii badawczych, strukturę publikacji i układ tekstów w poszczególnych częściach tomu oraz omówiła wyłaniające się w toku lektury główne bloki tematyczne i zagadnienia, które są szczególnie interesujące w kontekście współczesnych postulatów tworzenia historii teatru i krytyki instytucjonalnej.

Ш.Т. Есиркепова

Мақаланың өзектілігі кәсіби дағдыларды жетілдіру, музыкалық орындаушылардың шығармашылық қызметіндегі маңызды кезең ретінде сахнада өнер көрсетуге қажетті арнайы қасиеттерді дамыту мәселесін қарастырумен байланысты. Бұл үдерісте оқушы, оның ата-анасы және педагог өзара әрекеттеседі. Зерттеудің мақсаты – концерттік орындау кезінде (яғни, сахналық мәдениетті қалыптастыруда) оқушының өзінөзі ұстай білу қабілетін тәрбиелеуге арналған эмпирикалық тәжірибені жинақтау және бұл күрделі әрі жеке процессқа талдау жасау. Зерттеудің негізіне эксперименттік бақылау және оқушыларға сауалнама жүргізу әдістері алынған. Автор орындаушының психологиялық жағдайының оның артистизмі мен орындаушылық техникасына ықпалын талдай отырып, сахнада өнер көрсету дағдыларын қалыптастыруда кешенді тәсілдің қажеттілігіне назар аударады. Сондай-ақ, мақалада педагог тарапынан психологиялық қолдаудың маңыздылығы көрсетіліп қана қоймай, репетициялық әдістер, назар мен концентрацияны жаттықтыру, визуализация әдістері оқушылардың өзін-өзі сенімді ұстауы мен сахналық тұрақтылығын қалыптастыруға бағытталған құралдар ретінде жан-жақты сипатталады.

Anthony Gritten, Caroline Wilkins

Paula Montecinos Oliva

This is a text by the Chilean artist, Paula Montecinos Oliva. The text is a confluence of written streams, influenced by conversations, practices and creative processes shared with Johan Mijail, Flavia Pinheiro, Pedro Matias, Devika Chotoe, Veza Fernandez, Papaya Kuir Collective and accompanied by the writings of Gloria Anzaldua, Edouard Glissant, Fred Moten and Silvia Rivera Cusicanqui, among others. 

Jakub Pawlak

This article discusses the work of the Norwegian photographer Lene Marie Fossen (1986–2019) and a documentary film about her: Self-Portrait (2020, dir. Margareth Olin, Katja Høgset, and Espen Wallin). In an attempt to co-think with photographic self-portraits of the artist, who suffered from severe anorexia, the author draws on methodologies of performance studies, especially the theories of performative index (Margaret Olin) and representation (Peggy Phelan). The proposed description of Fossen’s artistic practice has been inspired by categories of autological imaginaries, encompassing discourses of individual freedom, and genealogical imaginaries, encompassing discourses of social constraints (Elizabeth A. Povinelli). The author interprets Fossen’s photographs as results of her experiments with her own corporeality at a point where these imaginaries intersect and undermine each other. The photographic (re)presentations do not answer the question of who the real Fossen is or is not, but rather test the power of the artist’s and her audiences’ imagination. Arguing that the medium of photography gave Fossen the ability to balance the border between the marked and the umarked, the author sees this as the source of the emancipatory potential of her photographic self-portraits.

Andre Luiz Rodrigues Ferreira

O artigo objetiva investigar a corporeidade na linguagem da palhaçaria, traçando cruzamentos entre a atuação cênica do palhaço e conceitos filosóficos como afectos, afirmação de vida e subjetividade. Esse trabalho parte do diálogo entre conceitos da formação em palhaço e suas possíveis relações com a filosofia deleuzeana. Conclui-se, assim, que a corporeidade do palhaço dinamiza potências e problemáticas que devem ser experienciadas na prática da atuação e do pensamento, instâncias não distintas onde não se pode distinguir entre palhaço e espectador quem afeta e quem é afetado.   Palavras-chave Palhaçaria. Corporeidade. Afetos. Afirmação de Vida.

