Hasil untuk "The performing arts. Show business"

Rodrigo Benza Guerra

La contradanza es un género de danza europeo que fue traído a nuestro territorio por los españoles durante la colonia. En distintos países de Latinoamérica, esta danza fue apropiada por las poblaciones locales generando nuevos significados y formas de expresión. Este texto busca presentar la Contradanza de Paucartambo (Cusco - Perú) - que es una de las danzas, de origen campesino, presentes en la Fiesta de la Virgen del Carmen - principalmente a través de la descripción de sus personajes y coreografía que alterna ritmos europeos y andinos y surge, según sus propios practicantes, como una burla al poder español de la época colonial. Esta burla se ve representada, principalmente, en el juego entre el Machu (español) y el Maqt’a (indígena), en el que se muestra la inversión de roles al mejor estilo de rey - bufón o la tradición de los llamados trickster, presentes tanto en la mitología de distintas culturas como en la tradición teatral. Finalmente, a partir del hecho de que actualmente los integrantes de la comparsa son percibidos como privilegiados dentro de la sociedad, se presenta una reflexión sobre la complejidad de esta danza como reflejo del proceso de mestizaje en el Perú.

Cleiton França de Almeida

Este artigo tem como objetivo refletir sobre o processo de criação artística como um modo de elaboração de performatividades de gênero dissidentes. Para isso, é elaborada uma cartografia do processo de produção de Talvez?, uma série artística autoral formada por trabalhos em diferentes linguagens. Primeiramente, discute-se a potência destrutiva e criativa presente no samba e a sua ativação em âmbitos sociais e culturais. Em seguida, é analisada a construção do enredo Testemunho de um eterno amante, o primeiro ato da série em questão, e o que ele reverbera como criação de performatividade de gênero. Por meio de uma aproximação com a linguagem do cabaré advinda do contato com o álbum audiovisual Orgia, de Johnny Hooker, discute-se as afinidades entre os modos de burla do corpo presentes nas escolas de samba e nos cabarés artísticos, especialmente no Rio de Janeiro. Finalmente, aponta-se a importância de manter ativa a potência transgressora engendrada nesses territórios e de praticá-la na construção de modos plurais de ser e de estar no mundo.

Kieran Sheehan

This video article is composed of footage drawn out of Sheehan’s Educational Doctoral Thesis which included four Video-Wonderings that were presented as an Analysis chapter interwoven with written text. The thesis examined the use of Intuitive Movement as a tool for eliciting information about Professional Identities with those working in the helping professions. This article re-reads the Video-Wonderings to think further into the method of using video to intra-act with theory, research activity and researcher self as a mode of ‘becoming with’ information. This piece falls within an Educational Research paradigm building on/with the work of Posthuman arts based feminist new materialists that have used ideas around embodiment as transdisciplinary, diffractive, pedagogic, social research methods.

Thaís Alessandra Martins da Cruz, Alex Beigui

Este artigo visa contribuir para a compreensão da palavra como potencialidade performativa. A partir do estudo do fenômeno da poesia marginal dos saraus, o hip-hop, o slam até a palavra (per)formada, objetiva-se demonstrar como o poder da palavra e sua potência cênica, relação com o conceito de intuição e de ativismo na arte, são capazes de produzir sentido poético e ético na cena contemporânea. O trabalho é resultado de uma pesquisa teórica e prática realizada no campo dos processos de criação e pretende investigar a intuição como dispositivo de criação para a arte da performance. Foi utilizada a metodologia etnográfica de Sylvie Fortin e Pierre Gosselin (2014) para organização do material criativo. Desse modo, foi discutida a partir do paradigma decolonial, o racismo estrutural, a identidade negra e o corpo negro em cena. Parte dos resultados práticos foi apresentada na Bienal Black Brazil Art, produzida em parceria com a Njabala Foundation de Uganda. O trabalho foi premiado em 2019 e a autora convidada a integrar residência artística internacional.   

Denise Ferreira da Silva, Valentina Desideri, Georg Döcker et al.

