Hasil untuk "Drama"

Marcelo de Andrade Pereira, Carlos Edimilson Avila de Lima, Luiza Lemos de Rossi

This article results from a survey and analysis of the production on Performance and Gender published in the Brazilian Journal on Presence Studies (Revista Brasileira de Estudos da Presença). Twenty-one articles addressing the intersections between Performance and Gender were analyzed. From these analyses emerged the idea that the journal has progressively deepened debates on gender and its relations with other markers, fostering the emergence of a kind of performative gender pedagogy that invites us to rethink the social and cultural roles and functions constructed around gender.

João Vítor Zanato de Carvalho Ribeiro, Ana Claudia Balieiro Lodi

This article aims to analyze the artistic work Venus in Fur through the theatrical play Venus in Fur, written by David Ives in 2010, and the French feature film Venus in Fur, directed by Roman Polanski in 2013. In this analysis, we seek to understand the dialogues established between the play and the film with previous artistic works, involving the historically built meanings about women and their social role, themes that permeate Venus in Fur. The theoretical-methodological perspective that underpins the proposed analysis is based on the studies of Bakhtin and the Bakhtin Circle, by understanding that artistic works are part of a long human discursive chain of great time, reflecting and refracting their own time, while responding to the past and being projected into the future. In turn, Venus in Fur promotes a major feast of renewal of meanings, extending its dialogue beyond its socio-historical context of circulation, reaching works from the past and other contexts, by situating the representation of women in art at the center of its discussion.

Andrzej Szpulak

After outlining the state of research, the article presents an interpretation of Abbas Kiarostami’s film The Wind Will Carry Us (1999), made using the concept of mythic narrative developed by the author two decades ago. The author reconstructs the deep structure of the story and the mechanisms inscribed in it for the transformation of the main character, and his transition from the state of inner death to life. Taking advantage of its narrative openness and symbolic universality, he inscribes it in a close biblical context. He also considers this procedure legitimate because of the concept of “unfinished cinema” repeatedly presented and affirmed by the director.

Paolo Albonetti

The third son of Luigi, Alessandro (or Vincenzo) is best remembered as the father of Eleonora. Starting his career as a young and unbright primo attore, he becomes a brillante, a caratterista, and finally a generico working with his daughter. As an established actor, instead of playing major roles, Alessandro gradually slips into anonymous ‘last parts’. The remarkable consistency of the information about his biography is due to the glory of his daughter.

Ayman Khafaga

Abstract This paper offers a psycho-pragmatic analysis of impoliteness in Shakespeare’s King Lear at the intradiegetic level of communication. The paper’s main objective is to explore the extent to which impoliteness assessment is influenced by both the psychological traits of interlocutors motivated by their reality paradigms and the fictional participation of discourse participants, which targets a deeper understanding of the association between impoliteness, psychological dimensions of personality, and fictional participation in drama dialogue. The study is based on an eclectic framework by drawing inspiration from contributions in the field of impoliteness and relational work studies, with a special emphasis on Locher and Jucker’s (2021) list of the factors influencing relational work, together with reference to studies on the relationship between psychological dimensions of personality and language use, with a focus on Archer’s (2002) concept of reality paradigms. The paper has two main findings: first, psychological traits of interlocutors contribute significantly to the production, reception, and assessment of impoliteness and serve as antecedents of their verbal aggression; and, second, psychological impoliteness operates within a specific community of practice and has its own context-specific expectation frames.

Daniela Aquino Camargo, Marta Isaacsson Souza e Silva

O presente estudo aborda as especificidades e os desafios vivenciados pelo performer no contexto da atuação em criação cênica interativa sob o modelo de scape game. A pesquisa está alicerçada na vivência como atriz da primeira autora do artigo na obra Casa do Medo, uma realização da Macarenando Dance Concept, de Porto Alegre. A reflexão aqui apresentada privilegia a análise da vulnerabilidade experimentada pelos performers na atuação interativa com o espectador, na vivência do entre da representação do personagem e no controle do desenvolvimento da trama diante da reação imprevisível dos parceiros cênicos.

