Hasil untuk "Dramatic representation. The theater"

Sebastián Huber

This article tackles the creative process of Argentinian theater group Efimerodramas between 2017 and 2019 in Córdoba, Argentina, by studying the tension existing between a method of dramatic creation and the art of performance. In a contemporary scene characterized by crosses and hybrids, the reader is introduced to how a proposal for broadened writing, structured around the idea of a “central guide sheet”, leads Efimerodramas to generate durational performative actions, whose defining characteristic is an inability to be controlled, and, therefore, the subsequent weakening of the tropes of theatrical authority. In this way, the decentering that is produced upon the hierarchy of elements in mise-en-scène impinges on the word (which is transformed into absence), while the characters (which have already been discussed by the original method) incur a similar fate and representation is denied. The work that results from the use of the central guide sheet generates types of a complex, self-ordered nature, which we propose as a way of perceiving and talking about the world. Far from the authoritarianism of a scene that knows itself to be the possessor of a truth awaiting transmission, with processes of group creation in which authorship is shared, these are small gestures of rebellion in the darkness of the current world.

Saida Yelemanova , Lazat Akikhat

The proposed article is dedicated to the creative path of the kuyshi from the Tarbagatai region (PRC) — Uran Akatayuly. It is well known that Kazakh kuy art, depending on its geographical and regional characteristics as well as performance features, is divided into various regional kuy traditions. Among them, the kuy tradition of Eastern Kazakhstan has deep historical roots and covers a vast territory. One of its branches is the kuy school (күй мектебі) of the Kazakhs of the Xinjiang Uygur Autonomous Region of the People's Republic of China. In this region — in the Ili Kazakh Autonomous Prefecture, as well as in Altay, Tarbagatai, Ili, and the prefectures of Sanji, Boro-Tala, the Kumul region, Gansu province, and the cities of Kuytun, Shihezi, and Urumqi — about two million of our compatriots reside. The study of kuy art in these regions can be said to be at an early stage in domestic scholarship. The article addresses the following issues: 1) a description of the kuyshi’s creative work, and 2) a musical analysis of the most notable compositions by the above-mentioned performer. The article is based on materials collected during the author’s ethnographic and folklore expedition conducted in January 2024 in the Ili Kazakh Autonomous Prefecture (city of Kuldzha). The applied methods include the comparative-typological and system-ethnophonic approach (I. Matsiyevsky). The methodology for analyzing dombra kuys developed by Professor S. Öteğalieva is also used. For certain compositions, their origin stories and content are presented, along with a detailed musical analysis.

You-Jin Kim

Augmented Reality (AR) technologies are redefining how we perceive and interact with the world by seamlessly integrating digital elements into our physical surroundings. These technologies offer personalized experiences and transform familiar spaces by layering new narratives onto the real world. Through increased levels of perceived agency and immersive environments, my work aims to merge the human elements of live theater with the dynamic potential of virtual entities and AI agents. This approach captures the subtlety and magic of storytelling, making theater experiences available anytime and anywhere. The system I am building introduces innovative methods for theatrical production in virtual settings, informed by my research and eight published works. These contributions highlight domain-specific insights that have shaped the design of an immersive AR Theater system. My research in building a well-designed AR stage features avatars and interactive elements that allow users to engage with stories at their own pace, granting them full agency over their experience. However, to ensure a smooth and curated experience that aligns with the director or creator's vision, several factors must be considered, especially in open-world settings that depend on natural user movement. This requires the story to be conveyed in a controlled manner, while the interaction remains intuitive and natural for the user.

Syaiful Qadar Basri, Moh. Hariyanto, Welly Suryandoko

This article examines the performance of Zarathustra by students of the UNESA Sendratasik Education Study Program as a form of resistance to the aesthetics of digital imagery through the practice of non-realistic role-playing art. This research aims to examine how actors' bodies are used as a medium of authentic expression and an arena of resistance to identity homogenization in the social media era. With a qualitative-descriptive approach and a case study design, data were obtained through participatory observation, visual documentation, and semi-structured interviews, and analyzed using a hermeneutic phenomenological approach. The results of the study show that the actor's body is positioned not just as a tool of dramatic representation, but as a performative entity that is alive, vulnerable, and existentially honest. The performance conceptually combines Friedrich Nietzsche's Übermensch  theory and Jerzy Grotowski's principles of Poor Theater, which emphasizes the purification of expression and the spirituality of the body. These findings expand the discourse of contemporary performing arts by offering a model of creation that rejects the aesthetics of digital curation and emphasizes the presence of the authentic body. The implications of the research have an impact on the pedagogy of the role arts and performance creation strategies that are more reflective, critical, and contextual to contemporary cultural issues.

