Hasil untuk "The performing arts. Show business"

Dulcinea Segura Rattagan

A partir de la compilación de textos realizada por Marie Bardet, Marina Tampini y Josefina Zuain, tres movientes de la danza y el pensamiento, se organiza un libro que invita a leer, a pensar y a mover. “Porque no se trata de identificar, crear o comprobar escuelas de transmisión organizadas o codificadas, sino de asir y trazar, escuchar y poner la voz a los relatos y a los pensamientos que inervan las prácticas”, como señalan en el prólogo a tres voces.

Revista Cena PPGAC

Dagmar Teixeira Bedê

Através de uma ótica feminista, o texto analisa as linguagens cômicas presentes nos espetáculos da Plataforma de criação Divinas Tetas, de Belo Horizonte, sendo elas: palhaçaria, arte drag e cabaré. O objetivo deste artigo é dar luz ao lugar da mulher como sujeita que ri e que faz rir, além da conceitualização do termo “palhaça de cabaré” e a relação da palhaçaria e arte drag no contexto da linguagem de cabaré. Para esta pesquisa foi realizado um extenso levantamento de referências bibliográficas sobre os temas abordados, buscando também relacionar os conceitos com a prática experienciada por artistas da Divinas Tetas.

John Bengtsson Mayberry

Review of: Skibsrud, Johanna (2024). Fool. London and New York: Routledge. The latest in the series, New Literary Theory. Editors Andy Mousley and Jeff Wallace.

Dorota Zaprzalska

This article analyzes the performativity of two composite icons in liturgical and museum contexts. Their unusual form, consisting of two panels combined as one work of art, is interpreted as an assemblage, following Victor I. Stoichita use of the term. Moreover, the multivalency of the term assemblage is used to present the icons as part of dynamic social assemblages by applying the theoretical perspective of assemblage theory. It becomes crucial in seeing them as active agents in the assemblages of humans and non-humans as well as understanding the potential of this unusual form and the way they function in various relations with other works of art, institutions, and people. Applying the categories of assemblage and performative icon to the analysis of two examples of composite icons, the article characterizes the influence of assemblage form on the veneration and presentation of icons. Focusing on the issue of performativity, agency, and affordance made it possible to highlight the dynamics of the assemblage form and the icon itself. Depending on the context—the performances in which it participates and the assemblages of which it becomes a part—the icon can be perceived as a work of art and/or a devotional image that transcends the realm of artistic values. The article also reflects on the assemblage nature of the icon research and study process.

Dorota Jarząbek-Wasyl

The theater physician was a crucial figure in the transformation of the theater as an institution between the late eighteenth and early twentieth centuries: he looked after the artists, guaranteed the internal order of the institution, and contributed to the shaping of the social perception and evaluation of the acting profession. He helped organize the theater as a controlled and norm-governed space, in which neither audience reactions nor the artist’s ways of being could disturb the general order. The article is a historical study of the development of the theater physician’s professional position and duties in the nineteenth century, drawing on diaries, press articles, and iconographic material (including caricatures). Starting from the analysis of source texts, such as the writings of theater physicians (Kazimierz Łukaszewicz, Gustave-Joseph Witkowski), the author adopts two parallel strategies: 1) she reconstructs the biographical and factographic background of the presence of an official doctor in Polish theatre, 2) she problematizes the relationships between the theater as an institution and forms of organized medical care, between actors’ illnesses and the images of theater as a hazardous and pathological place, between the pathography of actors’ illnesses and the idea of a public order and system of values, and between the internal and external perception of the acting profession.

Klaus Georg Koch

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Sônia Maria Caldeira Paiva, Caio Sato Schwantes, Luana Santana Castro et al.

