Hasil untuk "Drama"

G. Schellenberg

Irina Katz-Mazilu

This article describes an arts therapy training workshop held at the 3rd International Conference of the European Federation of Art Therapy at Brunel University of London in July 2025. Based on the consideration that any new construction is actually a re-construction, artists, philosophers, health professionals, sociologists and anthropologists explore over time the art/creative process both in its specificities and for its use in arts therapies. Art accompanies personal and social emotional regulation and change, responding to the fundamental need of our aesthetic brain to produce beauty, harmony and balance. In this workshop, a theoretical presentation introduced a few concepts on the merging of the art, the therapeutic and the art therapeutic transformative process. The second part of the workshop was dedicated to a practical exploration of the creative steps and challenges, with an expressive therapies continuum approach. Creating paper masks and playing them offered a group of fifteen participants the opportunity to experience a complex pathway to face continuity and disruption in the polyvalent, constructive/destructive reality of the creative process. Facing specific challenges in the art process helps to develop resilience and facilitates the access to the core of the arts therapies. In clinical contexts, specific relationships are fostered through empathic creativity. The choice of working with masks is due to the potential of this media to deal with complex issues in a therapeutic context. In this workshop, both individual creative work and group cooperation offered material for discussion and sharing among professionals. Possible applications in art and drama therapy practice focus on the implementation of a healing continuity from disruption to resilience.

Cecilia Bartoli, Luca

Nel presente articolo viene descritta la pratica dell’associazione Asinitas di Roma che accompagna percorsi di apprendimento linguistico per stranieri (migranti, rifugiati e richiedenti asilo) a laboratori teatrali condotti da teatranti professionisti. A partire dal laboratorio “La voce umana” condotto con la compagnia Bartolini-Baronio si vuole evidenziare la potenzialità del teatro per: la costruzione di un contesto multilingue che valorizza il repertorio plurilingue di ciascuno; lo sviluppo della capacità espressiva attraverso l’attenzione agli aspetti co-verbali della comunicazione che includono il corpo, lo spazio, la voce con le sue caratteristiche prosodiche; la narrazione biografica individuale che diventa drammaturgia collettiva consolidando la costruzione di una comunità in grado di aprire una finestra di dialogo con la città. L’articolo vuole offrire spunti di riflessione su come questi aspetti possano essere particolarmente significativi in ambito migratorio per l’acquisizione di presenza individuale e sociale, l’accrescimento delle competenze linguistico-espressive, la costruzione di legami sociali significativi, la rielaborazione dell’esperienza migratoria stessa.

Yusupova Guzel

Modern conditions are not sufficient for a psychotherapist to study and apply only one modality in practice. Requires a level of professional competence that allows to use the psychotherapeutic potential of various psychotherapeutic modalities, in combining them in their work. In this case, the multimodal (integrative) approach of using the method of catatymno-imaginative symbolic drama allows fully implementing the principle of an individual approach to each patient, providing the opportunity to take into account not only the nature of his mental disorders, but also personal characteristics such as the level of intelligence, emotional state, and also behavior. This research aims to reveal the peculiarities of organizing and implementing psychotherapy using the catatym-imaginative drama symbol method involving 14 outpatients in various departments of the State Budget Agency who have been diagnosed with anxiety based on ICD-10. The testing method used in this research was the Sheehan Anxiety Scale and anxiety assessment techniques based on the Spielberger-Khanin theory. The measurements were carried out at the initial session of the meeting and the final session (8th meeting). The method used is combined with body-oriented psychotherapy. The results of this study showed that respondents with anxiety-phobic disorders had a positive correlation, and this relationship was more pronounced before training. Pearson correlation coefficient (r) was 0.87 (before training) and 0.79 (after training). It can be concluded that in the treatment of patients with anxiety-phobic disorders, the method of catatim-imaginative therapy significantly reduces the negative symptoms.

