Il capitolo indaga le combinazioni tra titoli specifici di drammi satireschi, sia maschili sia femminili e sia singolari sia plurali, e i sostantivi σάτυροι e σάτυρος stavolta in funzione di apposizione; la conclusione è che, tra i due, soltanto il plurale si trova effettivamente impiegato in questo modo: l’unica occorrenza di σάτυρος + titolo (al singolare), in Stobeo, è verosimilmente frutto di corruzione del testo. Si studia, infine, il caso complesso delle designazioni di genere toccate al deperditum satiresco ἐπὶ Ταινάρῳ (Al Tenaro) di Sofocle, di cui si restituisce il titolo in quella precisa forma, composta con preposizione, accettabile seppur peculiare nel panorama della titolatura del dramma attico, tragico e comico.
Il capitolo conclusivo della Seconda Parte e dell’intero volume è dedicato a riassumere i tratti caratteristici della riscoperta tipologia drammatica del ‘quarto dramma senza satiri’ che sono parsi emergere in corso d’opera: dalla relativa brevità in termini di numero di versi alla semplicità corale alla possibile maggiore libertà metrica del trimetro fino anche, e soprattutto, al carattere lieve dell’intreccio scelto e della gestione narrativa e scenica adottata per il medesimo. Si prospettano future vie di ricerca che partano dall’accettazione della tetralogia a-satiresca nella ricostruzione dei corpora dei tragici minori (ad es. Agatone) e, soprattutto, di Eschilo; anche per questo poeta manca ancora un catalogo unanimemente condiviso dei titoli satireschi: un riesame in questo senso del corpus del reputato ‘padre’ della struttura tetralogica in formato canonico alla ricerca di eventuali ‘quarti drammi senza satiri’ è un interessante banco di prova della proposta esegetica al centro del volume.
This article is about how we developed and delivered a full-day applied theatre workshop about decolonization for judges. The workshop first provided a framework for judges to take into account Canada’s colonial history and the ongoing colonial ideas that manifest within us at the individual level. Next, the workshop offered judges an opportunity to step outside of their usual professional roles and consider how the needs of an Indigenous youth are addressed in court from the perspective of the young person and their grandmother. The purpose of our workshop was to collectively consider what it means to decolonize ourselves and our justice system. This case study demonstrates that “rules of engagement” are flexible, yet must be supported with cultural knowledge, respect for cultural protocol, reflection, respect for lived experience, and an openness to learning by all.
This article builds on the current knowledge and approach of public practice drama therapy in community settings. We argue that a public practice of drama therapy might be informed by decolonizing methods, liberation psychology, third spaces, public practice art therapy and the Art Hive model. A case vignette of Drama Hives is presented to highlight our experimentations with drama therapy as a form of public practice that might offer a more holistic approach to care that is complementary to the movement for decolonization. The article concludes with a discussion on the futurity of public practice drama therapy and its research implications.
Elena G. Popkova, Aleksei V. Bogoviz, Svetlana V. Lobova
et al.
Abstract This paper investigates international experiences and perspectives on how entrepreneurs can improve management practices while minimizing the COVID-19 pandemic’s social drama. The paper probes how companies deal with the myriad challenges they face amid the unfolding pandemic and how these processes’ economic and cultural dimensions may exert an enduring effect. A novel dataset analyses how entrepreneurs manage the change of management processes in a sample of ten countries. Three economic impacts on entrepreneurs caused by the pandemic were observed: (1) a deficit as a result of social distancing reduced due to the growth of Internet retailing; (2) a deficit resulting from a fall in demand decreased due to innovations that mitigate this demand-side change; (3) a social crisis in the labour market due to social distance and relocating many employees to remote working practices. In countries with the most considerable number of cases of COVID-19, it is recommended that attitudes towards entrepreneurial risk be raised. In countries with the vastest number of fatal cases per 100,000 people, implications for change management in entrepreneurship are an increase in Internet retailing level, a reduction in entrepreneurial fear of failure, and an increase in entrepreneurial risk awareness. Besides, an anonymous sociological survey among companies’ directors and managers in Russia on management initiatives taken on between late 2020–early 2021 shows that companies maintain a 60.21% readiness for such systemic challenges while their readiness for change increased under the influence of the pandemic. The contribution to the literature of this article lies in rethinking the COVID-19 crisis from the standpoint of social drama, which made it possible to clarify the cause-and-effect relationships of change management in entrepreneurship. For the first time, the paper proposes systemic—socio-economic recommendations for improving the practice of change management against the background of such a social drama.
