Hasil untuk "Drama"

Martín Rosso

El objetivo de este trabajo es exponer la manera en la cual se fueron relacionando, a lo largo de los años, las diferentes funciones que desarrollo en la Facultad de Arte de la Universidad Nacional del Centro: la docencia, la investigación y la extensión. Esta interrelación, que puede pensarse como algo natural, fue producto de romper con cierta linealidad de acción y de entender que ninguna función tiene mayor relevancia que otra. Este desarrollo de una identidad múltiple emergente (que implica el entrecruzamiento de problemáticas propias del campo pedagógico, el artístico y el científico) me enfrentó a diversos cuestionamientos teóricos y metodológicos que serán desarrollados en este trabajo.

Varja Hrvatin, Maša Radi Buh, Jakob Ribič

In the paper, the authors discuss the concept of staged readings, arguing that they are the predominant performance format for presentations of young playwriting. However, such presentations should not be understood as an intermediate stage between reading and performing but as a fully-fledged and independent artistic genre. Many staged readings thus lose the function of “first information” about the text and its author. Instead, they have become a proper way of performing a text, thus opening up a wider area for theatrical experimentation. Using concrete examples, the authors will reflect on practices characterised by the text becoming the main or even the only thing necessary for a theatrical event and reading (in all its possible ways and forms) becoming the key theatrical means.

Massimo Lenzi

This is the second part of an essay aimed at reconstructing the typologies, institutions and structures of the Russian-language theatre-drama production system in the early years of the Soviet State (1924-1928), as well as the activities of the main protagonists who worked in that system at that time. In particular, following the theme of the relations between the Art Theatre and its main Studies, with which the first part closed, this second part considers its stylistic repositioning with respect to the hegemony exercised by the institutions led by Meyerhold, also analysing the productions within which that hegemony reached its apogee in those years.

Gian Piero Piretto

The article focuses on the lack of intérieur in Chekhov’s Cherry Orchard. The almost total absence of indications concerning the stage design underscores the spiritual emptiness of the house, a mansion that is no longer a home, where new characters (new social classes) arise in addition to the old landlords and take their places in organizing and altering the situation. Svetlana Boym’s considerations on “diasporic intimacy” help to emphasise the attitude of Ranevskaya towards the garden: she already lives elsewhere and her declarations of love for the orchard are nothing but empty, nostalgic words. She, and most of the other characters, long to leave and abandon the cherry orchard forever. The nursery is the only “furnished” room, according the Chekhov’s indications. The rest of the house is devoid of furniture, pictures, curtains, the “marks” that, according to Walter Benjamin, define the bourgeois intérieur of the 19th century. Old servant Firs, kitschy scenes, minor characters are the equivalent of the souvenirs that Soviet emigrants bring along when they leave the country. A short reflection on Stanislav Zhukovsky’s paintings of Russian mansion intérieur helps to demonstrate that The Cherry Orchard is not a drama, but a vaudeville.

Marta Fumi

L’articolo si sofferma sulle due favole pastorali composte da Luigi Groto, detto il Cieco d’Adria (Adria 1541 - Venezia 1585): La Calisto (editio princeps 1583) e Il pentimento amoroso (editio princeps 1576). Di esse vengono richiamate la trama e la fortuna editoriale tra Cinque e Seicento. Vengono indagati, in particolare, i rapporti che legano le due pastorali con la produzione drammaturgica e novellistica di Giovan Battista Giraldi Cinthio (Egle; Ecatommiti), per mostrare come il Cieco d’Adria, nel suo sperimentalismo, abbia accolto e sviluppato gli stimoli che potevano giungergli dall’opera del ferrarese.   The article deals with the two pastoral plays composed by Luigi Groto, known as “il Cieco d’Adria” (Adria 1541 - Venice 1585): La Calisto (editio princeps 1583) and Il pentimento amoroso (editio princeps 1576). This paper recalls the plays’ plot and their editorial success between the sixteenth and seventeenth centuries. In particular, the article examines the relationships that link Groto’s pastoral plays with Giovan Battista Giraldi Cinthio’s dramaturgical and novelistic production (Egle; Ecatommiti), in order to show how Groto’s experimentalism developed the stimuli that came from Giraldi’s work.