A.K. Shapauov

This article examines the emergence and development of dramatic works among the Turkic peoples of the North Caucasus, including the Nogai, Karachay, Balkar, Gagauz, Kumyk, and Crimean Karaites. It analyzes the formation of early small-scale dramatic forms, their recording in manuscripts, the appearance of genres, and the beginnings of stage art within these communities. Particular attention is given to the artistic level and content of early plays, their cultural and spiritual ties with the Kazakh people, and the transmission of national-ethnic ideas through dramaturgy and theater. The study employs contemporary theoretical and methodological approaches in dramaturgy and theater studies to explore genre features, conflicts, characters, and artistic methods. It also addresses stage representation, acting techniques, and the specifics of theatrical interpretation in comparative perspective. The connection between manuscript traditions and modern professional theater is discussed within a new scientific paradigm. The article emphasizes the significance of Turkic dramaturgy and theater in fostering cultural interaction and highlights the lack of international, interstate-level research on this subject.

Yuzhi Ruan

—This paper investigates the dual functionality of gossip in shaping the action of the comic character, Mrs. Cyrus Packard, in the play, He Said, She Said by the Chicago playwright, Alice Gerstenberg. During the American Little Theater movement in the early 20th century, when small experimental centers of drama were established, Gerstenberg challenged gender inequality through the use of social satire in her play. Incorporating textual evidence from the play, this study demonstrates that Mrs. Packard is both empowered and disempowered by her gossiping habit in terms of her self-perception and her social relationships within the play. It argues for the dramatic and satirical representation of female identity through discourse analysis in combining linguistics and literature.

Deniz Avcı Hosanlı

Pulmonary tuberculosis has been a prominent representation of illness in theater and cinema since the beginning of the nineteenth century. Despite the growing understanding of tuberculosis as a contagious disease during the bacteriological era, the theater and cinema primarily emphasized its representational advantages. Rather than focusing on propaganda and documentary films, these mediums found tuberculosis to be a convenient element for “romantic storytelling” due to its suitability for dramatic portrayal. Furthermore, the primary architectural typology for convalescence for tuberculosis patients, known as sanatoria, also served as exceptional film sets due to their anti-urban features that evoke a sense of “voyage” for the audience. This study thus analyzes three films that explore the medico-social reflections of tuberculosis on the mid-twentieth century healthcare architecture which are also noted for their exploration of tuberculosis, focusing on its cinematic benefits such as “easy acting,” “romantic storytelling” and “visual and spatial aesthetics.” These films also make use of the sanatoria facilities’ venues, spaces, and architecture to create visually appealing and spatially engaging aesthetics. These films are Una Breve Vacanza (A Brief Vacation, Vittorio De Sica, 1973), Učitel Tance (The Dance Teacher, Jaromil Jireš, 1995), and Kelebeğin Rüyası (A Butterfly’s Dream, Yılmaz Erdoğan, 2013). These films not only convey information about the disease and the locations where patients recovered in three different global sanatoria cases, but also serve as valuable archival documents by offering insights into the socio-spatiality of the disease in architecture and cinema.

H. Zhang, B. Duan, H. Wang et al.

This paper proposes a social regulation model for dynamic adaptation according to user characteristics in virtual interactive environments, namely the tribal theater model. The model focuses on organizational regulation and builds an interaction scheme with more resilient user performance by improving the subjectivity of the user. This paper discusses the sociological theoretical basis of this model and how it was migrated to an engineering implementation of a virtual interactive environment. The model defines user interactions within a field that are regulated by a matrix through the allocation of resources. To verify the effectiveness of the tribal theater model, we designed an experimental scene using a chatroom as an example. We trained the matrix as an AI model using a temporal transformer and compared it with an interaction field with different levels of control. The experimental results showed that the tribal theater model can improve users' interactive experience, enhance resilient user performance, and effectively complete environmental interaction tasks under rule-based interaction.

Susumu Ariki, Berta Hudak, Linliang Song et al.

We determine the representation type of cyclotomic quiver Hecke algebras of affine type C. In the tame cases, we explicitly describe their basic algebras under the assumption $\text{ch}\ \mathbb{k}\ne2$, relying on the Morita invariance of cellularity.

Alexander B. Ivanov, Sian Nie, Panjun Tan

In this article we study the cohomology of deep level Deligne--Lusztig varieties of Coxeter type, attached to a reductive group over a local non-archimedean field, which splits over an unramified extension. This allows to construct some new irreducible representations of parahoric subgroups of $p$-adic groups. Moreover, in the quasi-split case we prove that these compactly induce to finite direct sums of irreducible supercuspidal representations of the $p$-adic group. This extends previous results of \cite{DI}, \cite{CI_loopGLn}.

Hoel Queffelec

These are lecture notes from a lecture series given at CIRM in the Fall 2023. They give a down-to-earth introduction to Khovanov and Seidel's categorical representation of Artin-Tits groups, emphasizing the fact that it is all explicitly computable. Several prospective applications to (geometric) group theory are mentioned.

