We consider a new correspondence between representations of algebras with radical square zero and representations of species. We show that the stable category of representations of such algebra embeds into the representation category of the corresponding species and show how one reconstruct the Auslander-Reiten quiver of the algebra from the Auslander-Reiten quiver of the species.
The Weil representation is a particularly significant linear representation of the metaplectic group, used in the study of theta correspondence. In this paper, I introduce a derived category version of the Weil representation in the local field case. For the dual pair $ (\mathrm{GL}_n,\mathrm{GL}_m) $, I give a coherent description of this category, in the philosophy of relative Langlands duality.
The article examines the system of professional choreographic education at the State Academy of Choreography of Uzbekistan. In the process of optimizing the educational program, the need to synchronize theoretical and practical related disciplines has been identified. Such coordination contributes to more effective knowledge acquisition as well as the rational use of academic hours. One of the important directions of work is the “Ustoz-shogird” (“Teacher–Student”) principle, which enables students to gain experience directly from masters of the arts. In the educational process, it is essential to actively apply modern information technologies, innovative teaching methods, and the achievements of world choreography. The active involvement of students in national and international scientific and practical conferences fosters the development of the scientific potential of creative youth. Participation in academic mobility programs provides opportunities to acquire international experience. Cooperation with leading choreographic universities is one of the key areas in the development of the educational system at the State Academy of Choreography of Uzbekistan.
The performing arts. Show business, Dramatic representation. The theater
Este artigo investiga o Método Laban na Voz uma abordagem que destaca a voz como elemento central na construção de personagens teatrais. Utilizando a autoetnografia, o estudo narra o processo criativo do ator Felipe Rio Ruas na composição do solilóquio Menandro - morrer deveria ser doce, explorando a voz como impulsionadora do evento corpóreo-vocal. O artigo visa aprofundar a discussão teórica do Método Laban na Voz pela experimentação e a prática, aprofundando a compreensão do personagem e a diversidade de intenções vocais e corporais que ele pode abrigar, assim enriquecendo-o com camadas mais complexas.
This exposition presents recent developments on proper actions, highlighting their connections to representation theory. It begins with geometric aspects, including criteria for the properness of homogeneous spaces in the setting of reductive groups. We then explore the interplay between the properness of group actions and the discrete decomposability of unitary representations realized on function spaces. Furthermore, two contrasting new approaches to quantifying proper actions are examined: one based on the notion of sharpness, which measures how strongly a given action satisfies properness; and another based on dynamical volume estimates, which measure deviations from properness. The latter quantitative estimates have proven especially fruitful in establishing temperedness criterion for regular unitary representations on $G$-spaces. Throughout, key concepts are illustrated with concrete geometric and representation-theoretic examples.
The creator, born in Padangtegal, Ubud, has appreciated Pita Maha artwork. Pita Maha painting is a genre that emerged in 1936, characterized by the fusion of classical Balinese and Western painting styles. The creator believes that the aesthetics of Pita Maha painting can serve as a foundation for artistic creation. This study employs a qualitative methodology, utilizing data collection techniques such as observation, documentation, interviews, and supplemented with library resources. The gathered data undergoes two phases: analysis to identify the concept, followed by the creation phase. The outcome of the study is a painting titled "Wayang Wong". This contemporary artwork is created employing the techniques and aesthetics of Pita Maha painting, allowing it to resonate within the context of modern life.
Arts in general, Dramatic representation. The theater
Este artigo apresenta uma breve biografia de Alfred Jarry, que embora seja conhecido no Brasil como o autor de Ubu Rei, foi um artista eclético cujas influências se desdobram nos campos do teatro, da literatura, do desing gráfico, das artes visuais e do que viria a ser a performance. São contextualizadas algumas de suas inovações na literatura, no design e na encenação teatral. São apresentadas informações de seu contexto familiar, de sua vida escolar, e de como através de um modo de vida excêntrico construiu para si uma imagem espetacularizada.
This article proposes to problematize notions of presence and body from the sound dimension in a performance of the opera Auto da Catingueira, by Elomar Figueira Mello. The study uses a bibliographical, critical and theoretical review, and discusses parts of the recording of the spectacle in close dialogue with music theory and concepts brought from oral poetics. Thus, an analysis of the elements of the performance of actors in the scenic phenomenon is presented in relation to concepts of orality, body and voice, bringing together aspects of performativity and staging based on Brazilian culture and popular actions.
The Iwahori--Hecke and Yokonuma--Hecke algebras have played crucial roles in algebraic combinatorics and the representation theory of finite groups. In this work, we use classical results from representation theory to compute the character values of the Yokonuma--Hecke algebra at $w_{0}$ and $w_{0}^{2}$, where $w_{0}$ denotes the element of maximal length in the corresponding Weyl group.