Vera V. Nikiforova

The interaction of myth and literature is an urgent literary problem. Mythological themes, plots, motifs, and images are used and reinterpreted in Chuvash literature throughout its history. The main purpose of this study is to study the peculiarities of the reflection of mythology in Chuvash poetry. The most striking poetic works of Chuvash authors, created within the chronological boundaries of the XX – early XXI century, in the structure of which mythological elements play an important role, served as materials for the study. The main ones are descriptive and systematic methods. For the first time, the article presents an overview analysis of Chuvash poetry of the XX – early XXI century from the point of view of the stated theme. Her study demonstrated that the myth is noticeably reflected in poetic works. They reveal the structural and meaningful elements of myth, as well as signs of mythological thinking and mythological worldview. The conducted research has shown that myth is one of the sources of artistic creativity. In the future, it is supposed to analyze the features of the functioning of myth in prose and drama. The results obtained can be used in the study of the problem of national identity in Chuvash literature.

Ana Filipa Magalhães

As produções pertencentes ao género performativo de teatro-música em Portugal e compostas a partir de 1970 apresentam inúmeros desafios no que respeita à sua preservação, especialmente no contexto do arquivo. Parte da documentação de teatro-música encontra-se dispersa entre várias instituições e acervos pessoais. Estas obras baseiam-se em linguagens idiossincráticas e em práticas performativas não-convencionais, que é preciso identificar e sistematizar. Muitas vezes, é necessário recorrer aos agentes envolvidos nessas performances (compositores, performers, encenadores, técnicos de som, light designers, entre outros) para, por um lado, entender aspetos da performance intrínsecos ao processo de criação, os quais não se conseguem descortinar apenas a partir da documentação, e para, por outro lado, compreender as relações entre a documentação existente. Este é o grande desafio que se coloca atualmente aos musicólogos e arquivistas, e só a partir de um trabalho de colaboração entre estas duas áreas do conhecimento será possível arquivar e reativar o teatro-música. Neste artigo, proponho discutir os conceitos de performance e re-performance, na perspetiva de Diana Taylor, para entender a exequibilidade de salvaguardar a performance no arquivo digital.

Sihol Manullang, Marjan Miharja

Kasus tindak pidana pembunuhan berencana yang dilakukan secara bersama-sama oleh Ferdy Sambo, Richard Eliezer Pudihang Lumiu, Putri Candrawathi, Ricky Rizal Wibowo dan Kuat Ma’ruf, yang dituntut dalam perkara terpisah, menimbulkan perhatian masyarakat. Bahwa, Richard Eliezer Pudihang Lumiu adalah eksekutor dalam pembunuhan berencana yang menewaskan Nofriansyah Josua Hutabarat. Richard melakukan penembakan atas perintah Ferdy Sambo. Meskipun terdakwa Richard Eliezer merupakan eksekutor, ia mendapatkan hukuman paling ringan di antara semua terdakwa. Dalam posisi sebagai Justice Collaborator, Tim Pengacara dan Richard berhasil menghadirkan para Saksi Meringankan yang pas, rohaniawan Pastor Von Magnis Suseno, psikolog Liza Marielly Djaprie dan psikolog forensik Reza Idragiri Amriel, ahli hukum pidana Dr Albert Aries. Richard Eliezer Pudihang Lumiu (Richard) “mencuri” rasa keadilan masyarakat. Apa yang selama ini hilang dari sanubari masyarakat, ditemukan dalam diri Richard. Yaitu: Kejujuran. Kalau tak ada Richard, pembunuhan Josua bisa-bisa lewat begitu saja, menjadi dark number (kasus yang hilang). Bersamaan dengan ini, Richard Eliezer menjadi Justice Collaborator, dia mengungkap segala sesuatu dengan jujur. Tindakan ini mengundang simpati kepada Richard, sebagaimana terlihat dari pemberitaan media massa. Bukan hanya para saksi meringankan. Kemudian, 122 akademisi mengangkat diri mereka sendiri sebagai “Sahabat Pengadilan.” Karena Richard membunuh berdasarkan perintah, mereka meminta agar Richard dihukum seringan-ringannya. Richard, hanya dihukum selama 18 bulan. Penyidikan Richard Eliezer sejak awal memang laksana drama, mempermainkan emosi masyarakat. Pengaduan Richard Eliezer semula menyangkal, kemudian menjadi Justice Collaborator. Unik. Bahkan, ada pula pendukung Richard yang selalu hadir dalam sidang, menyebut nama diri sebagai “Richard Angel.” ***

