Ikhsan Satria Irianto, Lusi Handayani, Yhovy Hendricasri Utami
et al.
This study aims to analyze the dramatic structure of the Abdul Muluk traditional theatre in Sembubuk Village in order to identify its dramatic patterns and elements of dramatic architecture. The formal objects employed in this study are Gustav Freytag’s Dramatic Structure Pyramid and the concept of Dramatic Architecture proposed by Letwin, Joe Stockdale, and Robin Stockdale. The objective of this research is to identify dramatic potential as an initial stage in efforts to revitalize the Abdul Muluk traditional theatre in Sembubuk Village. This study adopts a qualitative method with a descriptive-analytic approach. The results indicate that the Abdul Muluk traditional theatre in Sembubuk Village possesses a solid dramatic structure and significant dramatic potential. The findings further reveal that the dramatic pattern of the Abdul Muluk traditional theatre demonstrates structural alignment with the classical Greek tragedy pattern, namely tragedy followed by restoration, in which conflict is developed through Poema, Pathema, and Mathema. The dramatic motifs employed show correspondence with Shakespearean dramaturgical motifs, specifically the hidden hero and disguise. Another finding indicates that feminist themes explicitly influence the dramatic progression of the narrative.
Marineide Silva, Joacir Antônio de Araújo da Silva
O presente trabalho é fruto de uma pesquisa bibliográfica e documental realizada na Coleção Digital de Jornais e Revistas da Hemeroteca Digital da Biblioteca Nacional do Rio de Janeiro (BNDigital) acerca da estreia e repercussão do espetáculo Malazarte, figura do folclore brasileiro que Graça Aranha tornou protagonista no seu texto teatral publicado em 1911, em francês e em português. Com a estreia do espetáculo em 1911, Graça Aranha pretendia consolidar-se como um representante do pré-modernismo na Europa, pois as primeiras representações de Malazarte foram realizadas por uma companhia francesa, para um seleto público em Paris. A historiografia do teatro brasileiro pouco tem explorado sobre a estreia e repercussão do referido espetáculo, no entanto, o contato com as crônicas e críticas dos jornais brasileiros da época, instigou a investigação e verificou-se que Malazarte foi um espetáculo pensado e favorecido para atender as demandas de transformações filosóficas e estéticas da virada política e cultural na Europa das primeiras décadas do século XX, em virtude das relações de Graça Aranha com o meio cultural europeu. Tais aspectos configuraram Malazarte como uma peça de circunstância e sua encenação como um laboratório para as experiências simbolistas
Se a figura do espectador surgiria com o advento do pensamento lógico e a invenção da representação – no teatro e, então, na política da antiga Grécia –, esse papel parece entrar em crise na passagem entre os séculos XX e XXI, em que fenômenos comunicativos sugerem desafiar os modos racionais de perceber e conceber o mundo. O que, recentemente, tem sido descrito como "pós-verdade" seria, nesse sentido, um dos sintomas-chave desse movimento crítico. Este artigo oferece uma reflexão sobre o surgimento e a evolução cultural do conceito de "espectador" articulando-o à noção de "verdade" e a seu percurso na história do Ocidente. O texto explora a hipótese de crise desse conceito, a qual decorreria de outra instabilidade, a dos próprios critérios de definição, na vida comum, entre as categorias de "verdadeiro" e "falso".
Historically, the theater spectator has been constituted as a central figure in both theatrical practice and theory, becoming the target of an artistic-pedagogical discourse. Starting from this premise, this article aims to problematize the game play between conduct and counter-conduct in which the theater spectator was entangled. To do so, we propose to observe an extinct practice in Brazilian theaters but prevalent throughout the 19th century – the “pateada” – which involved a noisy stomping of feet by the audience with the purpose of interrupting a performance. Resorting to the analysis of the “pateada”, we present a historical moment in which the behavior and subjectivity of the spectator would begin to be regulated towards a disciplined, moderated, and pedagogized body, and a new type of public-stage address would emerge.
A investigação apresentada buscou reunir subsídios teóricos e metodológicos para compreender a organização política do Movimento dos Trabalhadores Rurais Sem Terra (MST), não somente por intermédio de suas clássicas formas de luta –ocupações e marchas –, mas através da mística, com dramatizações e performances constituintes desse cenário. As práticas performativas apresentadas durante o VI Congresso Nacional (2014) foram estudadas pelo levantamento de dados disponibilizados em diferentes repositórios na internet e pelo uso da etnografia digital. Em linhas gerais, foram analisados os espaços de resistência criados pelos movimentos sociais em sua luta por emancipação no século XXI.
