Reseña del libro Hacedores de cultura. La huella de Don Quijote en la tierra de Martín Fierro. Volumen 12, de M. N Koss (Luz Fernández Ediciones, 2024).
In the modern world, relevant concepts are personality and
individuality. The present article analyzes the issue of personal
choice in the prism of ancient Georgian literature. In our valuable
creative heritage, there are many fictional or authentic characters,
whose presence and personal decisions changed the course of
humanity, and left a mark on human consciousness. Such are Saint
Shushanik, Abo Tbileli, and Grigol Khandzteli, characterized by
hagiographic authors (Jacob Tsurtaveli, Ioane Sabanisdze, Giorgi
Merchule), who proved their personality by overcoming physical
fear, victory over death, selfless work, caring for the soul.
The article briefly reviews the worldview of our glorious poets
Shota Rustaveli and Davit Guramishvili regarding this issue.
According to them, each person carries the whole universe in
himself - from the beginning to the end. Those who understand this
will at least be able to gain access to self-knowledge and the
regularity of life. This will help a person to achieve originality.
The performing arts. Show business, Dramatic representation. The theater
Review-Essay of the opera Alexina B. Music by Raquel García-Tomás, libretto by Irène Gayraud, stage direction by Marta Pazos. Gran Teatre del Liceu, Barcelona, March 2023.
O presente artigo reflete sobre a noção de subtexto, que foi compreendida, junto ao sistema de Constantin Stanislavski, como uma espécie de arcabouço ou suporte para a atuação. O pensamento aqui exposto relaciona tal processo às esferas partilhadas entre atores e espectadores a fim de refletir sobre a presença dos subtextos nas práticas cênicas da contemporaneidade.
Gisele Soares de Vasconcelos, Nadia Ethel Basanta, Renata a Abreu Lima de Figueiredo
O artigo trata sobre os encontros entre grupos participantes de projetos de circulação e dos indicadores que nos permitem visualizar quem são esses grupos que circulam, sob o aspecto da regionalização. Nesse contexto, apresenta as noções de experiência - a do Chão e a do Giro - formuladas a partir de duas figuras que se interpenetram referenciadas por Walter Benjamin - camponês sedentário e marinheiro mercador - e das experiências de circulação do grupo Xama Teatro - MA. Propõe-se uma reflexão sobre a maneira em que os caminhos se cruzam, colocando artistas do teatro em estado de residência, passeio, viagem ou deriva. A partir da pesquisa desenvolvida pelas autoras acerca dos 20 anos de permanência do projeto SESC Palco Giratório, discute-se como o mecanismo de itinerância contribui para o fortalecimento do fluxo de produção teatral, também em termos de sustentabilidade e continuidade dos grupos participantes, quantitativo por estado, região e por ano. Por fim, reflete-se como esses vínculos que se estabelecem entre grupos que circulam - por afinidades estéticas ou espirituais- devolvem à arte um delicado essencial que a vida cotidiana insiste em massacrar.
Este artigo tem como objetivo propor pensarfazer processos de ensinoaprendizagem em dança desde uma perspectiva contemporânea decolonial. Foi possível identificar pontos de convergência entre estas perspectivas, já que ambas as correntes de pensamento compartilham pressupostos da concepção libertadora de educação, tais como dialogicidade, defesa da democracia, indissociabilidade entre teoria e prática; corpo mente; razão emoção; incentivo à autonomia dos educandos no seu processo de ensinoaprendizagem e respeito a pluralidade de ideias. A perspectiva decolonial de educação complementa a perspectiva contemporânea de ensino da dança ao fazer refletir sobre o eurocentrismo presente nos currículos dos cursos de dança, sobre a distribuição desigual de valor dada às produções de dança oriundas da Europa e EUA e às produções latino-americanas, especialmente as danças de matrizes afro-brasileiras e indígenas e ao defender uma educação intercultural. Nesse sentido, o pensarfazer processos de ensinoaprendizagem em dança desde uma perspectiva contemporânea e decolonial perpassa pela criação de um currículo de dança intercultural nos espaços formais de ensino, pelo incentivo à pesquisa de pedagogias decoloniais de dança e ao intercâmbio cultural entre as redes de dança latino-americanas.
Ismael Scheffler, José Sávio Oliveira de Araújo, Rosane Muniz
et al.
Presentation of articles from issue 30 of the periodical, the first part of the dossier that addresses themes around the 14th edition of the Prague Quadrennial: Space and Scene Design, 2019.
The boulevard and its theatre is a phenomenon of mixed social, political, and artistic character. We can talk about at least three stages of its history. First, we have a prologue reaching back well into the 17th century and possibly even earlier, to fair theatre that has its own history as well. This is where the troupes that started taking up residence on the boulevards in the second half of the 18th century had come from. The boulevards themselves replaced the old city walls that had been torn down. This is where modern popular culture has been born, in a home to a variety of trading, entertainment, and consumption practices that welcomed a large number of private stages that, supported by the processes of democratisation, were cropping up after the Revolution abolished theatre monopolies. What emerged was a multisystem of popular attractions that developed its own culture of participation and, in its original version, referred mostly to plebeian audiences. After the Second World War, with the consecration of avant-garde, when Eurovision has been established and cinema has taken over great commercial and entertainment enterprises, boulevard theatre has become a marginal phenomenon, though it still has a loyal audience.