Carla Tempestoso

Is anyone listening out there? The artists who write and produce radio dramas believe that a limitless imaginative world is possible. Radio drama is the most flexible of forms, allowing a freedom to experiment usually inhibited by considerations of space, time, and money in live theatre. It is no coincidence that the experimental nature of Caryl Phillips’s radio plays fits perfectly into Brater’s idea of “performative voice” (Brater 1994). Caryl Phillips’s Crossing the River (1985), in particular, illustrates the necessity of filling silence with something, anything at all, by telling the Africans’ trade story and trauma created by way of soundscaping sounds, pauses and silences.

Alberto Gutiérrez Gil

Desde que en 1937 Louis Wirth acuñara el término de interdisciplinariedad han sido muchos los intentos de estudiosos y docentes por aplicar sus presupuestos en la enseñanza de la literatura con el fin de atraer al alumnado a su conocimiento y, sobre todo, hacer de su enseñanza un proceso significativo. La enseñanza universitaria ha primado históricamente el conocimiento de las vidas de nuestros autores clásicos por medio de las biografías canónicas; sin embargo, en la actualidad se tiende a una visión interdisciplinar dentro de las aulas en la que el mundo de la literatura se une al del cine, la televisión y la publicidad para dar una visión más actual y completa a un alumno nativo digital y, por tanto, más acostumbrado a los medios audiovisuales. Este trabajo se erige, por tanto, como un breve dispensario documental en el que basar esta experiencia educativa interdisciplinar, presentando algunos de los recursos más interesantes del cine, la televisión y la publicidad que pueden ser utilizados como materiales en la enseñanza del contexto vital y social de autores como Lope, Cervantes o Quevedo, un contexto que, como sabemos, tanto influyó en su producción dramática y poética. Su listado y análisis nos mostrará las bondades y flaquezas de su utilización, así como los beneficios de una metodología menos compartimental y más global. Since Louis Wirth first spoke about interdisciplinarity in 1937 many scholars and teachers have been trying to apply his assumptions to literature teaching with the aims of attracting students to literature knowledge and, above all, of making their teaching a significant process. University education has given priority, on a historical basis, to the knowledge of our classical playwrights’ lives through canonical biographies. However, currently an interdisciplinary approach in which the world of literature joins cinema, television and advertising is preferred inside classrooms to give a contemporary and complete vision to students who are digital natives and, thus, are more used to audiovisual media. Therefore, this work is meant to be a short documental compilation on which this interdisciplinary educational experience could be based. Many of the most interesting resources of Spanish cinema, television and advertising, which could be used as materials for teaching such representative contexts for Lope’s, Cervantes’s or Quevedo’s drama and poetic works as their vital and social ones, are presented on it. By means of citation and analysis we will be able to present their strengths and weaknesses and, furthermore, the benefits of a multidimensional methodology.

Patricia Aschieri

Entre os dias 20 de maio e 7 de junho de 2020, foi realizado o evento “Cidade em Movimento”, que teve como um dos objetivos divulgar práticas inclusivas e igualdade de direitos das pessoas com deficiência na área da dança. Embora originalmente pretendido para ser desenvolvido pessoalmente, devido à atual situação de pandemia e isolamento físico obrigatório na Argentina desde 20 de março deste ano, os organizadores decidiram convertê-lo para o modo online através do uso de plataformas e atrativos. estratégias. Com base no trabalho de campo realizado com “participação observadora” da linha das oficinas, algumas entrevistas públicas e várias comunicações pessoais, é apresentada uma análise crítica das múltiplas mediações que percorreram os vários encontros. Posteriormente, algumas situações ocorridas durante o evento são discutidas sob a ótica da interculturalidade crítica e da teoria da performatividade.

