Goal setting has been studied extensively across domains such as sports, business, and education, but rarely in the performing arts. In this perspective paper, we explore how nature and its synergistic processes can serve as a metaphorical heuristic to inspire goal setting in acting, dance, and music. We do so by drawing on studies of ecosystems and recent literature reviews, discussing different goal-setting approaches, and providing insights from a qualitative case study with performing artists. Goals may enhance self-efficacy and performance by focusing attention, supporting self-regulated learning, or fostering flow. Effective goal setting depends on the task, situational constraints, and the type of focus required, and should ensure self-concordance, that is, alignment with one’s values, and adaptability. Our thematic analysis of ten performing artists’ goal setting during a coaching intervention illuminated the value of written goals and ways of setting long-term goals and showed that participants were aiming to be natural, spontaneous, and present. Further research is essential to deepen our understanding of goal setting across artistic domains and its potential to foster thriving creative practices. While using nature as a metaphor for long-term goals may be anthropomorphic, the principles of adaptability and synergy in natural ecosystems offer valuable insights for understanding how to thrive and cultivate a sustainable, fulfilling artistic life.
La presente investigación examina los recursos de hipertextualidad empleados por Jesús González Dávila en su texto dramático Quién baila mambo, para la creación de un contradispositivo que le permite abordar la presencia de los cuerpos desaparecidos y las violencias ejercidas en ellos. Se analiza cómo el autor crea mecanismos dramatúrgicos que subvierten las dinámicas de poder. A través de un análisis teórico y simbólico, se investiga la multifocalidad de la obra, destacando cómo las conexiones hipertextuales y la reconfiguración de sus propias narrativas permiten al autor articular un discurso crítico frente a los dispositivos de control y violencia tradicionales. La metodología incluye un análisis textual detallado de una de las escenas de esta obra y una revisión teórica sobre la generación de dicho contradispositivo desde los mecanismos de la hipertextualidad. Se busca demostrar cómo González Dávila desafía y reinterpreta las relaciones de poder en torno al cuerpo y la violencia, proponiendo nuevas lecturas sobre el control y la resistencia en el contexto social mexicano.
PurposeThe paper aims to present the importance of social relationships in cooperation among theaters in the creation of three types of values that characterize arts entrepreneurship (i.e. artistic, economic and social).Design/methodology/approachThe findings are based on qualitative research with the use of 50 semi-structured interviews conducted with 57 representatives of public and private theaters in the performing arts sector in Poland.FindingsThe research shows how social relationships among cooperating representatives of theaters are used to create three types of values that characterize performing arts entrepreneurship (i.e. artistic, economic and social). The findings reveal that theater representatives take advantage of social relationships and engage in inter-organizational cooperation in introducing various changes in their institutions. Thus, by fostering innovation, risk-taking and searching for new opportunities they adapt to the dynamic environment. The paper shows how the three groups of values of performing arts entrepreneurship are interrelated but also sometimes conflicted with one another.Research limitations/implicationsThe research is not representative as it presents the context of the analyzed theaters in Poland.Originality/valueEntrepreneurship, although a popular subject of research, has been much less frequently analyzed with regard to the creative industries, such as the performing arts. In the field of management, researchers have focused primarily on business organization entrepreneurship, excluding cultural and arts institutions such as theaters. In this context, so-called arts entrepreneurship has not yet been widely recognized. In particular, there is a lack of research showing how social relationships between cooperating partners are used in the creation of three types of values in performing arts entrepreneurship, i.e. artistic, economic and social. The article fills this gap and presents both a scientific as well as an applicative contribution.
Artykuł przybliża nieznaną do tej pory w literaturze przedmiotu jezuicką tragedię Genezjusz, zapisaną w rękopiśmiennym kodeksie z kolegium w Samborze. Jest to opowieść o mimie rzymskim, który podczas odgrywania przed Dioklecjanem parodii chrztu świętego dostąpił łaski nawrócenia i z błazna wykpiwającego religię chrześcijańską zmienił się w jej gorliwego wyznawcę. W artykule rozważania o Samborskim przedstawieniu omówione zostały na szerszym tle historyczno-literackim, w tym wcześniejszych realizacji motywu Genezjusza, zwłaszcza na gruncie polskiego teatru jezuickiego. Artykuł pokazuje stosunek osiemnastowiecznej tragedii do średniowiecznej podstawy źródłowej oraz wcześniejszych realizacji teatralnych. W toku analizy uwidoczniono celowe przekształcenia tematu, których w historii o Genezjuszu dokonał anonimowy jezuita – rozbudowanie historii o wątki rodzinne, usunięcie postaci Dioklecjana, pogłębienie negatywnego wizerunku tytułowej postaci, nadanie jej cech tyrana i prześladowcy. Wprowadzone do tragedii zmiany wiązały się również z dydaktyczno-utylitarną funkcją dramatu, który krytykował nieposłuszeństwo synowskie i niewłaściwe wykorzystywanie kreacyjnej funkcji sztuki oraz unaoczniał siłę chrztu świętego.
