Celem artykułu jest analiza wybranych ilustracji Andrzeja Mleczki publikowanych w programach teatralnych Teatru im. Jana Kochanowskiego w Opolu (1975–1979) oraz Teatru im. Stefana Jaracza w Łodzi (1979–1988). W odniesieniu do teorii intertekstualności oraz ustaleń Julii Kristevy, Michała Głowińskiego i Ryszarda Nycza autorka podejmuje próbę interpretacji rysunków satyryka jako dialogów z pierwowzorami literackimi – przy użyciu takich środków jak parodia, karykatura i groteska. Opis praktyk intertekstualnych Mleczki został poprzedzony omówieniem różnic i podobieństw między programami opolskimi i łódzkimi. Prace zostały pogrupowane między innymi według kryteriów intertekstualnych zaproponowanych przez Nycza: atrybucji, presupozycji oraz anomalii.
Dramatic representation. The theater, The performing arts. Show business
Come un filo rosso il tema del gioco attraversa lo spettacolo Destinazione non umana, incontrando diverse teorie e trattazioni filosofiche. La più antica riflessione sul gioco risale ad Eraclito per il quale “la vita è un fanciullo che gioca, che sposta i pezzi sulla scacchiera: reggimento di un fanciullo”. Nietzsche riprende la metafora del παῖς παίζων per descrivere l’operare dell’artista: in un mondo privo di morale l’artista crea e distrugge obbedendo ad una necessità interiore. Nina rappresenta entrambe le figure, il fanciullo di Eraclito e quello di Nietzsche: il dio del cosmo che sposta le tessere sulla scacchiera ed il dio artista che tesse i fili del racconto e crea la favola tragica dello spettacolo. Giocare a immaginare la vita permette di assumere una nuova identità e di creare nuove possibilità. I fragili cavallini giocattolo, nella realtà del mondo torturati da un dio che muove tutto per caso e per fortuna, grazie al sogno del teatro sono divenuti giocatori, attori, artisti.
Let $W$ be a group endowed with a finite set $S$ of generators. A representation $(V,ρ)$ of $W$ is called a reflection representation of $(W,S)$ if $ρ(s)$ is a (generalized) reflection on $V$ for each generator $s \in S$. In this paper, we prove that for any irreducible reflection representation $V$, all the exterior powers $\bigwedge ^d V$, $d = 0, 1, \dots, \dim V$, are irreducible $W$-modules, and they are non-isomorphic to each other. This extends a theorem of R. Steinberg which is stated for Euclidean reflection groups. Moreover, we prove that the exterior powers (except for the 0th and the highest power) of two non-isomorphic reflection representations always give non-isomorphic $W$-modules. This allows us to construct numerous pairwise non-isomorphic irreducible representations for such groups, especially for Coxeter groups.
This article presents a new relation between the basic representation of split real simply-laced affine Kac-Moody algebras and finite dimensional representations of its maximal compact subalgebra $\mathfrak{k}$. We provide infinitely many $\mathfrak{k}$-subrepresentations of the basic representation and we prove that these are all the finite dimensional $\mathfrak{k}$-subrepresentations of the basic representation such that the quotient of the basic representation by the subrepresentation is a finite dimensional representation of a certain parabolic algebra and of the maximal compact subalgebra. By this result we provide an infinite composition series with a cosocle filtration of the basic representation. Finally, we present examples of the results and applications to supergravity.
The article discusses cinematic depopulation, the strategy of appropriation of the colonized by the colonizer widely used in the Soviet and post-Soviet cinema made in Ukraine and Russia and, until now, never analyzed in academic literature. The cinematic depopulation is a mode of filmic representation whereby a given ethnoscape (Ukraine) is cleansed of its national community (Ukrainians) and instead is populated by the colonizer (Russians) as if it were an integral part of his historical territory. As a form of cultural imperialism, this strategy has, until quite recently, been widely used in both Soviet and post-Soviet Russian and Ukrainian filmmaking to promote the idea of Ukraine conceivable outside of and without the Ukrainian language, culture, and other attributes of Ukrainian identity.
The Covid-19 pandemic plunged many theaters around the world into a temporary crisis and favored the rise of digital theater forms. This article investigates how the reception of theater changes in the digital space and, above all, how audiences as a social dimension of theatrical performances must first be constituted separately there. Based on performance analysis of the digital theater productions Homecoming and Sterben from Germany, the significance of the digital infrastructure for the assembly, performance, and action repertoires of these theater audiences is discussed. The author examines how audiences can be formed into different temporal communities in the digital space. These temporal communities are characterized by hybridity and have the potential to enable intense theatrical encounters across spatial boundaries.