This essay explores, through creative and collaborative writing in a Tramóia format, the Narrative Drawings project conducted by the Transdisciplinary Scenography Laboratory (LTC) – Continuous Action Extension Program of the University of Brasilia (UnB), created and coordinated by Profa. Dr. Sonia Paiva – for Prague Quadrennial (PQ) 2019. The workshop, featured in PQStudio's programming, is part of the laboratory repertoire which has been operating since 2010 to achieve one of its main goals: delivering multicultural and transdisciplinary experiences to the public as a result of constant deeds that interconnect research and actions of the laboratory. Throughout the dialogues of the Tramóia, themes related to the project are addressed: LTC creation and production dynamics, relation and perception of the spectator, group concepts and metaphors, among others.   Keywords   Weft. Design. Collaboration. Transdisciplinarity. Ethnomathematics.

Jana Pilátová, Pavel Štourač, Biljana Golubovič et al.

Lech Raczak (1946–2020) is remembered by Jana Pilátová, professor at the Theatre Faculty of the Academy of Performing Arts in Prague (DAMU), and his students. A well-known theatre director, theatre scholar, playwright, and lecturer, for them Raczak was primarily a teacher and a friend. Pilátová remembers the Prague visit of Teatr Ósmego Dnia (The Eighth Day Theatre), under his leadership, not only as an important artistic event, but also as a lesson in organisation and economics. Having collaborated with Raczak for decades, she found meetings with him inspirational, and she also saw how contacts with him opened others to new creative and personal opportunities. Today, the authors of the reminiscences are active in his areas of interest, continuing his work. Pavel Štourač has founded a theatre group: the Continuo Theatre. Biljana Golubovič has researched Balkan rituals and offers art therapy in crise. Martin Frys has overcome his physical limitations and works as a therapist, carrying out his own program for approaching oneself and the theatre. All texts show Lech Raczak as a creative artist and expert educator, but above all as an empathetic person.

Rofiandri Suardi, Sunarto Sunarto

Penelitian ini bertujuan untuk mengidentifikasi bentuk pertunjukan sastra lisan Nandung dan nilai-nilai yang terkandung di dalamnya. Nandung adalah sastra lisan yang digunakan untuk menidurkan anak, disampaikan dengan syair yang berbentuk pantun, dan dilantunkan dengan berirama atau bersenandung. Saat ini, Nandung telah berkembang menjadi sebuah seni pertunjukan. Data diperoleh dari pengamatan terhadap kesenian sastra lisan Nandung di Kota Rengat, Indragiri Hulu, Riau. Berdasarkan penelitian disimpulkan bahwa terdapat 7 sub bentuk pertunjukan dalam sastra lisan Nandung, yaitu penutur, musik pengiring, panggung, kostum, penonton, syair, serta bahasa yang digunakan. Sedangkan nilai yang terdapat dalam syairnya yaitu nilai religius, moral, dan pendidikan

Sylvie Fortin

O artigo busca refletir sobre as relações entre práticas corporais e promoção da saúde, analisando exemplos oriundos do campo da dança. Em um contexto social em que o corpo recebe cada vez mais atenção, se faz importante que os profissionais da arte, fisioterapia e educação física reflitam de forma crítica sobre os valores entranhados tanto nas correntes dominantes como em discursos alternativos.