M. Lipisivitsky

The article examines the peculiarities of the Ukrainian translation of Bertolt Brecht's play The Threepenny Opera by the renowned Ukrainian translator Borys Ten, influenced by the so-called "Soviet propaganda" – the ideological discourse that existed in the Soviet Union during the Cold War. The author, drawing on their own translation experience – including the translation of dramatic works by the famous founder of epic theater, particularly The Threepenny Opera characterizes the specifics of Borys Ten's translation strategy. The nuances of domestication strategy in Borys Ten's translation are analyzed in terms of transformations in the depicted world, marked by ideological clichés of the time: rejection of bourgeois civilization, representation of German realities of Nazi Germany within the framework of Soviet ideological discourse, negative portrayal of America and American militarism, and the reduction of global-scale events and phenomena to Soviet and Ukrainian contexts. The analysis of the translation interpretation of The Threepenny Opera by Borys Ten and his son Vasylko Khomychevsky unfolds against the backdrop of several significant contexts for Ukrainian translation and literary studies: the artistic discourse of Nazi and post-war Germany, within and beyond which Brecht's creative world is constructed; the Ukrainian translation process of the 1960s; modern Ukrainian translation studies; and the translation practices required for artistic disciplines such as theater. The significance of contemporary translations of Bertolt Brecht's plays is evident in how intensively they are now integrated into the repertoire of theaters in Ukraine—in Lviv, Kyiv, and Sumy. Among the Ukrainian translators of Brecht's works, in addition to Borys Ten and Vasylko Khomychevsky, Yuriy Lysnyak and Serhiy Zhadan are mentioned, marking two radically different periods in the development of the national translation school.

Tiziana Bonsignore

Orazio Costa, theater director and teacher for over thirty years at the National Academy of Dramatic Arts in Rome, is the author of a pedagogical system called mimic method. It consisted of a theory and a practice aimed at revitalizing the concept of mimesis. The practice included exercises on identification with natural phenomena, necessary for staging dramas respectful of human nature and poetic inspiration. While Avant-gardes rejected art as imitation of an object, and the new theatrical forms refused the value of the dramaturgical text within the performance, Costa defended the role of literature and the representation of human events in the theatrical ritual. Despite the accusations of traditionalism, his idea of mimesis is absolutely in line with the twentieth- century reception of the notion. Like authors such as Benjamin, Adorno, Ricoeur, the director has analyzed mimesis as an innate behavior, and he based his aesthetic positions on this conception. For Costa, art is the wonderful metaphor of the encounter between the individual and nature, which pushes towards forms of expressions comprehensible to the community.

Aila Regina da Silva, Arthur Hunold Lara

Neste artigo, investiga-se a oposição dor versus prazer a partir do acervo de obras de performance do Museu de Arte Contemporânea da Universidade de São Paulo (MAC-USP) entre 1972 e 2021. As performances analisadas têm como principal característica a relação extrema com o limite físico, e este estudo relaciona os conceitos de dor e prazer aos avanços e retrocessos sofridos pelas mulheres nos âmbitos social, político e cultural para compreender quem são as mulheres recebidas dentro do espaço museológico. Ainda, é colocada em perspectiva a construção estética da mulher na história da arte, concatenando as diferentes intersecções para compreender a complexa teia sexual na arte de mulheres.

Cole Alvis, Yolanda Bonnell

This article features reflections on the recent creation of White Girls in Moccasins by Yolanda Bonnell, coproduced by manidoons collective and Buddies in Bad Times Theatre in the spring of 2022. In preparation for the coproduction, members of manidoons collective gathered a group of production artists to discuss alternative ways of working within theatre; particularly the often-stressful process of tech week that precedes opening night. Also featured is an original poem called “Pow Wow” by Yolanda Bonnell, woven into proposals for keeping each other safe(r) when working in the performing arts.

Maria Pia Ferraris

.

Revista Cena PPGAC

Editorial

Pablo Salas Tonello

Se analiza cómo están orientados los premios de un festival del Estado -la Fiesta Provincial del Teatro de Tucumán (Argentina) entre 2002 y 2017- en relación a qué grupos etarios y qué corrientes estéticas son reconocidas. El artículo muestra que los premios se dirigen fundamentalmente a elencos con directores jóvenes que cultivan una estética posdramática, mientras excluyen la tradición realista, el humor popular y el teatro de la crueldad. Por último, se evalúan los motivos del Estado para realizar dichas exclusiones, así como los juegos de poder a nivel local con el reconocimiento de figuras jóvenes y el desdén por las figuras jerárquicas del campo teatral provincial. 

Anabela Mendes

"Operação: Orfeo" e "Amduat: Uma Máquina de Oxigénio", as duas produções da companhia dinamarquesa Hotel Pro Forma que escolhemos ver, permitem-nos estabelecer, de diferentes maneiras, secções de correspondência que atribuem à morte real um caminho que sempre é anunciado na vida e ao seu golpe final. Ao mesmo tempo, é-nos oferecido um bilhete só de ida, que não nos impede de percorrer um caminho sem retorno - o da própria morte -, exceto pelo que habita a representação cênica e outras formas de arte. Chamamos a isso de morte cénica, assumindo que a sua orientação se estabelece principalmente entre as artes cénicas. Essa manifestação destaca o lugar do corpo e o corpo em si como o local da nossa interioridade, que começa com aquele que abandona este mundo para sempre e a quem sempre falhamos em reconhecer a expressividade.