Ana Teixeira, Isabelle Launay, Javier Contreras et al.

Este dossiê, dedicado à ideia de descentralização no campo dos estudos em dança, constitui o primeiro projeto coletivo realizado por membrxs do grupo Descentradxs – Descentrar a investigação em dança. É uma primeira ação que não pretende instalar postulados epistemológicos rígidos, mas, sim, promover o surgimento de um amplo espectro de interesses e o desejo de problematizar perspectivas dominantes que, acreditamos, condicionam o surgimento de novas abordagens e perpetuam binômios de desigualdade tanto em práticas artísticas como em trabalhos acadêmicos.

Beata Popczyk-Szczęsna

In Polish drama published after 1989, everyday life is often presented as the fundamental measure of the heroes’ existence. The authors present the changes in the everyday life order, they underline oppressive and overwhelming character of common experiences, they present difficult, aggressive interpersonal relations. For example, in many texts the unavoidable elements of the everyday life of the heroes are negligence, harms and even crimes. This way of representing everyday life, usually based on traditional mimetic techniques, does not create an idyllic image of everyday life.

Bruno Schiappa

Crítica ao espectáculo A Divina Comédia – Inferno. Texto: Dante Alighieri. Dramaturgia e ence‑ nação: João Brites. Dramatografia: João Brites e Rui Francisco. Cenografia: Rui Francisco. Dramatofonia e música: Jorge Salgueiro. Figurinos e adereços: Clara Bento. Corporalidade e video design: Stephan Jürgens. Assistência de encenação: Diego Borges. Desenho de luz: João Cachulo/Contrapeso. Desenho de som: Sérgio Milhano/Pontozurca. Direcção de fotografia: Alexandre Nobre. Investigação histórica: Susana Mateus. Interpretação: Ana Brandão, Bonifácio, Bruno Bernardo, Carolina Dominguez, Catarina Claro, Cirila Bossuet, Guilherme Noronha, João Grosso, João Neca, José Neves, Juliana Pinho, Lara Matos, Lúcia Maria, Manuel Coelho, Paula Mora, Raul Atalaia, Rita Brito, Rita Gonçalves, Sara Belo, Sara de Castro e Tomás Varela. Criação e produção: Teatro O Bando. Co‑produção Teatro Nacional D. Maria II, Convento São Francisco/Câmara Municipal de Coimbra e Teatro Nacional São João. Local e data de estreia: Teatro Nacional D. Maria II, 11 de Maio de 2017.

Paolo Caponi

Neglected now when not forgotten, the radio has been an extraordinary instrument of cultural production in Italy and abroad between the Thirties and the Sixties. Radio drama, now much less practiced than once, has provided for a long time the opportunity for families to gather around a new domestic fireside. Initially conceived as a mere reading of the dramatic text, radio drama has been capable of evolving in forms that were highly innovative and autonomous from the habitual stage theatre. This happened both legitimizing new authors and applying new techniques of representation and broadcasting to old classics – like Shakespeare. Following the Italian vicissitudes of the Bard on radio, it is possible to evaluate the increase in popularity – and then, the decrease – of the radio as a site of cultural production.

Claire Dutriaux

Almost twenty years before Quentin Tarantino’s Django Unchained, African American film director John Singleton’s Rosewood (1997) told the violent racial history of the South during the Jim Crow era and the real suffering they experienced at the hands of Whites, via a combination of a western-style narrative with a black cowboy hero and a historical drama. This article explores the interplay between South and West and examines how Rosewood borrows from the Western genre to explore and rewrite racial history in the American South. The director makes use of generic hybridity to show the persistence of a “racial Frontier” on screen. The filmmaker modified the known accounts of the 1923 Rosewood massacre to include a Western-style resolution to historical conflicts.