History of scholarship and learning. The humanities, Social Sciences
Antonio Gandusio is among the last Brillante to tread the Italian scenes. Not a son of art, he becomes one of the most important exponents of Italian comedy of early twentieth century. In his career he acts with actors such as Ermete Novelli, Flavio Andò and Lyda Borelli. In addition to being a theater, radio and cinema’s performer, he is a refined book collector and passionate reader.
O filme documentário pode ser considerado a essência do cinema. Como destaca Penafria (1999), as primeiras imagens em movimento tinham como objetivo apenas registrar os acontecimentos da vida. O documentário assume importância antropológica e relevância em dimensão social e cultural, pela exposição e representação de realidades distintas e pela reflexão sobre a construção de identidades sobre territórios e os corpos que os habitam. Esta pesquisa foi desenvolvida com o objetivo de investigar dez documentários produzidos entre 2010 e 2016, no Rio de Janeiro (Brasil), sobre a temática “favelas”, para desenvolver uma reflexão e análise categorial sobre os aspetos relevantes de cada produção audiovisual e debater enfoques que representam a realidade dessas comunidades e de seus moradores. A análise permitiu promover reflexão sobre atores reais em seus contextos culturais, as próprias representações da realidade e construção de identidades. Os filmes evidenciam a relação dos protagonistas com os filmes, as participações na conceção dos documentários, a relação entre homem e território, as experiências e vivências dos moradores e suas múltiplas atuações. O caráter participativo das produções permite refletir sobre a autorrepresentação dos moradores das “favelas” e sobre o documentário enquanto instrumento de mobilização social que ultrapassa barreiras urbanísticas e promove [...].
¿Cómo pensar y abordar la enseñanza en los escenarios educativos del presente? ¿Cómo trabajar con los estudiantes que protagonizan las obras pedagógicas que en muchos casos resultan dramáticas hoy? No se trata de la escuela que soñamos, la que imaginamos ni tampoco, seguramente, la que vivimos cuando fuimos alumnos; sino de una escuela que si bien es la misma (en tanto mantiene más o menos intacta su forma moderna) es en muchos aspectos muy diferente.
Trataremos en este trabajo de avanzar sobre algunas características propias de los jóvenes estudiantes que transitan por los niveles secundario y superior de escolaridad, así como de las posibilidades de construir con ellos un vínculo pedagógico desde la apertura y proximidad, que nos permita encontrarnos, enseñarles y hasta disfrutar de saber y poder hacerlo.
Retomando el aporte de distintos autores, avanzaremos en propuestas de acción que podrán guiarnos, acompañarnos o inspirarnos en el desarrollo de nuestras propias obras de enseñanza y formación. Quizás el drama encuentre chances de convivir con otros géneros sin perder de vista la transmisión cultural y la formación que, como adultos y docentes, tenemos la responsabilidad de saber y poder asegurar.
Michael Gove, one of the main faces of the Vote Leave campaign, recently said that "people in this country have had enough of pundits". According to journalist Henry Mance, in an article for the Financial Times, Gove's inability to demonstrate, economically, his argument that the UK was sending £350 million to the EU every week was proof that the politics of "post-truth" had already penetrated the UK. The term 'post-truth politics' is grounded in a contemporary era in which fraud is a transparent and powerful currency of exchange, both fiscally and politically; it exposes the precarity of meaning, in which the structures that legitimise and sometimes legislate facts and their circulation have become fluid. Post-truth" policies also show a paradox: on the one hand, the growing need to resort to experts, to intellectual supports, to critical and political involvement that allow differentiation to occur for and with the public; on the other hand, skepticism towards the singularity and autonomy of these experts, fearing their corruption, tied to forms of subjectivity in which the boundaries between public and private, between fact and fiction, become difficult to discern.