Eva Hallgren, Eva Österlind

The purpose is to investigate process drama for teaching civics, mainly democracy and migration. Process drama implies students and teacher to take on roles, to explore a subject content collectively. The study is based on a secondary school educational initiative where a drama pedagogue was invited to address civics through process drama. Four civic lessons were video recorded and analyzed through an activity theory framework. From this perspective, process drama can be understood as two activities with different motives/objects, the educational and the fictional, where the fictional activity should have a playful format. The results show that the dialogical approach used by the drama pedagogue created a democratic opportunity and also established the playful format. The students’ engagement was notably high. However, it was obvious there were no challenging or probing questions being asked by the drama pedagogue or the civics teacher, neither in nor out of role. As a consequence, the full learning potential of process drama in civics education could not be achieved. We suggest a co-teaching approach between civic teachers and drama pedagogues, to overcome challenges in using process drama in civic education for learning objectives to be attained.

Rovie Herrera Medalle

Ulrike Mothes

Transcultural studies often theorize third world diaspora from within the dominant Western context, and its relation to the culture of their postcolonial home. This essay takes on a reversed perspective, aiming to examine lmic representations of two young Western subjects in third world countries. The lmmakers Thomas Brück and Bentley Brown spent their formative years as members of Western diaspora families in Mexico and Chad. Using the medium of lm, their work navigates cultures — as the works of certain subaltern immigrant artists and lmmakers in the West do. By analysing their personal documentaries Third Culture Kid and Oustaz, the essay investigates their cinematic means of negotiating transcultural identity across geopolitical borders. Special emphasis is given to the employment of home video material to reconstruct and represent memory.

Minerva Campos

«Llegará un día en que el cine habrá cambiado el mundo más que la invención de la pólvora, la electricidad o el descubrimiento de nuevos continentes. El cine permitirá a la gente repartida por los más remotos confines de la Tierra conocerse y apreciarse mejor. El cine reconciliará las diferencias de opinión y contribuirá de forma decisiva a la realización de los ideales de la Humanidad. Es fundamental que concedamos al cine la importancia que merece». Mustafa Kemal Atatürk (1937)

Frida Beckman

Josep Esquerrá Nonell

La reciente publicación de una obra de teatro inédita y original de Blas Infante: Almanzor, drama histórico incompleto escrito hacia la primera mitad de los años 20 del siglo pasado, abre posibilidades de interpretación con respecto a otra obra escrita en el mismo periodo, La Dictadura Pedagógica, con una finalidad clara de superación de la España de la Restauración desde el punto de vista histórico. Almanzor es además su segunda obra de temática andalusí, junto con Motamid, último rey de Sevilla. La obra es, principalmente, una adaptación de la Historia de los musulmanes de España hasta la conquista de los almorávides de R. P. Dozy. Pertenece a la modalidad dramática que el Modernismo denominó teatro poético, pero la obra tiene una honda raíz romántica. Infante recrea, una vez más, el glorioso pasado de Al-Ándalus.

Cecily O’Neill, Alan Lambert

Mario Valiente, Rubén Maidana

En este trabajo nos proponemos comentar el comienzo de una tarea de recuperación y resguardo del patrimonio cultural inmaterial e intangible que entendemos se halla contenido en las voces que se han manifestado en el teatro tandilense mas reciente. Por ello nos planteamos indagar en los cambios y permanencias en la construcción vocal realizada por actores tandilenses en obras estrenadas en Tandil, provincia de Buenos Aires, entre 1990 y 2010. Para ello desarrollaremos herramientas de análisis que serán aplicadas a registros sonoros y audiovisuales de espectáculos teatrales presentados en dicho lapso de tiempo.

Mihaela Iancu

F. Aderca was well known by the inter-war Romanian readers especially for his articles and polemics published in some of the most important newspapers, magazines and reviews of the age. In spite of that activity, which used to pass as his trademark, F. Aderca also wrote thousands and thousands of pages of prose, poetry, drama and essays, he supported and popularized in his articles the modernist literary trends coming from the Western cultures and was a notable member of the modernist Romanian literary cenacle, Sburătorul. His creative effort proved to be unceasing throughout his fifty-year-long career, despite the unfavourable historical times in which he lived: being a Jew, he had to pass through a period of antisemitic policy immediately before and during World War II and he also experienced probably the most aggressive years of the communist regime in Romania under the rule of Gheorghe Gheorghiu-Dej. By starting from F. Aderca’s life and his repeated conflicts with the authorities, this paper aims at discussing the condition of the artist and scholar under a dictatorial or discriminatory regime.

W. Mages