Dramatic representation. The theater, The performing arts. Show business
Will Daddario, Janhavi Dhamankar, Milton Loayza
et al.
This collectively authored article is a curated response to a set of questions (or fragments of questions) derived from a year-long collaboration focused on the figure of the refugee. Delivered through mixed-media, the responses cover a vast range of territory, from the relation between refugees and global capitalism to the reign of bio- and necro-politics, from analytical philosophies of naming to continental philosophies of territorialized flows, and from conceptual mappings of interstitial space to concrete mappings of “refugee” movements across the globe.
While the article addresses many different questions, the authors are concerned primarily with the following: How can performance philosophy conceptualize “crisis” in its methods and subjects of study? How is crisis organized, delivered and received in thought and performance? The form our response has taken is one of arranged fragments that speak to the “trailing off” of thought that so frequently occurs when faced with “big ideas.” Meanwhile, the content delivers multiple theses on the ways performance philosophy scholarship might grapple with the figure of the refugee, a figure that will surely dominate ethical discussions for years to come.
The performing arts. Show business, Philosophy (General)
Deleuze and Guattari’s rejection of Conceptual art is well known, and sits awkwardly with the current hegemony of ‘post-conceptual’ artistic practices. Equally awkward is Deleuze’s ontological and political dislike of photography, which produces a ‘snapshot’ or representation of becoming, placing cliched images directly into our brains, controlling our actions and reactions by denying us the power to think creatively. In Cinema 2 Deleuze will extend this argument to the new ‘electronic image’, which like Conceptual art turns the plane of composition into a ‘flatbed’ plane or ‘screen’ that simply formats information, and with it our interfaced brains. Today, conceptual practice, photography and digital technologies are all simply taken for granted by contemporary art, which is also happy to use “D&G” as well. But doesn’t Deleuze and Guattari’s thought require a more critical application? Doesn’t it demand a minor war-machine? What would this be in the case of contemporary artistic practice? Amongst various possibilities this paper will explore the sublime ramifications of a Deleuzean image of ‘thought’, and its position as the ‘immanent outside’ of art’s post-conceptual trajectory.
The performing arts. Show business, Philosophy (General)
The inventory of performances based on Witkacy's texts produced on Polish stages between 1990 and 2015 includes 282 entries in chronological order. Included are both stagings of theatrical works: dramas, self-parodies and juvenilia, as well as novels, poetic, theoretical, philosophical and journalistic texts, and also performances based on still found and published correspondence and motifs from Witkacy's life. In the introduction to the inventory, the author analyzes and discusses the most important tendencies in the approach of theater artists to Witkacy's works.
Dramatic representation. The theater, The performing arts. Show business
The following work is entitled: Lighting and spatiality in Adolphe Appia. It aims to make a historical and bibliographical approach about the contributions of his work to the transformation of theatrical scenic scene. For that reason, the analyses here were done from a scenic makeover that has as forming elements the lighting and spatiality scenic. These contributions were inspired by Wagnerian`s drama staging and Rhythmic Gymnastics. However, this research is a brief historical exhibition on the life and theoretical practices of Richard Wagner and JaquesDalcroze, once these two characters are crucial to the theoretical work of Appia. Therefore, after discussing the relevant correlations between the authors approaches I discuss the theoretical suggestions of Adolphe Appia about reshaping theatrical scenic space, exposing the elements of its proposal by analyzing his work: The Work of Living Art; brought to the theater scene in the early twentieth century.Keywords: Appia, Lighting, Spaciality, Rhythmic Gymnastics, Total Art Work.“Lighting and Spaciality in Adolphe Appia”ILUMINAÇÃO E ESPACIALIDADEEM ADOLPHE APPIA
Se reflexiona sobre los puntos de contacto y las divergencias de las ocho experiencias que conformaron el Festival Ciudades paralelas, realizado en Buenos Aires en noviembre y diciembre de 2010, antes en Berlín y más tarde en Zurich y Varsovia. Los parámetros de análisis serán: la relación biografía/ficción, la conducta y relevancia del espectador, el espacio elegido, lo público vs lo privado. La heterogeneidad es esencial en el proyecto y es preservada en esta reflexión.
No abstract available.
This article was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 3 (2013), Parallel Press. It is made available here with the kind permission of Parallel Press.
Hadrah Music in Pondok Pesantren Al Munawwir Krapyak. This study investigates an Islamic musical genreknown as the Hadrah, practiced by female students of the Pondok Pesantren (Islamic boarding school) Al Munawwir.It is based on an ethnomusicological fi eld research conducted between May 2007 and September 2008.Thisstudy fi nds that basic song form is exist in the Hadrah’s songs while their lyrics are mostly taken from classical as wellas popular Islamic poem collections. Although the Hadrah song was performed by melodic ornamental improvisationtechniques that normally applied in reciting the Qur’an, the singer always try to follow the Arabic reading rulescarefully. This fi nding has given us an indication that in order to achieve a good result of musical production, aswell, the Hadrah singers have to master not only the art of Holy Qur’an recitation but also Arabic language fl uency.The female Hadrah is normally performed as a religious entertainment in the school’s traditions, such as anniversaryand graduation celebrations.