The US Medical Licensing Examination requires future doctors to examine actors in simulated, improvisational scenarios to test students’ ability to empathetically collect medical histories, perform basic examinations and diagnose an illness. To better prepare for this clinical testing and improve upon patient complaints related to doctors’ insensitivity, medical schools increasingly turn to university theatre programs to help develop interpersonal aspects of doctor/patient interactions. Based on four years of devising and delivering successful theatre-based programs at two Philadelphia area medical schools, this essay details benefits, challenges and curricular implementation of empathy-building programs that emphasize the embodied nature of theatre and medicine.
With the help of Emile Mâle’s (1862-1954) pioneer researches on art history, our knowledge about western medieval images has improved during the last century thanks to the interesting study of dramaturgy (xith-xvith centuries). Since the 1920’s, the iconography of the apparition of Christ in Emmaus (Luke, 24, 13-35) is one of the examples currently chosen by historiography in order to illustrate interactions between images and liturgical dramas. In the light of this observation, I reopened this file with the aim of identifying in a better way the relationships between these two ways of expressions. If this study has been often led in liturgical dramas’ field, I have opened it to Mystères de la Passion, in which the apparition of Christ in Emmaus knew important developments. Restricted to French literary and iconographical productions, my investigation leads nevertheless to mixed results. With the exception of images taken from rare illustrated theatre manuscripts, the iconography is most of the time quite different from the corresponding dramatic texts.
A review of the Polish–English catalogue of Professor Degler’s postcards collection. In the Henryk Tomaszewski Museum of Theatre that opened in Wrocław on 26–27 March 2017, among other exhibitions devoted to outstanding individuals, there is also The Study of Professor Janusz Degler, which houses the library donated to the Museum by the professor who is a theatre and Witkacy scholar of international renown. And it is here that Professor Degler’s collection of postcards—or more precisely, a carefully selected part of it, a few hundred of several thousand items—has been displayed. This part of the collection is also presented in the wonderfully edited Polish–English catalogue with colour reproductions of the exhibits. There are exactly 597 of them, and additional two in the introductory part. The book takes us on a marvellous journey to the most distant theatrical corners of Europe. We travel from Paris to Petersburg in a blink of an eye. The images change in quick succession, as if in a kaleidoscope: theater houses great and small, of brick and of wood, historically significant and completely forgotten. The authors of the catalogue rightly boast that it is the first publication in the world to present a unique collection of old postcards displaying theatre architecture.
Dramatic representation. The theater, The performing arts. Show business
Esta investigação tenta testar as noções de "pretexto de arquivo" e "obra em movimento" (Féral) num estudo de caso da ópera King Priam do compositor, libretista e pacifista britânico Michael Kemp Tippett (1908-1998). Inspirada em A Ilíada de Homero, esta ópera de temática quente trata de assuntos de todas as épocas, tais como conflito e escolha, e tem sido executada há mais de cinquenta anos. Para atingir este objectivo, um "momento escolhido" (Feral) é analisado em três reescritas (1962, 1985 e 2014) desta obra, resolutamente teatral desde a sua concepção. A perspectiva comparativa leva, por um lado, a iniciar o retraçado da história genética do Rei Priam e, por outro, a levantar questões sobre a articulação entre as noções acima mencionadas, espaço e tempo. Este método permitirá identificar soluções cénicas que, embora distintas do seu tempo, conservam no entanto características de reescritos anteriores, contribuindo assim para lançar luz sobre o significado dos conceitos estudados. O estudo conclui levantando a seguinte questão: "Em que termos podem as noções "pretexto de arquivo" e "trabalho em movimento" ser entendidas no contexto de uma ópera itinerante como a última cenografia do Rei Priam?
