Hasil untuk "Drama"

Ao Chen

Rhythmus 21 (Hans Richter, 1921) has earned a highly influential position in abstract or absolute film, presenting the rectangles of various sizes that seem to initiate a sense of depth. Nevertheless, the spatial experience of seeing this film can fall apart if Buddhist dust theory is applied to the discussion of spatial experience. This article uses wufen weichen (extremely tiny and indivisible dust) in Buddhist studies as a philosophical methodology for scrutinising the spatial experience of seeing Rhythmus 21, arguing that there is no inherently spatial depth manifested in this film because all the rectangles can be seen as the same size. In other words, there are no large and small rectangles establishing close and distant zones. This argument will lead to an alternative epistemological understanding of no-absolute-size, which will trigger a re-examination of the existential state of spatial depth. Throughout this article, detailed analyses of the rectangles’ sizes within the philosophical context of Buddhist dust theory will give rise to a new ontological interpretation of space in this film.

LIU Zhenzhen, ZHENG Jiafu

Drama is an art presenting contradictions and conflicts through verbal dialogues and body movements. Remodeling moral education classrooms with drama means placing students in a class of "situations, conflicts, experiences and reflections", allowing students to create and perform drama scripts in combination with previous life experiences and current moral issues in the classroom. By constructing dramatic conflicts and resolving dramatic contradictions, a real moral problem situation is built for learners. Remodeling moral education class with drama has changed students'moral learning environment, where learners are regarded as core participants and are required to understand the moral dilemmas of characters, to perform the moral growth of figures, and actively to construct moral cognition in active participation and self-development. This helps to eliminate the separation of the current "intellectual moral education" from the "disembodied moral education"and is an important way to fulfill the fundamental task of "cultivating people with moral integrity". In moral education classrooms, the moral motives, behaviors and their consequences presented in drama are simplified analogues of students'complex moral lives, which helps enhance students'understanding of the complexity of individual moral lives. In addition, remodeling moral education classrooms with drama is based on Goffman's "observer–subject"model of situational interaction theory and the theory of dramaturgy which center on the interaction of members in the classroom field and it realizes the two-way penetration and two-way exchange between students'dramatic situations and social life, presenting a new form of vividness, life-orientation, and vitality and therefore can lead students to explore the true meaning of life. Remodeling moral education classrooms with drama persists the Marxist view of literature and art in China as the fundamental guiding ideology, connects drama with students'real life as the basic principle, and accomplishes the compatibility between drama and the school moral education ecosystem as the implementation path. And it also conforms to the situational learning advocated by the new curriculum standards by enhancing students' ability to distinguish right from wrong to establish correct value orientations from an early age.

Rinat Feniger-Schaal, Rinat Feniger-Schaal, Nina Koren-Karie et al.

Maternal insightfulness or the capacity to see things from the child’s point of view, is considered to be a crucial construct for therapeutic change. In the present study, we aimed to implement the knowledge gleaned from the studies on attachment theory and maternal insightfulness into clinical practice to create an intervention program for mothers of children-at-risk due to inadequate parental care. We used drama therapy to “practice” maternal insightfulness in more “experiential” ways, because the use of creative expressive means may be accessible and effective for the target population of the study and help improve maternal care. We used a manualized 10-week drama therapy-group intervention, focusing on the core concepts of maternal insightfulness: insightfulness, separateness, complexity, and acceptance. We used various dramatic means to explore and experience these components of maternal insightfulness. Forty mothers of children-at-risk took part in eight groups of parental insightfulness drama therapy (PIDT). To evaluate the efficacy of the intervention, we used the Insightfulness Assessment (IA) interview, which produces 10 scales and a final classification of PI and non-PI. The Child Behavior Check List (CBCL) was used to evaluate a change in children’s behavior problems. The assessment took place at three time points: before the intervention (T1), right after the end of the intervention (T2), and 6 months following the intervention (T3). Results at T2 showed a significant improvement compared to T1 in some of the maternal insightfulness scales, but not in the maternal insightfulness categorical classification. At T3, there was a significant change in the classification of the mothers, from non-insightful to positively insightful. At T3, there was also a significant decline in the children’s externalized and general behavioral problems. The results of this study contribute to an evidence-based practice of using drama therapy in the treatment of mothers and children at risk.