Since 2015/2016, Denise Ferreira da Silva and Valentina Desideri have been engaging in a joint practice of so-called Poethical Readings, a device that engages the poetic and the ethical at the limits of the epistemology and ontology of the modern Subject. In this interview, Ferreira da Silva and Desideri provide insight into the singular and theatrical dynamics of Poetical Readings, as well as The Sensing Salon, a format for the collective exercise of Poethical Readings. They consider their practice with respect to the issue of power and the image of existence that undergirds modern politics, suggesting that Poethical Readings partake in the construction of a different image of existence no longer founded on the violent operations of the Subject. Having taken place in the autumn of 2020, that is, in the first year of the COVID-19 pandemic, the interview is framed by and addresses these issues through the discussion of the social ramifications of the corona crisis.

Débora Kantor

La entrevista recorre distintos temas transversales a la obra de la dramaturga, escritora y performer Lola Arias, desde Mi vida después (2009) hasta Futureland (2019), como el uso de los archivos públicos y personales, la tensión entre arte y política, la relación entre experiencia e historia, y su perspectiva acerca del espacio teatral, el trabajo con lo biográfico y la traducción.

Mariano Zucchi

Las didascalias constituyen, sin dudas, el tipo de enunciado más estudiado por los estudios teatrológicos. Sin embargo, no existe en la actualidad un consenso respecto a las características lingüísticas distintivas de estos discursos ni a su función en el proceso de construcción de sentido. Luego de revisar críticamente las diferentes definiciones que la tradición provee sobre las didascalias, este artículo se propone identificar la naturaleza específica de estas expresiones y sus atributos particulares. Para ello, y frente al reconocimiento de que el discurso didascálico no constituye un conjunto homogéneo de enunciados, se plantea, en primer lugar, la necesidad de establecer una taxonomía que atienda a la diversidad de empleos y de significados que aportan. En ese sentido, se propone aquí distinguir entre las didascalias paratextuales, las estructurales, las generales, las atributivas y las particulares. Mediante la utilización de ejemplos de obras representativas de distintas estéticas teatrales, se explican las propiedades morfo-sintácticas de cada uno de estos subtipos y sus diversas funciones. Finalmente, y en cuanto a la perspectiva de trabajo, se adopta aquí el Enfoque dialógico de la argumentación y la polifonía enunciativa (Caldiz, 2019; García Negroni, 2016a; 2016b; 2018a; 2018b; 2019; García Negroni y Libenson, 2018; 2019).

Małgorzata Budzowska

This article presents a comparative analysis of three contemporary stagings of the myth of Phaedra: by Maja Kleczewska (Teatr Narodowy, Warsaw 2006), Michał Zadara (Narodowy Teatr Stary, Cracow 2006), and Grzegorz Wiśniewski (Teatr Wybrzeże, Gdańsk 2019). The theoretical framework refers to the abject quality of the character of Phaedra and its representation in language. The author analyses the directors’ interventions in literary texts reworking the myth of Phaedra: strategies ranging from multiplication, through modification, to annihilation of the dramatic text. In Kleczewska’s intertextual staging, which juxtaposes different plays addressing the theme, the text and the language become less important than the actors’ physicality. Zadara’s ironic theatre deconstructs the discursive formation of Racine’s classical tragedy, while retaining it as the main subject of the performance. Wiśniewski returns to Rancine’s language, but tries to transcend it, counterbalancing it with quiet, restrained acting, enhanced by strong musical phrases. The three stagings resonate with the concept of the theatre as a laboratory of crisis, here: of the crisis of the abject.

Erin Brannigan

This paper approaches Badiou’s essay, ‘Dance as a Metaphor for Thought,’ on its own terms, considering its stated approach and central claims. This is in order to avoid the indignant tone of some responses from the field that desire other approaches to philosophy’s engagement with dance. Badiou’s project in ‘Dance as a Metaphor for Thought’ is antithetical to my own current, advocatory research, thus offering an adversary of sorts. If it is the case that dance is ‘instrumental’ for the art-philosophy schema that Badiou is formulating, that is, being ‘incorporated’ into the strategies of a philosophy of art, what’s in it for dance? Can Badiou’s project be repurposed for our own disciplinary concerns? For instance, if his conception of dance (drawn from past philosophical accounts and for his own purposes) is seen as lacking from a disciplinary perspective, then what is the idea of dance that positions his as ‘wrong’?