Alcinda Andrade, Adalgisa Pontes

This article reflects on the problem of the discipline of Artistic Education in Basic Education in a school located in the city of Praia, Cape Verde. It aims to contribute to know and analyze the practice of the Drama Games. In this way, the practices and conceptions of the teachers of the 2nd cycle in the 7th grade regarding the Drama Game were studied and the type of articulation that the teachers establish between the Dramatic Expression / Drama Game and the other curricular areas was identified. The results refer to the need to work the discipline of Dramatic Expression and to deepen the relevance of the Drama Games in the educational context and its contribution to the integral, harmonious and solidary development of the individual. / O presente artigo reflete sobre a problemática da disciplina da Educação Artística (EA) no Ensino Básico Obrigatório (EBO) numa escola situada na cidade da Praia, Cabo Verde. Tem como objetivo contribuir para conhecer e analisar a prática dos Jogos Teatrais. Deste modo e recorrendo à metodologia de cariz qualitativa, foram estudadas as práticas e as conceções dos professores do 2.º ciclo (EBO) no 7.º ano de escolaridade, relativamente o Jogo Teatral (JT) e identificadas o tipo de articulação que os professores estabelecem entre a Expressão Dramática/Jogo Teatral e as outras áreas curriculares. Os resultados referem a necessidade trabalhar a disciplina da Expressão Dramática e de aprofundar sobre a pertinência dos Jogos Teatrais no contexto educativo e a sua contribuição para o desenvolvimento integral, harmonioso e solidário do indivíduo.

David Wästerfors

To write about clients is an established routine in countless institutional settings, regardless of the fact that clients themselves seldom feel that the produced texts mirror or summarize their experiences. But what, more specifically, is left unwritten when staff starts typing on the keyboard to insert a piece of daily life into the computer? This article draws on data on violent events in Swedish detention homes, covering, on the one hand, interview accounts collected by ethnographic researchers and, on the other hand, formal journal reports on the “same” event written by staff. The analysis of one case exemplifies what written versions of a violent ward drama omit or transform: staff members’ “separation work” of the fighting actors and their local manufacturing of accountability, the involved actors’ conflict explanations in terms of ethnicity, gang culture, and “the first blow”, young people’s way of linking their self-control to the institution’s privilege system, and moral emotions as well as the significance of crucial details in the depicted course of events. The argument is not that staff should merely improve their routines of documenting events to really cover these or other facets of social life that are left behind at a detention home. Rather, the article attempts to explore why and in what sense institutional writing is incompatible with more informal, personal, and local accounting procedures.

Jacob I. Tower MD, Lynn Acton MS, CCC-SLP, Jessica Wolf et al.

Objective The purpose of this study was to investigate the effect of vocal training on acoustic and aerodynamic characteristics of student actors’ voices. Study Design Prospective cohort study. Setting Tertiary medical facility speech and swallow center. Subjects and Methods Acoustic, aerodynamic, and Voice Handicap Index–10 measures were collected from 14 first-year graduate-level drama students before and after a standard vocal training program and analyzed for changes over time. Results Among the aerodynamic measures that were collected, mean expiratory airflow was significantly reduced after vocal training. Among the acoustic measures that were collected, mean fundamental frequency was significantly increased after vocal training. On average, Voice Handicap Index–10 scores were unchanged after vocal training. Conclusion The cohort of drama students undergoing vocal training demonstrated improvements in voice aerodynamics, which indicate enhanced glottal efficiency after training. The present study also found an increased average fundamental frequency among the actors during sustained voicing and no changes in jitter and shimmer despite frequent performance.

Bülent SEZGİN

In the field of drama and theatre in education in Turkey, one of the basic defects is the lack of creating systematic curriculum programme. To construct a deep relationship between play, drama, and theatre, and to produce a curriculum model without breaking the interconnectivity we need to examine the drama and theatre literature and conduct a lot of research. The aim of this paper is to analyze the content of theatre and drama courses in the International Baccalaureate Programme’s (IBO) curriculum, which is accepted as one of the most recognized education models.. In IBO programme, one student has drama and theatre course from early childhood education to high school, but every year the content of the course differs. Especially in primary levels of IBO, drama has an important role for crosscurriculum application. However, in high school theatre becomes a distinct course. A two-year theatre course program in high school has a comprehensive content in the concept in the context of practice, theory,and interculturalism. In this paper, IBOsystem, drama in education, and the structuring of theatre as an art were analysed in the light of the historical development in the history of education.