Mariana Elâni Santos de Oliveira, Maria de Lourdes Macena de Souza, Luiza Jovina Barbosa Girão

Resistir para existir, os artistas populares de Rua da praça do Ferreira são o exemplo de que a continuidade de seus fazeres artísticos são parte da identidade de nossa cidade. Propomos uma reflexão de que a prática desses artistas fazem parte do campo de práticas contra hegemônicas (SANTOS, 2002). Analisamos ainda outros aspectos que conectaram-se as relações dos artistas com seu local de apresentações (DOTE, 2017), demonstrando as influências do passado que impregnaram a praça de vida e potência e transcenderam os aspectos urbanos (PELBART, 2000). A ideia de Arte de subsistência que citamos nesta pesquisa produziu, em nossa visão, intencionalidades pré-existentes antes do período pandêmico, momento em que, muitos pararam e recolheram-se em suas residências, porém, os artistas não puderam ter esse privilégio. Esse fator demarcou socialmente as vidas desses agentes da Arte que resistem à sois, chuvas, vírus mortais, entre outros obstáculos, lutando diariamente por seu espaço de trabalho na Rua e pelo reconhecimento de sua ação como fundamental para o entendimento de nossos processos culturais.   Palavras-chave Artistas Populares de Rua. Arte. Cultura. Praça do Ferreira.

V. V. Kolchanov

Science fiction literature of the 1920s connected with the topic of heat rays is studied. Begun in the novel of Herbert George Wells “The War of the Worlds” (1897) and in the novel of A.F. Ossendowski “Brig “Horror” (1913), in the decade after October Revolution it became more widely distributed. In each work heat rays got its name: “death rays” in the novel of H. Dominik (1921), “violet rays” in the novel of V.P. Kataev “The Island of Erendorf” (1924), “red ray”, or “life ray” in the novel of M.A. Bulgakov “The Fatal Eggs” (1924), heat rays in the novel of A.N. Tolstoy “The Garin Death Ray” (1926–1927), “orange ray” in the novel of A.F. Paley “Gulfstream” (1927). In all literary works, including pre-revolutionary ones (except for the last one – “Gulfstream”), the heat ray played an extremely negative role in the development of humanity and civilization. The Martians were the first to use weapons to destroy humanity, then the ray fell into the hands of brilliant scientists. The ray, created by brilliant scientists, most often end up in the hands of self-interested and obsessed people, and Russian writers brought a serious doubt to the scientistic aspirations of the human mind. This theme ran parallel to the road of modern research and discoveries in the field of science and technology: in the world laser weapons were being developed as weapons of mass destruction for the future wars of a planetary scale. In the Soviet press, it was “baptized” as the “diabolic rays”, and most important – they tried to implement into the field of social transformations in society, which brought the October Revolution, plans on establishing a socialist system on the entire planet. The central place is given for the novel M.A. Bulgakov’s “The Fatal Eggs”, which absorbed not only the achievements of modern science and technology, not just fantasies of writers – predecessors and contemporaries, but also allusions on the occult motifs in literature and culture: black magic of doctor Faust from the drama-miracle play of J.W. Goethe “Faust”, spells from the “Egyptian Book of the Dead”, old Russian ritual “Troyetsyplyatnitsa”, the egg motif “ad ovo”. Numerous occult details in the story tell about the mechanism of the “red ray”.

Petr Málek

Drawing its methodological inspiration from A History of New Modernism. Czech Literature, 1905–1923 (2010), this study aims to present the development of Czech literature over the course of a single year: 1929. The objective, however, is not to portray the literary events and literary production of this year in the manner of a chronicle, nor in their entirety, but to capture certain ‘nodal’ characteristics of the imagination and literary language. There is one event that allows the author to take this approach — i.e. to identify themes, images and figures that are typical of the artistic discourse of the period —, namely the publication of Richard Weiner’s The Barber-Surgeon. The themes, motives, and figures found in this text (dream and dream writing, language, failure, literary polemics) constitute a point of departure for grasping the dominant features of a literary period which is otherwise rather amorphous. By virtue of Weiner’s poetics, a thread of sense begins to emerge, and eventually the ‘story’ or ‘drama’ of 1929, out of the re-constructed configurations and correlations of several different literary texts. Through its ‘otherness’, Weiner’s ‘dream poetics’ separated itself from the universalizing aesthetic concept of its time, thus falling ‘out of the picture’ from the perspective of literary history. By contrast, the author considers it as the central feature of a network of relations among a number of texts published in 1929: the short story AM from Jakub Deml’s collection My Purgatory; the poem The New Icarus by Konstantin Biebl; Karel Čapek’s Tales from Two Pockets; Jaroslav Durych’s essay on Poetics; and Vladislav Vančura’s novel The Last Judgement. The themes and figures under consideration here — poetics, dreams, dream writing and literary polemics — are all related to the writer’s self-consciousness in the creative process and the attention paid by the writer to material elements of the work. This manifests itself as an interest in the question of poetics and in a vivid ‘linguistic awareness’, which is also manifested in the widespread interest in questions of language and the culture of language that Czech linguists, especially those associated with the Prague Linguistic Circle, studied in accordance with — and in dialogue with — contemporary trends in modern art.