Harmony Bench, Simon Ellis

This volume did not start out as a themed issue, but similarities will emerge among any collection of essays when ideas and authors find themselves in proximity to one another. In our open call, we asked for screendance artists and scholars working at the intersection of film, dance, visual arts, and media arts to "expand and critique contemporary notions of screen-based images and changing choreographic practices, and [to] engage with theories and philosophies from interdisciplinary fields."[^1] An unanticipated commonality emerged among the contributions responding to this open invitation: solo performance.    [^1]: "International Journal of Screendance Volume 8: Call for Papers." *Centre for Screendance*. May 17, 2016. <https://screendance.wordpress.com/2016/05/17/international-journal-of-screendance-volume-8-call-for-papers/>

Harmony Bench

This is a review of the Dance on Camera Festival that took place in January 2017 in New York City at Lincoln Center.

Edward Krasiński

This article is a reminiscence of Józef Marcin Szczublewski, an actor, journalist, editor, museum professional, and lecturer, but most of all, he was a theatre historian and biographer. Theatre scholars often call him “Szczubel”, and he used this nickname himself in his numerous, and often funny, notes. In 1952 he started collaborating with the Theatre Section of the State Institute of Art. He studied archival materials and conducted parallel press archives research with zeal. He published his findings in Pamiętnik Teatralny, and was the quarterly’s Secretary of the Editorial Board in 1962–1964. He soon became, along with Jerzy Got, a renowned biographer of Helena Modrzejewska. Warsaw theatres of the 19th and 20th centuries were a second area of his studies. The Institute of Art awarded Szczublewski his doctoral degree in 1971 based on his dissertation Żywot Osterwy (The Life of Osterwa, published in 1971), completed under the supervision of Prof. Zbigniew Raszewski. The biography had the form of a chronicle that put wide-ranging archival documentation into order. This was the form (and title) that became the author’s favourite. He soon came back to his favourite object of study and heroine to publish Żywot Modrzejewskiej (The Life of Modrzejewska, 1975), and after almost two decades followed it with Żywot Sienkiewicza (The Life of Sienkiewicz, 1989).

John C. Dawsey

Creio que as artes cênicas que se manifestam no extraordinário cotidiano de boias-frias em carrocerias de caminhões iluminam processos de diluição e, ao mesmo tempo, de expansão da cena. Nesses palcos se manifesta um teatro da crueldade. Cena expandida. Vida e teatro se tocam. Boiasfrias em cena. A seguir, se apresentam três personagens. Cada uma delas se manifesta em canaviais e carrocerias de caminhões, nos palcos do teatro cotidiano dos boias-frias: 1) sombras ou assombrações; 2) passageiros das barcas dos loucos no mar verde dos canaviais; e 3) bois agonizantes e brincalhões. Ao fim do percurso emergem quatro questões que, no registro dos boias-frias, se articulam à noção de cena expandida: 1) o teatro de um extraordinário ou espantoso cotidiano; 2) a experiência lúdica e agonizante de quem vira mercadoria; 3) a expressão do corpo que se transforma em bagaço; e 4) a imagem do passado que nos toca com o fulgor de um raio.

Revista Cena PPGAC

expediente

Ann Dils

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 2 (2012), Parallel Press. It is made available here with the kind permission of Parallel Press.

Nora Glickman

Ezequiel Lozano

Entrevista a Diego Starosta

Pamela Brownell

Nina Simoes

A "docufragmentary" exploring and the Theatre of the Oppressed’s practices at the point of interaction with peasants of Brazil’s Landless Movement, exploring how these drama techniques really work and in what circumstances and conditions they are applied.

Norma Adriana Scheinin

¿Cómo se nos plantean actualmente los posibles juegos de la ficción en la escena teatral? ¿Volvemos a considerar que los limites entre ficción y realidad cotidiana nos permiten pensar y comprender los cambios de las concepciones estéticas? ¿Qué pasa cuando lo cotidiano invade o subsume el campo de la ficción? ¿Cómo formular los límites de una transformación y hasta de una expansión ficcional? ¿Qué hay del otro lado de ese límite flexible: sólo la realidad empírica, o también construcciones como las del simulacro? Tratemos de volver a definir estas cuestiones con la apertura que ofrece analizar desde una tipología productiva.