Ludovic Fouquet

Dans le champ de la vidéoscénique, le support de réception ou diffusion de l’image peut-être multiple et depuis les années 50 et les explorations fameuses de Josef Svoboda, la matérialité de l’écran a connu de nombreuses occurrences. Je m’intéresserai dans cet article à la situation du corps-écran, un corps qui reçoit l’image, un corps-écran à percevoir comme un corps médiateur. Je m’appuierai sur des spectacles ou performances d’artistes européens ou Nord-américains, ainsi que sur des ateliers que j’ai menés dans lesquels la projection sur le corps ou une partie du corps vient le modifier et perturbe la lecture qu’on en a.

Rebrina Larisa, Chukina Ekatherina

The article presents the results of studying the patterns of evaluative meanings transfer when translating and subtitling films of various genres from German to Russian. Material for the study serves the original version and the translation of a military drama, a melodrama, a comedy, and a detective. The authors used the descriptive, comparative method, the methods of contextual, definitional analysis, quantitative calculations. The object of study includes the fragments of film dialogues in the source (German) language and the language of translation (Russian). The specificity of subtitling depends on the need of strict regarding the spatial and temporal parameters of the film text. Evaluation is interpreted as a semantic-pragmatic category (the impact involving appropriate semantization which is consistent with elocution through selecting the semantically relevant language). It is determined that the verbal component in the studied film text is highly informative, providing low complementarity of verbal and non-verbal components; the positive and negative evaluations are realized at the same frequency which is associated with a variety of topics and genres of films; the most frequent translational transformations, used in transferring evaluative meanings when subtitling, are synonymous substitutions, modulation technique, literal translation and specification; the most relevant methods of text compression, in this case, are a generalization and simplification. The authors verified the hypothesis of relevance for transferring the evaluative meaning through subtitling such elements of the valuation structure and the parameters of its verbalization as a type of evaluativity, object, basis, nature, degree, level of language expressions of evaluation, which detect differences between the source text and the text of translation. There are also stated the parameters which characterize the transfer of evaluative meanings and are the most resistant/stable to transformation and the most sensitive to transformation.

Onyeka Iwuchukwu

Michel Lemieux , Victor Pilon , Marta Isaacsson

A companhia canadense 4D Art fascina o olhar do público e interroga seus sentidos de realidade e presença pela interação cênica dos movimentos de corpos reais e virtuais. Para compreender os processos de criação da cena multimídia de 4D Art, apresenta-se uma entrevista exclusiva realizada com os diretores artísticos Michel Lemieux e Victor Pilon. As motivações artísticas do jogo real e virtual, os procedimentos empregados na criação das figuras virtuais e os desafios enfrentados pelos atores aparecem nas palavras dos criadores.

Maud Ceuterick

Tomaž Toporišič

Razprava si zastavi na videz enostavno vprašanje: Kako Vitomil Zupan misli gledališče? Odgovor poišče v dialogu z avtorjevo dramsko, gledališko in esejistično pisavo, ki jih vpne v sočasne misli ogledališču, tako praktikov kot teoretikov: od Artauda do Brechta oziroma od Kermaunerja do Jovanovića ali od Tauferja do Šeliga. Vse skupaj naveže na današnji čas, na to, kako danes mislimo gledališče. Na ta način preverja, kako daljnosežno je bilo Zupanovo mišljenje gledališča, hkrati pa tudi, kako je lahko to mišljenje gledališča produktivno za današnji čas: za gledališko, dramsko, uprizoritveno teorijo in prakso. Izhaja iz pisateljeve preveč pozabljene knjige-razprave Sholion (gledališče 1972, s posebnim ozirom na mehanizem postavitve in odnos do t.i.sporočila) ter prikaže, kako Zupan izgradi še danes izrazito sodobno stališče, da ne smemo vztrajati na okopih dramskega gledališča, ampak nas mora zanimati gledališče kot fenomen, ki je kompleksen in povezuje različne medije. Dramska pisava mora biti zato odprta za različne načine gledališčenja.

Löschnigg, Martin

L. Jardine

Anna Śliwińska

The City According to Mike Leigh The key to the interpretation of the image of London presented in Mike Leigh’s films can be found in his own words: “I actually do think London is a hidden city the way New York isn’t.” and “You can get the hang of New York, but London is a collection of villages. It takes a long time to get under its skin.” London in Mike Leigh’s films perfectly matches the director’s creative thought, exposing social differences and the lack of communication in the family. However, the director releases his characters from the dark corners and hideous streets, and lets more light and nature into their lives. Thanks to this, as he has said, the city becomes a collection of small villages, which for him is the greatest value of the place where he lives and makes his 

J. Arthurs

Michael Mateas, A. Stern