Alicja Kędziora, Emil Orzechowski

Helena Modrzejewska's diary was 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). The current edition is annotated with regard to its content: the events of the first six weeks of 1893, people described by Modrzejewska and their relationship with the actress, performances and theatrical plays, as well as the publishing history of the diary.

Miguel Mera

This article traces some of the political and cultural implications of the use of popular music and popular musicians in British films of the 1960s and 1970s, demonstrating different, and sometimes incompatible, facets of the British psyche in relation to identity, independence, nationalism, nostalgia, and exoticism. These divergent perspectives seem to have emerged and ruptured in the 2016 Brexit vote, but are in fact deep-rooted and central to the British circumstance. Using Adler-Nissen et al.’s concept of the performativity of Brexit, which works both as a promise of a different future and to establish a specific past, various interrelationships between culture, identity politics, stardom, and music can be determined. These are explored through three general typologies — ‘Discovering Europe’, ‘Defeating Europe’, and ‘Reappraising Home’ — in order to demonstrate that the decision to leave the EU in 2016 was not a flash in the pan, but rather a long and protracted journey reflecting conflicted notions of freedom and accountability.

Rachel Ashcroft

The article seeks to illustrate how the theme of time may be a worthwhile starting point towards uncovering useful connections between the philosophy of Giordano Bruno and that of Michel de Montaigne. Firstly, a brief literature review will assess the admittedly small but promising criticism that has previously attempted to bring the two writers together. Subsequently, the article argues that time is a meaningful way to approach their texts. Specifically, time refers to the drama that arises between the material body, which generally exists within a so-called natural order of time, and the mind which is not tied to the present moment, and is free to contemplate both past and future time. The article argues that Bruno and Montaigne’s understanding of time in this manner leads them to question traditional representations of time, such as the common fear of death, in remarkably similar ways. This process will be illustrated through examples drawn from two chapters of the Essais and a dialogue from the Eroici furori, and will conclude by assessing the straight forward connections that have arisen between the two authors, as well as scope for further research in this area.

Sylvie Roques

O artigo coloca em perspectiva uma pesquisa de cerca de dez anos, cruzando um olhar sobre textos dramáticos que contêm representações do corpo, e o estudo de formas cênicas atuais nas quais a presença do corpo é evidente. Considerando que é impossível limitar o teatro ao texto, afirmamos que também é impossível evitá-lo. A primeira parte do artigo coloca em perspectiva uma análise textual de um corpus de textos contemporâneos europeus que apresentam diversas representações corporais. A segunda parte questiona o aspecto carnal das palavras, pois a fala é uma materialidade tangível, portadora de uma originalidade particular. A terceira parte trata das performances emergentes nas cenas europeias nas quais o corpo assume completamente sua densidade e sua força.

G. Gerbner, L. Gross, N. Signorielli et al.

Susanna Villari

The paper focuses on the methodological and critical problems that need to be addressed for the census planned and developed in «Studi giraldiani».   -----   Il saggio mette a fuoco i problemi metodologici e critici da affrontare nel corso della realizzazione dei censimenti progettati e avviati nel contesto di questa rivista.

Vicente Sánchez-Biosca

<p>En 2010, un documental germano-israelí –<em>A Film Unfinished</em>– recuperaba enigmáticos planos rodados por un equipo de cineastas alemanes (<em>Propaganda Kompanien</em>) en el ghetto de Varsovia durante la primavera de 1942. Una porción considerable de estos planos que el Ministerio de Propaganda de Goebbels decidió no utilizar por confusas razones ya había circulado profusamente en films anteriores, desde los años 50. Depositados en los archivos de la DEFA, habían sido utilizados <em>a contrario </em>en primer lugar por cineastas de la RDA y de la DDR: tratando de denunciar a sus autores. Dicho de otro modo, las imágenes llamadas a denigrar a los judíos servían para denunciar a sus autores, convirtiéndose en eficaz arma del antifascismo. También Frédéric Rossif acudió a ellas en <em>Le temps du ghetto</em>. El presente ensayo analiza las estrategias de apropiación de este material bruto en distintas épocas en relación con las premisas estéticas, éticas, políticas de distintos autores y movimientos para concluir sobre la forma de representar víctimas tomando como fuente la imagen producida por el odio de sus enemigos. Así, se pasa revista a su montaje, su aligeramiento, su relación con testimonios vivos, su conducción a través de una <em>voice over narration</em>, entre otras cosas.</p><p><strong>Palabras clave: </strong>Documental de apropiación, imagen de archivo, migración de imágenes, cinee historia, ghetto de Varsovia, cine nazi.</p><p><strong>Abstract</strong></p><p>In 2010, a German-Israeli documentary entitled <em>A Film Unfinished </em>recovered some enigmatic footage shot by a team of German filmmakers (Propaganda Kompanien) in the Warsaw ghetto during the spring of 1942. A considerable portion of these shots had circulated widely in previous films from the 50s, even though the Minister of Propaganda, Joseph Goebbels, decided not to use them for confusing reasons. Shelved in the DEFA archives, they were used by anti-nazi film makers to denounce their authors. In other words, these images called to denigrate Jews served to denounce the perpetrators, becoming an effective weapon of anti-fascism. Frederic Rossif also assisted them in <em>Le temps du ghetto</em>. This paper analyzes the strategies of appropriation of such raw material at different periods of film history in regard with the aesthetic, ethical, and political attitudes in order to conclude on how to represent victims using as source the image produced by the hatred of their enemies. In this sense, the essay looks into the composition, the editing and especially the relationship these shots entertain with other strategies such as the living testimonies, and the use of the voice over narration.</p><p><strong>Keywords: </strong>re-apropiation in documentary, film footage, migration of images, cinema and history, Warsaw ghetto, Nazi cinema.</p>