sri rustiyan

Penelitian ini bertujuan untuk memahami peristiwa musik dalam masyarakat Minangkabau dari perspektif budaya. Dalam kajian budaya, semiotika dan estetika tidak dapat dipisahkan. Kekuatan menafsir, memahami, menginterpretasi, dan menganalisis merupakan hal utama dalam penelitian budaya. Berdasarkan penelitian dapat disimpulkan bahwa kesenian tradisi di Minangkabau disebut pamenan anak nagari karena merupakan kesenian tradisi yang tumbuh dan berkembang di tengah kehidupan rakyat dan dimainkan dari rakyat, oleh rakyat, dan untuk rakyat, sedangkan karawitan Minang disebut sebagai aluang bunian karena berbentuk musik (bunyi-bunyian). Peran dan fungsi aluang bunian sebagai hiburan masyarakat Minang dikenal dengan istilah bagurau yaitu acara kesenian yang diadakan semalam suntuk, dimulai dari setelah sholat isya’ hingga menjelang subuh. Bagurau adalah bentuk seni pertunjukan tradisi lisan yang merupakan salah satu ciri khas budaya Minangkabau. Dengan perkembangan zaman, ilmu pengetahuan, teknologi, dan konsep estetik aluang bunian (karawitan Minang) tidak hanya sekedar hiburan pamenan anak nagari tetapi mengalami perkembangan dengan mempertimbangkan kaidah-kaidah sebagai presentasi estetik.   The Minangkabau Karawitan of Aluang Bunian in Pamenan Anak Nagari from the Performance of the Aesthetic Presentation Bagurau. Traditional arts in Minangkabau in general are called pamenan anak nagari. The phrase implies the fact that it originated in Minangkabau or Minang folk culture, grew as one of traditional aspects of Minangkabau folk group, and performed by and for the group. Karawitan or traditional musical arts in Minangkabau is called aluang bunian that means musical sounds. An aluang bunian which is presented as an entertainment for Minang people is called bagurau. Bagurau is performed as a cultural event that goes on from dusk (after the evening prayer) till dawn (before the fajr prayer). It is a kind of performing arts—among many other kinds of arts in Minang oral tradition—that exemplifies Minangkabau tradition. Throughout periods of development in science and technology, aluang bunian (Minang karawitan) has underwent an enhancement in its aesthetic values in that it is no longer considered a mere entertainment of pamenan anak nagari but a richer aesthetic presentation with its guiding principles. This article presents cultural, semiotic, and aesthetic studies in which the three contributory aspects (culture, semiotics, and aesthetics) are inseparable since cultural studies involve comprehensions of significations and aesthetic values derived from meaning and sensibility. The abilities in interpreting, inferring, understanding, and analyzing play important role in qualitative research where descriptive analysis method is employed.

Rubén Ortiz

Este texto da cuenta del proyecto Estado Fallido que el colectivo escénico  mexicano Teatro Ojo –dirigido por Héctor Bourges- llevó a cabo en diferentes lugares de la Ciudad de México, como parte de una crítica a la promesa de la modernidad gestada en por el estado mexicano posrevolucionario. Más especialmente, se hace un recuento de Caminando con tortugas, una lectura del colectivo al “El libro de los pasajes” de Walter Benjamin, que desembocó en una serie de derivas por el Centro Histórico de la ciudad de México.  

Christian Lange

Este artículo surge a partir de la pregunta sobre lo específico filosófico y su posible relación con ese otro campo (lo no-filosófico), en particular, la escritura dramatúrgica. Quien aquí habla es un dramaturgo que reflexiona sobre su praxis buscando elementos en otras discursividades, como la filosofía, realizando viajes de ida y vuelta y delineando –acaso-, en ese trayecto, un nuevo territorio. El objetivo consiste en abordar la práctica de la escritura teatral y el modo como desde esa misma práctica, o desde fuera de esa práctica pero tomándola como objeto, se han abordado ciertos conceptos/problema, específicamente los de “mímesis” y “acción”.  

Paula Frejdkes, María Sol Verniers

Marisa Zanotti

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 1 (2010), Parallel Press. It is made available here with the kind permission of Parallel Press.

Perla Zayas de Lima

Lita Llagostera

Yanina Andrea Leonardi

Uno de los factores más relevantes del primer gobierno peronista (1946-1955) fue su significativa presencia en la vida social y política de la clase trabajadora argentina, estableciéndose así hondas transformaciones en la estructura social. Pero el imaginario peronista no sólo dejó su impronta en el proyecto político de nación, sino también en el campo cultural: la irrupción de la masas en la esfera pública instauraron un antes y un después en la vida cultural argentina, llevándose a cabo un proceso de modernización, que significó el establecimiento de nuevas pautas de consumo cultural.

Fernando Silberstein

Se estudia una estrategia de estilo en la obra de Federico García Lorca que consiste en una periodización rítmica en la construcción de valores narrativos en sus obras teatrales que es también visible en parte de su obra poética y en sus dibujos.