Crítica aos espectáculos Colecção de Amantes. Conceito e direção: Raquel André. Criação e espaço cénico: Bernardo de Almeida, Raquel André. Colaboração artística: António Pedro Lopes. Música: NOISERV. Desenho de luz: Rui Monteiro. Sonoplastia: Tiago Martins. Produção: Raquel André, Teatro Nacional D. Maria II e Tempo_Festival das Artes. Local e data de estreia: Sala Estúdio do Teatro Nacional D. Maria II, 11 de setembro de 2015; A Mentira. Texto e encenação: João Pedro Mamede (a partir da trilogia romanesca de Agota Kristof Trilogia da Cidade de K). Interpretação: Ana Amaral, André Pardal, Catarina Rôlo Salgueiro, Francis Seleck, João Pedro Mamede, João Vicente, Marco Mendonça, Maria Jorge, Nuno Gonçalo Rodrigues, Teresa Coutinho. Cenografia: Ângela Rocha. Figurinos: Gonçalo Quirino. Luz: Francis Seleck. Música original: Daniel Carvalho. Produção: Os Possessos e Artistas Unidos. Local e data de estreia: Sala Estúdio do Teatro Nacional D. Maria II, 25 de setembro de 2015; Panorama. Criação coletiva: Ana Sampaio, Cátia Tomé, Ivo Silva, João Leitão, Ricardo Teixeira. Artista convidado: Rui Palma. Desenho de luz: Sara Garrinhas. Adereços: João Silva. Apoio à cenografia: José Capela. Apoio ao movimento: Sónia Batista. Apoio aos figurinos: Marta Passadeiras. Produção: SillySeason. Local e data de estreia: Sala Estúdio do Teatro Nacional D. Maria II, 2 de outubro de 2015; Primeira Infância: Um Fabulário. Conceito, direção e interpretação: Ana Gil, Maria Rita Moura, Nuno Leão. Cenografia e adereços: Ana Gil, Nuno Mega, AKA DirtyCop. Figurinos: Joana Carvalho. Desenho de luz: Bruno Santos. Desenho de som: Nuno Leão. Produção: Terceira Pessoa Associação. Local e data de estreia: Sala Estúdio do Teatro Nacional D. Maria II, 9 de outubro de 2015.
July 1, 1957, the murder of the Bishop of Garanhuns (Pernambuco) by one of his priests acts as a dramatic revealing of Church realities of the Brazilian Northeast, five years before Vatican II. This “sacrilegious crime that shocked the world” according to a local daily also expresses the gap between the ultramontane culture of a conscious bishop concerned by reform and that of the clergy’s accommodating Catholicism, very reluctant to go under the yoke of standardization as advocated by Rome. Upstream of drama, the repeated conflicts between the unfortunate bishop and his clergy highlight the failures of Romanization and establish a surprising image of the Church at that time, far from the “Episcopal monarchy” so often mentioned.
Latin America. Spanish America, French literature - Italian literature - Spanish literature - Portuguese literature
This paper presents the latest phase in an ongoing project to develop and widen the scope of drama-based classes in the practical language section of a German university English department. A brief overview of the use of literature in the (English) language classroom is given, with examples of some recent models, before turning to a consideration of practical drama-based approaches in Shakespeare education. This forms the background against which the main report on practice is presented. The Sprachpraxis section of the University of Tübingen English Department is briefly introduced before the focus shifts to the most recent example: a course on Shakespeare’s Macbeth involving drama-based methods. Course design, assessment and literature choice are discussed, before the pre- and post-course expectations and impressions are explored using data gathered from student questionnaires and teacher diary entries. Based on this analysis, initial outcomes are suggested for the continued progress of drama-based elements in the Sprachpraxis curriculum.
This article outlines the development of nineteenth-century theatre from a sociological viewpoint, in particular, focusing on the coming of age of the Wiener Volkstheater under the direction of Raimund and Nestroy, as well as with the staging of works by playwrights as different from each other as Grabbe, Grillparzer and Büchner. All three of them, from different angles, tackled the historical genre as well as the problem of theatre seen in a new light. However, it was not their plays that were successful during the period of the Restoration but rather grand scale historical dramas on familiar themes by mostly forgotten playwrights, often translations and adaptations of French and Classical works. In the decades that followed the Revolution of 1848, in which fiction was the dominant literary genre, Hebbel renovated tragedy as form, whereas Wagner went on to reform theatre at all levels.
A ideia de Terceiro Teatro, preconizada por Eugenio Barba, chegou à América Latina no final da década de 1970, suscitando uma série de questionamentos que ultrapassaram problemas relacionados à técnica ou à estética e permitiram abordar questões relativas à alteridade, aos níveis de negociação e à imitação. Este artigo tem o propósito de refletir
sobre esse assunto, a partir das leituras de Peter Pál Pelbart e Homi Bhabha.