Kathrin H. Stoll, Yvonne L. Hauck, Soo Downe et al.

Abstract Background Efforts to reduce unnecessary Cesarean sections (CS) in high and middle income countries have focused on changing hospital cultures and policies, care provider attitudes and behaviors, and increasing women’s knowledge about the benefits of vaginal birth. These strategies have been largely ineffective. Despite evidence that women have well-developed preferences for mode of delivery prior to conceiving their first child, few studies and no interventions have targeted the next generation of maternity care consumers. The objectives of the study were to identify how many women prefer Cesarean section in a hypothetical healthy pregnancy, why they prefer CS and whether women report knowledge gaps about pregnancy and childbirth that can inform educational interventions. Methods Data was collected via an online survey at colleges and universities in 8 OECD countries (Australia, Canada, Chile, England, Germany, Iceland, New Zealand, United States) in 2014/2015. Childless young men and women between 18 and 40 years of age who planned to have at least one child in the future were eligible to participate. The current analysis is focused on the attitudes of women (n = 3616); rates of CS preference across countries are compared, using a standardized cohort of women aged 18–25 years, who were born in the survey country and did not study health sciences (n = 1390). Results One in ten young women in our study preferred CS, ranging from 7.6% in Iceland to 18.4% in Australia. Fear of uncontrollable labor pain and fear of physical damage were primary reasons for preferring a CS. Both fear of childbirth and preferences for CS declined as the level of confidence in women’s knowledge of pregnancy and birth increased. Conclusion Education sessions delivered online, through social media, and face-to-face using drama and stories told by peers (young women who have recently had babies) or celebrities could be designed to maximize young women’s capacity to understand the physiology of labor and birth, and the range of methods available to support them in coping with labor pain and to minimize invasive procedures, therefore reducing fear of pain, bodily damage, and loss of control. The most efficacious designs and content for such education for young women and girls remains to be tested in future studies.

Aifi Umdatun Khoirot, Zuliati Rohmah, Desi Puspitasari

The present paper aims at describing linguistic features of two women who have two different characteristics—feminine and less feminine—as apparent in “Who’s Afraid of Virginia Woolf” and “The Lover” dramas. Using Robin Lakoff’s (1975) women’s linguistic features, the research found out that not all features occur in the dialogues of the two female characters with other characters. Nine features were applied by Martha in “Who’s Afraid of Virginia Woolf” drama and seven features were used by Sarah in “The Lover.”  Based on the analysis of the data, it is uncovered that the use of the women’s linguistic features reflects uncertainty and lacking of confidence on the part of the women in their conversation.

Lech Sokół

For a few decades now, various interpretations and readings of the To Damascus dramatic trilogy by Strindberg have been focusing either on the whole work or just on its first part; in this case, I side with the latter tactic. Firstly, I assume as obvious, though, at the same time, as profound and well argued, the proposition advanced by Egil Törnquist that the trilogy is a religious and metaphysical text as well. The character of the Invisible One (Den Osynlige), who is an imaginary representation of God, is essential for this line of thought, and for me, too, the character not making an appearance on stage is of paramount importance. I use the term “metaphysics” in its most widespread and predominant sense of the general theory of being, yet I reserve the right to make use of the specific sense described by the French philosopher Frédéric Nef, an author of a 2004 book on metaphysics, who writes under the entry for metaphysica specialis as follows: “it is divided into rational psychology, rational cosmology, and rational theology, which is a study of kinds of being (psychic, cosmic, divine).” Törnquist locates the metaphysical problematics in the characters of the drama, and his method might be described a “metaphysics through reference to topos, or better yet: topoi.” As we know, Strindberg projected the psyche and emotional distress of his protagonists, which usually meant also: his own, onto such personages as: Saul (Paul), Cain, Lucifer, the old-Scandinavian god Loki, the devil, Adam, Jacob wrestling with the angel (God), and so on. Events, clearly, are important as well, like the Jacob’s wrestling just mentioned as well as the story of the temptation and fall of man, which is probably dealt with in most detail in the first part of the drama, etc. Törnquist usually refers to rich scholarship on the drama and to his own, usually very incisive, intuitions. My task is, therefore, not to delineate yet another path through the myriad of Biblical topoi that are present in the Western culture. I am, on the other hand, preoccupied with the presence of metaphysics in the world presented in the drama, with the way it makes its appearance—through a kind of invasion or aggression. Perhaps the most evocative and violent example of this is what happens at the end of Scene 1, on a street corner, in Act I. Strange things are happening, indeed, things radically contrary to reason, that fill with utter terror the characters deemed to be real and sound of mind. What they are experiencing is something called mysterium tremendum and mysterium fascinans. In my conclusion, I go back to the issue of metatheatricality as elaborated by Tadeusz Kowzan and express the opinion that metaphysics in drama and theatre may appear as metatheatricality.