Dramatic representation. The theater, The performing arts. Show business
Rapid changes in the business models (BMs) of cultural and creative industries (CCIs) have occurred recently, owing largely to the dynamics accelerated by the COVID-19 pandemic and technological evolution, which have resulted in a strong interconnection between social, cultural, and digital challenges. The present review highlights the main changes that the COVID-19 pandemic has brought to the BM of 12 Italian performing arts organizations using a mixed research methodology (qualitative and quantitative) carried out through semi-structured interviews, a strengths, weaknesses, opportunities, and threats analysis, and an analysis of the economic-financial data of the organizations involved. The paper presents the study’s main findings and contrasts them with some recent scientific research on BM, allowing for comparison and debate on significant issues developed (new technologies and social and environmental impact). The uniqueness of the approach employed in this review lies in recognizing these characteristics, particularly the challenges of sustainability, as critical in producing value for CCI.
The permanent search for organizational competitiveness in a context marked by sustainability objectives and digital transformation leads companies to develop management tools and models that guarantee them a high level of competition. Understanding intellectual capital management (ICM) processes in the different areas of business activity is, therefore, a priority for creating value. This research aims to analyse ICM through an audit of its main dimensions and try to understand its relationship with knowledge management processes, namely the retention and transfer of knowledge in an area that still needs to be explored: the performing arts industry. The performing arts, also known as 'creative experience providers', are professional areas based on arts and culture, which are based on selling cultural shows (e.g., theatres, ballet companies, orchestras) and whose professional activity is acting for audiences. The research methodology is based on a case study carried out in a Portuguese performing arts organization. The theoretical support model was an intellectual capital management model previously tested in companies with a different profile than these organizations. The main findings point out that intellectual capital management in the performing arts industry can be audited. However, adjustments must be made to these industries' working realities. It was also concluded that intellectual capital management is a critical factor in the success and survival of these industries, so the management of this asset and its valorization is strategic. The uniqueness of this study is its contribution to stimulating data-driven discussions regarding the necessity of improving intellectual capital management practices in organizations, with particular emphasis on organizations such as those in the performing arts sector, where the most significant value is centred on the intangible assets of each worker.
Chayapoj Lee-Anant, T. Choibamroong, Boonnawat Srikhwan
The tourism industry is considered the greatest economic generator in Thailand. Nonetheless, the impact of the COVID-19 pandemic thoroughly shifted its image of tourism stability and trustworthiness. The show business industry is an element of Thai tourism that attracts more than a million tourists nationwide. The show business industry not only attracts quality multinational tourists as visitors, but also indirectly establishes ‘soft power’ with audiences. This research aimed to (1) study the alternative future scenario of Thailand’s cultural show business industry with respect to cultural export and the creative economy; (2) determine the competitive potential of Thailand’s show business industry by comparing it with the global show business industry; (3) examine the market demands and behaviors within Thailand’s cultural show business industry for cultural export and the creative economy; and (4) present a strategy for elevating the competitive potential of the show business industry for cultural export, promoting a creative economy and fostering tourism in the post-pandemic ‘New Normal’ era. The results of this study found that the ‘Alternative Future Scenario’ of Thailand’s cultural performance industry with respect to cultural exports and the creative economy consists of three scenarios: (1) a mass show business tourism industry, (2) an exclusive show business tourism industry, and (3) a new mega show business tourism industry. It also revealed the competitive potential of the Thai show business industry. By comparing it with the international performing arts industry in terms of competitiveness, it was found that the show business industry in Thailand meets world-class standards. Given its clear, outstanding, and unique culture and traditions, Thailand is ready to serve as a major cultural exporter via cultural performance. Furthermore, the data analysis revealed a total of 10 significant strategies for enhancing the competitiveness of the show business industry in Thailand.