We show that for any finite-dimensional algebra $Λ$ of infinite representation type, over a perfect field, there is a bounded principal ideal domain $Γ$ and a representation embedding from $Γ-$mod into $Λ-$mod. As an application, we prove a variation of the Brauer-Trall Conjecture II: finite-dimensional algebras of infinite-representation type admit infinite families of non-isomorphic finite-dimensional indecomposables with fixed endolength, for infinitely many endolengths.
David Vogan proved that if $G$ is a real reductive group, and if $K$ is a maximal compact subgroup of $G$, then every irreducible representation of $K$ is included as a minimal $K$-type in precisely one tempered, irreducible unitary representation of $G$ with real infinitesimal character, and that moreover it is included there with multiplicity one and is the unique minimal $K$-type in that representation. We shall prove that the Connes-Kasparov isomorphism in operator $K$-theory is equivalent to a $K$-theoretic version of Vogan's result.
We establish a relation between Speh representations of $\mathrm{GL}_n\left(\mathbb{F}_q\right)$ and Speh representations of $\mathrm{GL}_n\left(F\right)$, where $F$ is a non-archimedean local field. We use irreducible level zero supercuspidal representations to show that these two notions of Speh representations associated to cuspidal representations are related via a commutative diagram, and that their corresponding $(k,c)$ $ψ$-Whittaker models are also related. We use these results to relate the local Ginzburg-Kaplan integrals for level zero supercuspidal representations to their finite field counterparts.
The main inspiration of my essay How the cinematographer can help the actor – an insider’s perspective on Joker is Lawrence Sher’s masterclass that took place on 1st December 2020 via Zoom. It was a masterclass for students of the Polish National Film School in Lodz and I had great honor to lead this workshop. In this article, I try to analyze how a cinematographer can help actor to make a great performance. My essay is a “case study” because I focus how cinematographic means create a story and serve the actor who likes to improvise.
Since the birth of Odin Teatret, Eugenio Barba had in mind the quest into the techniques of the actor and his or her ongoing training to reach optimal levels of stage presence. As a result of such interest, the International School of Theatre Anthropology (ISTA) emerged in 1979, giving rise to Theatre Anthropology as a new discipline for the study the fundamentals of acting. This article presents the analysis of the methodological approaches developed by Theatre Anthropology throughout these forty years and its possible connections with other fields of scientific knowledge, highlighting its historiographic, ethnoscenological and neuroscientific applications, for the study of the actor’s pre-expressive principles and the dramaturgical strategies that configure his or her scenic bios.
Este artigo propõe uma reflexão teórico-prática sobre os impactos da pandemia de Covid 19 em uma pesquisa sobre o Teatro do Oprimido, realizada com professoras de artes do Distrito Federal. Como pensar/fazer uma educação libertadora em um contexto de crise sanitária, política e econômica que condicionou as práticas escolares ao ensino remoto? Pensada inicialmente para ser realizada com estudantes do Ensino Médio, esta pesquisa foi reorientada no sentido de verificar como a Estética do Oprimido, proposta por Augusto Boal, em diálogo com a Educação Libertadora de Paulo Freire (2003), pode se apresentar como uma perspectiva que auxilie professores/as de Artes Cênicas em tempos pandêmicos e, esperamos, pós-pandêmicos.
From an irreducible representation of GL(n, C) there is a natural way to construct an irreducible representations of GL(n + 1, C) by adding a zero at the end of the highest weight of the irreducible representation of GL(n, C). The paper considers the decomposition of tensor products of irreducible representation of GL(n, C) and of the corresponding irreducible representations of GL(n + 1, C) and proves a stability result about such tensor products. We go on to discuss similar questions for classical groups.
The article aims to analyse the phenomenon of a Norwegian Internet-TV show for teenage audiences, Skam (2015–2017). The transmedia storytelling used in this production resulted in unforeseen international acclaim, subsequently leading to the creation of local remakes of the series. The article will outline the main issues that the show has dealt with, as well as the immersion-building narrative solutions used by the creators. Moreover, it will discuss Skam’s reception by Norwegian and international audiences, and suggest potential directions for the future development of this format.
In wartime and post-war situations, the opposition of friend and enemy—based on national divisions—often condemns the dead “enemies” to be ungrievable. To grieve for the excluded others in such times means to break with the friend-enemy opposition. This article examines how the friend-enemy opposition is broken in the case of the actions of Women in Black and Dah Teatar in the context of the civil war in Yugoslavia. By analyzing the vigils of Žene u crnom (Women in Black) in Belgrade and the play Priča o čaju (The Story of Tea) by Dah Teatar, the author discusses the particular strategies through which grief was made possible beyond the friend-enemy opposition and how these strategies open a communitas of mourning. The term “communitas of mourning” refers to the concept of grievability, proposed by Judith Butler in Frames of War.
Dramatic representation. The theater, The performing arts. Show business