Claudio Tolcachir (Buenos Aires, 1975) non è soltanto un teatrista di punta della variegata scena indipendente di Buenos Aires ma figura tra i più affermati uomini di teatro contemporaneo, da cui la recente nomina a direttore della XXIX edizione dell’École des Maîtres 2020. Nel 2005, col debutto della sua prima pièce originale La omisión de la familia Coleman, inizia una irresistibile ascesa che si concreta in tournée e progetti internazionali, tra cui diverse edizioni sceniche del suo quarto testo drammatico Emilia, rappresentato con cast differenti in Argentina, Spagna e Italia, sempre con la regia dell’autore. Il contributo affronta la complessità dell’opera dell’artista porteño, tracciando i segni distintitivi della sua drammaturgia e dei relativi allestimenti, ma facendo anche emergere i limiti della ricezione italiana nella comprensione della sua opera, soprattutto attraverso l’edizione romana di Emilia, dove una impareggiabile Giulia Lazzarini interpreta il ruolo del titolo.
This paper is a review of the thoughts and ideas of Mika Hannula presented in his book Artistic Research: Theories, Methods, and Practices. As its title indicates, this book discusses artistic research, specifically related to the theories, methods, and practices of its implementation. In this paper the writer attempts to review: the urgency of artistic research, the philosophical foundations of artistic research, artistic research and science, epistemology and axiology, methodology of artistic research, and its expediency and guidelines for use in art research.
Arts in general, Dramatic representation. The theater
The article analyses and interprets Robert Stando’s little-known educational film Strach ma wielkie oczy [Fear has large eyes]. The film was made in 1965 and produced by the Documentary Film Studio in Warsaw. The author explores the original character of the film, reconstructing the stylistic and compositional techniques used by filmmakers, among others, in the field of cinematography (underwater photography), editing, word function, music, sound effects etc.
In 2017, the dance performance Zoe, directed by the choreographer Francini Barros, was censored because its first scene had a naked performer on the sidewalk of the Apolo Theater in Recife. The fact led to a reflection on art as a mechanism to establish a utopia against neoliberal conservatism. This paper aims at understanding how the creative processes of the performance Zoe are placed as a micropolitical strategy of resistance to that conservatism. In order to do so, it establishes a dialogue with Agamben, Foucault, Deleuze, Guattari and Rolnik to discuss categories that served as a basis for our argumentative line, like ordinary life (zoé), utopian body, heterotopia, culture and subjectivity.
Dorota Jarząbek-Wasyl, Alicja Kędziora, Emil Orzechowski
The manuscript of the diary, written by Helena Modrzejewska from 1 January to 16 February 1893, is kept in Jan Ignacy Paderewski’s collection at the National Library in Warsaw. Published several times in several variants, both in whole and in fragments (including the excerpts published in the Polish magazines such as Czas, Kierunki, Teatr and in monographs by Marion M. Coleman and Józef Szczublewski), Modrzejewska's diary has become ridden with numerous editorial inaccuracies. The text currently published in Pamiętnik Teatralny is a compilation of the three major editions of the Diary: the original based on the manuscript, including later comments and corrections, the first Polish publication in Czas, 1910, and its edition in English, published in M. M. Coleman’s Fair Rosalind: The American Career of Helena Modjeska (1969).
Dramatic representation. The theater, The performing arts. Show business
Juliana Coelho de Souza Ladeira (Université Paris 8, France)
Cet article prétend analyser les écrits premiers de deux administrateurs-historiens britanniques sur l’archipel malais: Thomas Stanford Raffles et John Crawfurd. L’intérêt de cet article est celui de présenter les prémices du discours ethnologique britannique sur les “races” du monde, à travers quelques travaux de ces deux auteurs, en particulier le deuxième. Puisque John Crawfurd a également étendu sa réflexion sur lesdites races à d’autres exemples que celui des peuples de l’archipel malais, ses écrits donnent un aperçu de l’ampleur géographique des théories racistes du XIXe siècle. Analyser ces discours, fréquemment laissés de côté en milieu académique brésilien, est important pour contribuer à l’élargissement de la discussion sur la notion de races dans différentes époques et contextes.
Drama – stage – actor
The author discusses the issue of acting and theatrical stage in the context of Józef Tischner’s philosophy, which sees the stage as the platform for freedom, and the meeting and parting of people, as well as their relationship with the Absolute. The language of the character is created by: the actor, screenplay, costumes, lighting and music. He introduces the idea of objectifying the stage and familiarising onself with role, the basis of which are relations between the plays characters.
How does a theatre whose mandate is rooted in the works of George Bernard Shaw rationalize a season that also includes Suzan Lori-Parks’ edgy, “post-race” Top Dog/Underdog? How does a classical theatre dedicated to the Shakespeare canon include Harold Pinter’s The Homecoming and Michael Tremblay’s Hosanna, a politically provocative play from the 1970s about a Quebec drag queen, not to mention a production of the musical Jesus Christ Superstar? Canada’s two flagship theatres – The Stratford and Shaw Festivals – did exactly that in their 2011 season, thereby redefining the notion of ‘classic’ not only for themselves but perhaps for other “classic” theatres around the world. In the following essay, Canadian critics Patricia Keeney and Don Rubin ponder the notion of just what constitutes a classic and how well these redefined classics actually fared on these major Canadian stages.