Dramatic representation. The theater, The performing arts. Show business
Il saggio propone alcune riflessioni sulla crisi del concetto di azione a partire dal pensiero di Luigi Pirandello, György Lukács e Antonio Gramsci. Tornare a riflettere analiticamente sul modo in cui il tema dell’azione prende corpo nella riflessione di questi tre autori consente di comprendere un punto di svolta decisivo nelle evoluzioni delle forme drammatiche e teatrali novecentesche. In particolare, il saggio si sofferma su tre momenti fondamentali: la nozione pirandelliana di “essere nell’atto”, quella lukácsiana di “azione antidrammatica” e il rapporto tra “azione” e “carattere” nel pensiero di Gramsci. Il saggio si conclude con una considerazione su come questo snodo rappresenti la cesura tra le preistorie drammatiche e quelle genericamente postdrammatiche contemporanee, che attengono a vario titolo al campo della performance, della medialità dell’immagine teatrale e della sua documentalità.
Let $α: {\mathbb R} \to Aut(G)$ define a continuous ${\mathbb R}$-action on the topological group $G$. A unitary representation $π^\flat$ of the extended group $G^\flat := G \rtimes_α{\mathbb R}$ is called a ground state representation if the unitary one-parameter group $π^\flat(e,t) = e^{itH}$ has a non-negative generator $H \geq 0$ and the subspace $\ker H$ of ground states generates the Hilbert space under $G$. In this paper we introduce the class of strict ground state representations, where $π^\flat$ and the representation of the subgroup $G^0 := Fix(α)$ on $\ker H$ have the same commutant. The advantage of this concept is that it permits us to classify strict ground state representations in terms of the corresponding representations of $G^0$. This is particularly effective if the occurring representations of $G^0$ can be characterized intrinsically in terms of concrete positivity conditions. To find such conditions, it is natural to restrict to infinite dimensional Lie groups such as (1) Heisenberg groups (which exhibit examples of non-strict ground state representations); (2) Finite dimensional groups, where highest weight representations provide natural examples; (3) Compact groups, for which our approach provides a new perspective on the classification of unitary representations; (4) Direct limits of compact groups, as a class of examples for which strict ground state representations can be used to classify large classes of unitary representations.
يستهدف هذا البحث التقصي عن النسق المضمر للشخصية الدرامية، بما يشكله من تجليات تعين الكاتب لأجل تقريب كيان أنساني منتقى، حيث يتأسس النص المسرحي ضمن انساق تخاطب الواقع من منطقة متخفية تعبر عن النفس الإنسانية بما فيها من نزعات وانفعالات يتخللها جدل فكري متداخل بين طيات المجتمع والمركبات الثقافية، أصبح النسق المضمر فيها من ابرز المفاهيم المبكرة في ترصد تناقض الواقع الذي يعكس صورته بصورة قد لا تعبر بكل قيمتها الظاهرة نحو فهم حقيقة الوجود الإنساني. اندرج البحث الحالي فيها ضمن موضوعات النقد المسرحي وخصوصياته الجمالية والفنية، أما معماريته المنهجية، توزعت على أربعة فصول تضمن الفصل الأول الإطار المنهجي للبحث الذي يضم، مشكلة البحث والحاجة أليه، أهمية البحث، هدف البحث، وختم الفصل الأول بتحديد المصطلحات الرئيسة للبحث. واشتمل الفصل الثاني، الإطار النظري، والدراسات السابقة على مبحثين، المبحث الأول جاء تحت عنوان: النسق المضمر للشخصية المسرحية، والمبحث الثاني بعنوان الأبعاد الدرامية للشخصية، تلا ذلك ما افرزه الإطار النظري من مؤشرات واستعراض لأبرز الدراسات السابقة. وجاء الفصل الثالث (إجراءات البحث) ليتضمن، منهج البحث، أداة البحث، مجتمع البحث، عينة البحث، طريقة اختيار العينة، تحليل العينة. وفي الفصل الرابع حدد الباحث النتائج، ومن ثم استنتاجات البحث وتوصياته ومقترحاته، ثم تلا ذلك قائمة بمصادر البحث.
Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orientation, a benevolent understanding of the child’s inner world and its highly artistic reflection in word and music – is a unique cultural phenomenon. During her lifetime, only three of her twelve plays for children were published. However, every play was put on the school stage. The author herself usually directed performances. The writer’s awareness of musical folklore formed the foundation for the creation of children plays. The author interweaves melodies in the texts of plays (“Melodies for singing”, as Pchilka called it) as an organic component of the child’s very existence, they sound in a dance, game or some imaginary action of children, thereby “feeding” and directing the Grand vector of the stage action. There is the information that Olga Petrovna became the author of some songs. The writer outlined the creative directions of her future children theater: 1) dramatizations of a “suitable” literary work; 2) a children musical play; 3) an original dramatic work with a wide use of poems, fables, folk songs, ritual dances with singing, children games with toys, and the like. “Honor your native...”, “...it is good to know your own folk language, song...” – expressions from Olena Pchilka’s article “Work of upbringing” formulate the dominant of her creativity, pedagogy, social and scientific activities and, to a high degree, her children drama. Olena Pchilka considered the life and work of Taras Shevchenko one of the most influential sources of education of conscious Ukrainians. Therefore, in her children theater, the theme of his life and creativity is a leitmotif (the play “Spring morning of Taras” etc.). Olena Pchilka was convinced that the Ukrainian language, song and native nature are a necessary and irreplaceable environment for a child. Folk art and folk mythology reign in a number of her children plays. In one of them (“Dreamdreamy, or a Fairy tale of a Green Grove” – “Son-Mriya, Kazka Zelenogo Gayu”) we meet a Forest Mouse, a Cuckoo-a girl, a Nightingale-a boy, a Crow-a girl, a Sparrow-a boy, children-Quail, Forest Mermaid, Goblin (Lisovik), Field Mermaid. For this play the author introduced the row of various songs, from the song of field workers to lullaby. The play “Bezyazykiy” (“Without tongue”) touches on the theme of refugees, the psychology of the child, his behavior in the school team, and at the same time the ethical problems of teaching. The play also includes the songs. The operetta “Two Sorceresses” (1919) is the pinnacle of Olena Pchilka’s children drama. The writer repelled from folk melodies and poems; games, ceremonies, festivals; from children’s naturalness, clarity, rainbow imagination, playfulness, organically weaving into the fabric of their works their own verses and melodies to them. The play contains a variety of numbers: solo (“Singing of the Earth”, “Singing of Santa Claus” and others), choral (“Choir of boys and girls”, “Spring-Beauty is coming”, etc.), conversational and vocal scenes (“I’m Winter, Winter”, “Girl, Fish”, “We are the clear rays of the sun”, “Lala, bobo”, etc.). Another title of the work is “Winter and Spring”, so the names of the main characters who oppose each other are placed in the title. The presence of conversational and vocal scenes, folk games and dances, comedy episodes allows us to consider the play as the predecessor of the modern genre of “musical” for children. The festive theme continues in the one-act play “A Christmas tale”. The play traces the process of becoming a person as a person. A large amount of ethnographic musical material has been introduced into the artistic structure of the work. The writer meant the “Christmas fable” as a dramatic action. To “AChristmas Fable” the author has included Ukrainian folk songs: the Christmas Carol “New joy”, a Christmas caroling girls “Oh red, plentiful viburnum”, the dance song “Dance of the groom” (“Kozachok”), the refrain “At the house of Pan Semen” etc. In 1920, in Mogilev-Podolsk, Olga Petrovna Kosach, a teacher of Ukrainian language and literature, organized a children’s drama Studio at the Ivan Franko school, where almost all the plays of her “Ukrainian children theater” were staged: “Peace-Peace!” (Mir-Mirom), “Kiselik” and “Treasure” (“Skarb”). The play “MirMirom!” is based on the games of preschool children: the song “Go, go, rain”, the game for friendship “Peace-Peace!”, the song “My mother gave me a cow” and other. Among Olena Pchilka’s children plays, there are “tales” of Patriotic content. “Treasure” performance in one action, which also include the songs, is teaching for responsibility and patriotism. In her play “Out of captivity”, where the Ukrainian childhood during the October revolution shows, the children sing the choral “liberated singing” – the singing of the Ukrainian anthem. Conclusions. It is concluded that Olena Pchilka contributed to the creation of the foundations for the formation of children musical theater in Ukraine with her creative heritage and practical activities, developing a new literary genre of musical children play, which we can call the genre of musical in modern times. After all, Olena Pchilka’s plays, written in a form accessible to children, are examples of Patriotic and cultural education, full of music, singing, folk and household melodies, folk songs, carols, poems, games, dances, rituals, celebrations. This problem is poorly understood and requires further research.
O autor aborda, no presente texto, processos de criação artística realizados com espectadores tendo como base uma proposição teatral. Logo após o espetáculo, o público é convidado a se debruçar sobre a cena assistida para, a partir da concepção desenvolvida pelos artistas no processo de criação, elaborar uma leitura poética, efetivada como uma outra cena, surgida das entranhas dos processos de recepção, tendo em vista o impacto ocasionado pela obra nos espectadores.