The purpose of the article is to study the process of shaping show business activities in the context of the Russian-Ukrainian war, to identify professional transformations of show business actors caused by the factors of the military present, and to determine new formats and stylistic solutions for art projects. The research methodology is based on the empirical method, which made it possible to study the trends in the development of show business in the conditions of war. The method of art analysis provided an opportunity to comprehensively study and characterise the change in the scope of activities of show business representatives, to analyse the volunteer, touring, public, and artistic activities of Ukrainian show business figures under martial law in Ukraine. The axiological method is based on clarifying changes in the concert repertoire and themes of artistic works, referring to the song heritage of Ukrainians, determining the formation of new formats of creative projects and their integration into the international artistic space. The scientific novelty lies in the establishment of vectors for the development of show business in the domestic art arena, in generalising changes in the artistic activity of show business representatives against the background of the actualisation of the world’s interest in Ukrainian performing arts. Conclusions. The show business sector is radically changing conceptual approaches to the creation of entertainment content and is becoming a powerful driver of resistance to aggression and support of the Ukrainian population. Thanks to their patriotism, show industry figures have been able to prove themselves as leaders of the volunteer movement, re-tellers of patriotic education of the population, and ambassadors of Ukrainian mass culture abroad. The priority is to restore the artistic heritage and develop strategies for its future development, so that the content offered by artists today will continue to be of interest in the future, promoting national identity at the international level.Key words. Show business, patriotism, art projects, volunteering, concert activity, touring activity, repertoire.
Abstract In 2020 and 2021, Information and Communication Technology (ICT) played a crucial role during the lockdowns, giving people the chance to continue doing business, entertainment, and education. In the education sector, in response to the outbreak of COVID-19, many countries adopted ICT-enabled distance education, which shows both positive and problematic features. The most concerning aspects relate to the digital divide, the readers’ ability to assess the trustworthiness of texts found on the Web, the educators‘ competence in using ICT by incorporating it in their pedagogical practice, and the applicability of distance education to the teaching of performing arts.
Бұл мақалада музей коммуникацияларын жылжыту мен
жарнамалаудағы PR құралдарының ролі жан жақты
қарастырып, анализ жасалған. Шет елдік пиарологтардың
көзқарастары қарастырылып, PR технологияларының музей
коммуникацияларын дамытуда 3 негізгі бағытына талдау
жасалған. Осы бағыттардың негізі ретінде іс-шаралар
маркетингін қарастырып, толығымен мәні ашылып жазылған.
Осыған байланысты артықшылықтары мен кемшіліктерін
көрсететін талдау кестелерін құрастырған. Сонымен қатар
музейдің интернеттегі ақпараттық активтері туралы, оларды
қалай қолдану керектігі туралы ақпарат жазылған. Соңында
музей коммуникацияларын дамытуда бұқаралық ақпарат
құралдарның қандай маңыздылағы бар екендігі көрсетілген.
The performing arts. Show business, Dramatic representation. The theater
Este trabajo se propone indagar las formas de representación escénica que adquiere en la actualidad la noción de frontera ligada a la crisis de les refugiades en Europa, desde una perspectiva de género apoyada, principalmente, en la teoría de la interseccionalidad. Tomaremos como caso de estudio la obra Futureland de Lola Arias, creada en 2019 para el teatro Maxim Gorki de Berlín, con el propósito de analizar su poética actoral y reflexionar acerca de las posibilidades y limitaciones que encuentra el testimonio en escena y la corporalidad de les intérpretes no profesionales. Sostenemos que el trabajo con la repetición permite la recreación de la memoria pero a su vez suscita, en este caso, el riesgo al automatismo y al control de la emoción.
Abstract This review synthesizes conversation analysis research examining multimodal performing arts interactions in learning and teaching contexts. It shows how the art itself is integrated into the learning dialogue and how it is integral to getting the business of learning and teaching done. Twenty-three publications met the criteria: conversation analytical multimodal research in performing arts lessons and rehearsals, with participants of all ages. The review highlights the developing field of conversation analysis in the performing arts over the last five years in particular. Nine practices were identified: (1) establishing and manipulating rhythm, space and timeframe, (2) making corrections, (3) miming and mirroring to provide information and understanding, (4) highlighting movements and demonstrations, (5) teacher/conductor controlling beginnings/restarts/end of activities, (6) cues for where to start/pick up from, (7) students showing understanding, (8) getting ready to perform, and (9) making learning inclusive and collaborative. As the practices were predominantly teacher led, students have little opportunity to engage in the learning dialogue and drive their own learning – responding mainly with performance. More active learning opportunities need to be created by teachers and conductors so that students can generate their own practices for learning.