رویا پورآذر, جلال سنخور

Abstract Drama has staged, presented, represented, and performed different concepts of subjectivity, throughout history. Many theoreticians believe in the mutual interdependence between modern drama’s structural and stylistic innovations and the major changes in the conceptual understanding of identity and subjectivity particularly from the beginning of the twentieth century onwards. Acknowledging the importance of theatre’s endeavour to imitate, negotiate and construct human identity; no one disputes their fundamental premise about the basic correlativity between the two. Critical analysis regarding the reciprocal relationship between the conceptual fluctuations of subjectivity and the structural and stylistic theatrical and dramatic innovations of our time is yet far from exhausted. The present article specifically will focus on the definition of postdramaticality form Lehman’s perspective and endeavors to investigate and identify the possible underlying causes for postdramatic innovative methods of characterizations in theatre after 1980. It also tries to explicate the necessity of stylistic and structural changes in theatre, due to the new conceptualization of subject in postmodern theories of subjectivity, and also the changed status of the subject in the mediatized environs of today’s world. The essay introduces five different postdramatic methods of characterization in theatre that are practiced by different playwrights to perform/represent postmodern subjectivity

J. Crewe, J. Dollimore

Emre Çağlayan

Gail Kern Paster

Burcu eYaman Ntelioglou, Jennifer eFannin, Mike eMontanera et al.

This paper presents findings from a collaborative inquiry project that explored teaching approaches that highlight the significance of multilingualism, multimodality and multiliteracies in classrooms with high numbers of English language learners (ELLs). The research took place in an inner city elementary school with a large population of recently arrived and Canadian-born linguistically and culturally diverse students from Gambian, Indian, Mexican, Sri Lankan, Tibetan and Vietnamese backgrounds, as well as a recent wave of Roma students from Hungary. A high number of these students were from families with low-SES. The collaboration between two Grade 3 teachers and university-based researchers sought to create instructional approaches that would support students’ academic engagement and literacy learning. In this paper, we described one of the projects that took place in this class, exploring how a descriptive writing unit could be implemented in a way that connected with students’ lives and enabled them to use their home languages, through the creation of multiple texts, using creative writing, digital technologies and drama pedagogy. This kind of multilingual and multimodal classroom practice changed the classroom dynamics and allowed the students access to identity positions of expertise, increasing their literacy investment, literacy engagement and learning.

Mauricio Barría Jara

Escribir sobre performance resulta desde ya una situación paradójica.  No solo por el desfase evidente entre discurso y evento al que alude esta relación, sino principalmente por la vaguedad que supone la noción misma de esta práctica artística. No han sido pocos los esfuerzos por tratar de determinar su especificidad y encontrar su lugar al interior del sistema de las artes.

Domingos Nunez

Since its foundation in 2003, the Brazilian theatre company, Cia Ludens, has produced four plays by outstanding Irish dramatists: Brian Friel, Marie Jones and Bernard Shaw. During this period, research into Irish drama and history was done as part of the process of staging these plays. Three cycles of staged readings and the publication of translated short plays by Shaw were conceived to illustrate part of the material investigated for the major productions. The result has been a stimulating dialogue between past and present, text and vocal/gestural possibilities and, above all, Irish and Brazilian cultures. The continuation of such a dialogue is the ongoing process of producing A Cry from Heaven by Vincent Woods. The aim of this article is therefore to give an account of the multiple aspects considered for the production of the play by Cia Ludens, from the translation of the script into Portuguese and a study of tragedy up to the non-realistic conceptions for the staging of the text.