Crystian Danny da Silva Castro, Mônica Corrêa de Borba Barboza, Odailso Sinvaldo Berté

Este trabalho apresenta reflexões acerca das possibilidades artístico-pedagógicas no campo das artes da cena, em específico a dança, voltadas para a formação de professoras(es). Tais discussões emergem do Projeto de Extensão “De terra seus corpos”, iniciado no ano de 2018 e vinculado ao Curso de Dança – Licenciatura da UFSM. Por meio de diferentes processos criativos, deu-se a remontagem do espetáculo Som e Luz em Corpos, que consiste na coreografia/encenação do tradicional espetáculo de Som e Luz, do Sítio Histórico de São Miguel Arcanjo. Essa obra tem sido apresentada por um elenco composto de estudantes indígenas da Aldeia Guarani Tekoá Koenjú e acadêmicas(os) Universidade Federal de Santa Maria. À luz das compreensões da Ecologia de Saberes (SANTOS, 2010), Epistemologias do Sul (SANTOS, 2019) e Pedagogia da Autonomia (FREIRE, 2015), buscou-se articular um fazer-pensar dança que promova diálogos horizontais entre as epistemologias que operam dentro das universidades e os diversos saberes que são produzidos pelos Mbya-Guarani. Com esse trabalho, percebe-se um enriquecimento na formação das(os) licenciandas(os), sobretudo no que tange à docência em Arte e a elaboração de práticas artístico-pedagógicas contemporâneas, alicerçadas em uma perspectiva de valorização da diversidade e reconhecimento da cultura Guarani na sua história e potencial criativo.   Palavras-chave Processos Artístico-Pedagógicos em Dança. Comunidade Tekoá Koenjú. Ecologia de Saberes. Epistemologias do Sul. Pedagogia da Autonomia.  

Hetty Blades

This paper discusses Roof/Roof Piece, an adaptation of Trisha Brown's Roof Piece by Trisha Brown Dance Company and perch a dance made by Amy Voris and adapted by Voris and Katye Coe for Coe to perform in her home and online. Both these adaptations began during the Covid-19 pandemic, in contexts when the artists could not meet in person. I consider the role that the scores played in facilitating these shared practices, asking how they allowed for the development and continuation of bonds between members of dance communities during this period.

Agata Kubik, oprac.

This is an edition of previously unpublished letters written by actress Aniela Aszperger (1816–1904) to Wanda and Karol Młodnicki and to their daughter, Maryla Wolska. The letters, covering the years 1874–1901, come from the Home Archive of the Pawlikowskis, now in the collection of the Jagiellonian Library. The correspondence contains much information relating to the realities of Aniela Aszperger’s life, reveals her character traits and personality, which may come in handy in interpreting her acting. The letters are also a valuable document of an artistic friendship. The correspondence is prefaced with a biographical note on Aszperger, who debuted in 1835 in Warsaw, but for most of her professional life was associated with Lemberg (Lwów), for a number of years being the toast of the stage at the Skarbkowski Theatre. Being active in the social and political life of the city, she became a living legend. The biographical note brings a number of new findings and clarifies some details of fact.

Carlos Eduardo Silva

O presente artigo aborda os grupos de teatro como os genros de uma sogra nada indesejável, Mnemôsine, a deusa da memória, por isso, são núcleos importantes da memória do Teatro Brasileiro, restaurada e enriquecida constantemente. O conceito de memória é observado não apenas como a trajetória artística dos coletivos, mas como um saber adquirido que conserva as diversas experiências vivenciadas pelos membros de um grupo, seu conhecimento prático e sua maneira peculiar de fazer teatro. Além disso, a memória é tomada como uma força dinâmica, adquirida e aperfeiçoada essencialmente pelo convívio no grupo, em razão do caráter comunitário da construção dos saberes e cuja potência dependente da estabilidade da formação do coletivo articulada com estratégias de registros documentais que possam ser transmitidos às gerações subsequentes e aos novos participantes, de modo a manter vivos os princípios éticos, ideológicos e estéticos das grupalidades. As reflexões foram possíveis através da análise das trajetórias do Ói Nóis Aqui Traveiz e da Companhia do Latão. Para tanto foram entrevistados atuantes artistas dos dois grupos. Por fim, observa-se como os grupos em questão enfrentam as pressões econômicas e políticas que são forças que tentam desagregar e destruir as memórias dessas organizações.