Instead of a typical review of a research monograph, this article proposes deliberations on selected motifs from Wojciech Dudzik’s book Maska w kulturze współczesnej Europy: Teorie i praktyka [The Mask in Contemporary European Culture: Theories and Practice] (Warsaw, 2020). Although this subjective choice of themes only partially reflects the variety of problems discussed by Dudzik, thise article situates a number of issues in broader contexts: (1) Recent research has shown a surprising ambivalence towards the pandemic face mask as a protection against infection. (2) Present-day devil masks seem to continue the ancient tradition of the mask as a fear-inducing object. (3) European performative practices ignore the insides of masks, unlike in the East, where they are important to actors, stimulating spiritual contact with previous wearers. (4) Sight bimodality is crucial for performing in a mask. (5) In the digital world, the biometric mask takes power over the individual’s bodily identity.
Dramatic representation. The theater, The performing arts. Show business
Laís Jacques Marques, Bruna Luana Capelin Kunzler, Marcia Berselli
Esta cartilha pretende apresentar possíveis intervenções para desestabilizar sistemas que levam ao assujeitamento corporal pessoas consideradas marginalizadas pela estrutura dominante. Observaremos como práticas artísticas (ou práticas criativo-pedagógicas) podem contrapor as opressões cotidianas instauradas em regimes socioeducativos. Como suporte de reflexão, oficinas teatrais e artísticas realizadas em centros de internação, além de autoras e autores com as(os) quais dialogamos em busca de premissas para a ação.
Palavras-chave
Juventude em Cárcere. Regime Socioeducativo. Oficinas Artísticas. Pedagogia do Teatro.
The original review essay “Non-Still Life: a Mosaic Portrait of Dimitris Papaioannou” offers a panoramic view of the work of the greek painter and choreographer Dimitris Papaoannou, from his artistic initiation to the international tour of Still Life, and it was written based on the analysis of materios form the press recording made available by the artist and texts developed by the author herself. The preceding presentation, “The Mosaic-Dimitris by Aikaterini Delikonstantinidou” giver support to the translation by pointing out relevant aspects of its process and organization in six items. In the “Preliminary Notes”, the figures of speech presented in the title are developed, which reiterate the author's objectives. The "Introduction" draw connections between art and life that will be further explored by the following item, “The Body at the Center of the Narrative". In “Large-scale work at sports events”, the artist's expectations and contradictions are discussed. In “Choreographies of Existence”, highlights the conceptual choreographic synthesis that develops from how the artist deals with the reception of his pieces, and finally the author reaffirms in the “Concluding Notes” the multiplicity and breadth of the choreographer's production, associating them to philosophical questions related to the the piece named in the title.
Keywords
Dimitris Papaioannou. Contemporary Greek Theater. Contemporary Theater Direction. Choreography. Physical Theater.
Este artigo pretende descrever o processo de criação, desenvolvimento e viabilização do projeto UBU REI, único projeto latino-americano apresentado na mostra Common Design Project da seção PQStudio da Quadrienal de Praga de 2019. O projeto foi criado por Igor Avelino e Rafael Torres, estudantes da Escola de Belas Artes da Universidade Federal do Rio de Janeiro, orientados orientado pela Profa. Desirée Bastos.
Palavras-chave
PQ2019. Common Design Project. Ubu Rei.
<p>El artista japonés Yasumasa Morimura suele apropiarse de obras famosas de la historia del arte occidental, mediante fotografías donde figura reemplazando a los personajes femeninos retratados a través de una puesta en escena con disfraces, maquillaje y accesorios. De este modo, sus montajes alteran la pintura o fotografía original, incluyendo también otros elementos para resignificar la obra de referencia parodia mediante el humor y la crítica. Esta estrategia es utilizada por numerosos artistas contemporáneos que combinan estéticas y visiones de distintos momentos históricos, aludiendo a un cierto anacronismo acaso indisociable del concepto de parodia.</p><p> </p>
O artigo aborda mudanças no entendimento sobre o treinamento do ator pelo grupo LUME Teatro (Campinas, SP). A partir de considerações sobre o treinamento como uma composição de afetos, discutem-se possíveis aproximações entre o ato de criar, a atividade artística e processos de invenção de si. O debate baseia-se na hipótese de que a arte participa na formação da subjetividade e é ancorado nos escritos de autores como Kastrup; Oneto; Sontag; Quilici, sobre temáticas como percepção, sensibilidade e resistência.