Pablo Cisternas, Milena Grass Kleiner, Andrés Kalawski
et al.
In Chile, street protests and COVID-related public health emergencies have ravaged live theatre over the past year. While the political protests starting in October 2019 simply “limited” live theatre programming, the pandemic forced actual cancellation of whole theater seasons. As a result, theater companies and individual artists were forced to consider technology—Zoom readings, filmed Master Classes and video recordings of earlier productions. Beyond aesthetics, for many theatre people these projects became another chance to continue working. In this situation, what role does theatre criticism play? In times of catastrophe, can any critical judgements be ethical?
The paper is devoted to exploring the process of reinventing institutional conventions of theatrical art. After describing a series of contemporary performance phenomena, the author uses the “institution” concept from the theory of social construction of reality and methods of deconstruction to identify the distinguishing features of the new theater and/or “postdramatic theater” / or “post-performance turn” theater. The change, as demonstrated in the paper, is primarily connected with the theater’s abandoning its basic mimetic aim, the aim of simulating / depicting reality, i.e. referencing something other than itself, while the performance accordingly ceases to be a text, a carrier of a certain narration, plot and, eventually, an intrinsic sense, a message to the viewer. This abandonment is made necessary by the universal emergence of the media prevalence era that turns everything into a “theater”, so the theater, in its contemporary manifestations, is striving more and more to become “non-theater”. Its trives to be based primarily on what only the theater has: a vital energy of interaction; first of all, interaction between the actor and the viewer, or action participants (who turn out to be both actors and viewers) organized in a certain way, or the energy of the performance space itself, or the energy of its participants’ motion. In conclusion, the author argues that contemporary theater – in fact, just like any institution reinventing its basic concepts – presents a certain anthropological challenge: firstly, it appeals to a different paradigm of perception; secondly, it requires a higher level of agency of the individual perceiving the art.
In 1950 Claude Lévi-Strauss wrote the preface to the French edition of Katherine Dunham’s book Vodu. The dances of Haiti. Anthropologist, dancer, choreographer, Dunham conducted her field research in the same years in which Lévi-Strauss began his ethnographic expeditions among the Caduveo, Bororo and Nambikwara. The two anthropologists’ approach to fieldwork uses methodologies which are polar opposites: Dunham conducted the research alone, for long periods and following an immersive strategy, while Lévi-Strauss carried out short stays, characterized by team work. Despite these profound differences, Lévi-Strauss shows that he appreciates his colleague’s research both for her original - and for the time extraordinarily innovative - approach, and for the conclusions she draws regarding the form and function of the Haitian dances.
Anthropology, Dramatic representation. The theater
Rocìo Cabrera Lozoya, Arnaud Baumann, Antonino Sabetta
et al.
Deep learning methods, which have found successful applications in fields like image classification and natural language processing, have recently been applied to source code analysis too, due to the enormous amount of freely available source code (e.g., from open-source software repositories). In this work, we elaborate upon a state-of-the-art approach to the representation of source code that uses information about its syntactic structure, and we adapt it to represent source changes (i.e., commits). We use this representation to classify security-relevant commits. Because our method uses transfer learning (that is, we train a network on a "pretext task" for which abundant labeled data is available, and then we use such network for the target task of commit classification, for which fewer labeled instances are available), we studied the impact of pre-training the network using two different pretext tasks versus a randomly initialized model. Our results indicate that representations that leverage the structural information obtained through code syntax outperform token-based representations. Furthermore, the performance metrics obtained when pre-training on a loosely related pretext task with a very large dataset ($>10^6$ samples) were surpassed when pretraining on a smaller dataset ($>10^4$ samples) but for a pretext task that is more closely related to the target task.
We study the behavior of representation varieties of quivers with relations under the operation of node splitting. We show how splitting a node gives a correspondence between certain closed subvarieties of representation varieties for different algebras, which preserves properties like normality or having rational singularities. Furthermore, we describe how the defining equations of such closed subvarieties change under the correspondence. By working in the "relative setting" (splitting one node at a time), we demonstrate that there are many non-hereditary algebras whose irreducible components of representation varieties are all normal with rational singularities. We also obtain explicit generators of the prime defining ideals of these irreducible components. This class contains all radical square zero algebras, but also many others, as illustrated by examples throughout the paper. We also show the above is true when replacing irreducible components by orbit closures, for a more restrictive class of algebras. Lastly, we provide applications to decompositions of moduli spaces of semistable representations of certain algebras.