V. Kotnik

1. Preparation In the heart of the old city of Zemun, a historical Serbian town along the Danube, today just one of the municipalities which constitute the extended city of Belgrade, there is the Opera and Theatre Madlenianum, promoted by its owner, as well as by Serbian and international media as "the first privately owned opera and theatre company both in Serbia and in South-Eastern Europe", "the first private opera house in Europe since the Second World War" (for instance, Glyndebourne was founded in 1934), "the first private opera in the Balkans entirely founded and endowed by a single person" or "the private opera house with its sole donor". These highly glorifying slogans, which attract attention even more because they come from an operatic periphery of Europe, produce an even greater impression when we get deeper into the social context in which such an unusual and almost unreal project was carried out only recently. The Madlenianum was officially founded in 1997 by Madlena Zepter, born Horvat and married Jankovic, the wife of Milan Jankovic, who later changed his name to Philip Zepter due to the internalisation of his big business. Philip Zepter is a Serbian businessman and entrepreneur who is considered one of the richest Serbs in the world and one of the leading billionaires of the Balkans. He founded Zepter International in Austria, a family firm which has grown over time into an international corporation focusing on the production and sale of high-quality consumer products in kitchenware, cosmetics, medicine, jewellery, watchmaking etc. The Zepters own many luxurious villas and mansions; among them Villa in Cap Martine near Monte Carlo, one of the most splendid villas along the coast of the French Riviera which was in the past also owned by the Austrian Empress Sissy and the Egyptian King Faruk. They also own a spacious mansion in Paris with a meaningful historical connection as it belonged in the past to the Serbian royal Karadjordjevic family (Karli 2007). The incredibly polished and sophisticated lifestyle of the Zepters involves their special interest in supporting projects in the domain of science, sports and arts. Besides financing education and cultural activities, it is written on the official web page of the Madlenianum, "the most useful and the most expensive donor venture of Madlena Zepter is the establishment and financing of the operation of Madlenianum Opera and Theatre. The best thing to happen in Serbian theatre life since Prince Mihailo Obrenovic built Belgrade's National Theatre in 1868 was Mrs Zepter's gift to her country ...". For four hundred years, opera's aim was to fascinate and create fantasies about cultures and societies in which it was invented, sponsored, produced, performed, consumed and appreciated. Its universally recognised form of sociality held a privileged status throughout the centuries, and which it still enjoys today. In these days, however, it would be difficult to find a more idiosyncratic example of opera's ability to be considered a socially highly valued phenomenon than the one which will be discussed here. Namely, the story of Madlena Zepter is eminently a story of a very special "operatic mission"; a story which seemed almost forgotten and unseen today. There are numerous examples showing opera's cultural prominence of being taken either as the showcase of social interests or as a place of different social positioning, but it is very rare that opera is used as a strong personalised social manifest as this was the case with the Madlenianum in Belgrade. (1) In this article, we would like to show how Madlena Zepter has used opera to communicate or perform her relationships with different, sometimes even antagonistic social agents in Serbia and abroad, and how opera has well served her different tasks, business duties and public expectations. Opera has always established the various types of relationships between itself and the social worlds in which, and for which it was created. …

Jodie McNeilly

Philosophers have faced the problem of self or inner awareness since the self, itself, became something to be known and/or understood. Once dancers ‘let go of the mirror’ (Emily Claid 2006) they too began to face the problem and limits to bodily awareness, developing specific reflective practices to obtain access to their inner bodily selves. But for the phenomenologist, reflection requires an active process of perception, which problematises our grasping of the so-called hidden, organising structures of movement that are unable to be perceived (bodily schemata). For the dancer, then, how is it possible to access and have a deeper understanding of these nonconscious bodily structures? What are the limits to inner bodily awareness? In this article, I draw upon Jean-Paul Sartre’s challenge to Edmund Husserl’s pure ego with his notion of object transcendence in his essay of 1937, Transcendence of The Ego: An existentialist theory of consciousness. I do this as a possible means for understanding bodily schemata and its expression through interactive dance technologies. Using examples from dance, I suggest how bodily schemata can be accounted for if our attention is not directed towards an inner sensing of the body, but towards a site of interaction where objects or materials extend or supraextend our bodies in the form of clothing, costume and digital representations, and where the dancer becomes audience to these distally extended bodily reflections.

Florence Freitag

All This Can Happen is explored as an “unstable equilibrium” with one essential raison d’être: movement. The term “unstable equilibrium” is taken from Maya Deren, as she relates it to her own films as being in a constant process of ritualistic becomingness. The alternation of images—the cinematographic choreography—is what makes All This Can Happen a film that enables us to discover movement in its purest forms and actions, especially because things are made to move. It is the “unstable equilibrium” of these pictures and their in-between, a balance of different visual and motional dynamics, that develops into an understanding and becoming of movement.

W. Schilling

Ali Ayhan

S. Fazel, J. Danesh

Kenneth L. Hoyt

D. Cerić, Michał, S. Kučerová et al.

T. Cruz, M. E. Palomo, María Carmen Palmero Cámara et al.