Miriam De Rosa, Vinzenz Hediger

The text retraces the current debate around the notions of post-cinema and post-media. Employing a dialogic approach, the editors propose a theoretical framework to provide context for the main contributions on these topics published in recent years, highlighting the conceptual connections to the previous scholarship. The resulting reflection serves as a platform to introduce and situate the contributions to this special issue. In particular, the editors propose to use the term configuration to account for the various aspects and facets of contemporary cinematic experience.

Maria Zărnescu

Mirella Piacentini

The article focuses on situating Jean-Claude Grumberg’s Le Petit Chaperon Uf into the wider context of the Francophone drama repertoire for young people, as well as into the author’s work, from the perspective of the hermeneutic dialogue the translator is expected to engage with the original text. The analysis stresses the importance of diffusing the Francophone drama repertoire for young audiences, with particular regard to such texts as Le Petit Chaperon Uf, which alerts “today’s little riding hoods” by means of a powerful, free writing, where words are ‘juicy’, ‘crispy’ and author relies on their power to lead young readers and spectators towards discovering and (re)inventing “the story, the stories, the real History”.

Jeftimijević-Mihajlović Marija S.

Beginning from 1954 when he appeared with his first poems, Bogdan Džuver (1936) his experience of the World and Human was shaped artistically in the form of poetic expression through more than ten poetry collections with diligent consistency, noticeable erudition and peak lucidity. He brought into them the sum of existential, creative and intellectual experiences and knowledge. Sum of humankind experience, one man's wisdom in 'survival' of life, found their place in Džuver's poetry, and in remarks, appendixes, processes and corrections, commentaries, and diary entries, whose abundance testifies on the inexhaustible energy of this a priori 'artistic worker' (creator). His creative imagination and rich erudition have been articulated into meditative-reflective the ton of his, both as per sonority and meaning, unique and particular poems. By naming the state of spirit in the process of creation as a 'workshop of spirit', Bogdan Džuver represents himself as an artist of rich creative spirit whose spiritual curiosity for cognition as the essence of the world and human is inexhaustible. His poetry reveals existential drama, ontologically founded as the fight with the 'Death'. That fight is becoming a paradigmatic form of singing and thinking of this little studied, we dare to say, poet-thinker. The feeling of transience and fragility of all existent, the being and thinking, have no consolation, but have sense in creativity, in promethean readiness to oppose the certainty of the Death through the Word which is arhe, the beginning of the world.

Paul R. McCuistion, Colin Warner, Francois P. Viljoen

This article presents the Greek influence on the genre of Matthew’s text. Greek and Roman tragedy is examined, from which the five basic elements of tragedy are identified. A brief examination of the characters in the Matthean text is done to identify Greek cultural influences on the structuring of the Gospel. This study offers evidence that Matthew may have intentionally orchestrated a drama with the intent of having an understandable, attractive way to present Jesus to Jew and gentile alike.

Janine Blacker, Andy Watson, A. Beech