Hasil untuk "Drama"

Germán de la Riva, Itsaso Iribarren Muñoz

This article analyzes circus life as a model of adaptation to the tensions of contemporary life, characterized by the increasing dissolution of the boundaries between the work and personal spheres. Through the knowledge passed down from generation to generation in the circus tradition, we examine how this space configures practical tools to face uncertainty. Likewise, the art of circus, through its everyday patterns of communication and comprehension of the environment, is positioned as a critical questioning of traditional narratives about work, community and belonging, and at the same time it is proposed as a representative example of emerging ways of life.

Jean-Paul Quéinnec, Andrée-Anne Giguère

Dans cet article, nous décrivons et analysons nos expériences de la fluidité à partir de et avec deux paysages fluviaux : Puerto Nariño en Colombie et l’île d’Anticosti au Québec. Nous remarquons que si la fluidité d’une géographie éveille la pluralité de notre identité comme de notre corps en écoute, son inscription dans un rapport au temps en fait un terrain fructueux pour des dramaticités performatives. Puis nous interrogeons comment ces écritures in situ de la fluidité peuvent se maintenir sur scène et constituer les premières pistes d’une écodramaturgie non pas documentaire mais équivoque, indécidée et poétique.

Abdulnaser mustafa ibrahim

The color value in the artwork is an important thing when the artist wants to make his works of value worthy of appreciation, and there are artistic additions that increase the advantages of the artwork in form and subject matter with reference to the material, moral and expressive value of color, it is known during the filming of the film scenes that lighting has a prominent role in displaying dramatic treatments to be believable, as a change in intellectual orientations for artistic distances due to the impact on reality and imaginary, and from the standpoint of these advantages the title of the research was formed the color value in the variables of the scenes In the dramatic film, by asking the question is there a difference in value for the color variables in the scenes in the dramatic film?     From which the film (The hateful eight) was chosen to be the research sample for its prominent color connotations as a feature of the film, and therefore the research aims to shed light on the color value in the dramatic scene of the director's intellectual and aesthetic perceptions in choosing different color tones and the way they put the material and form it in an expressive language, the research followed the descriptive approach to analysis, which is consistent with the type of study by analyzing selected scenes after determining the indicators to be a tool for analysis.   So he went out.

Marte Liset, Miriam Wiik

Studien tar utgangspunkt i et utviklingsarbeid der dramaundervisningen i grunnskolelærerutdanningen (GLU) ved UiT Norges arktiske universitet er integrert i undervisningsfagene pedagogikk og elevkunnskap, norsk, matematikk, engelsk, samfunnsfag og naturfag. Som del av utviklingsarbeidet ble progresjonsplanen Drama i Tromsøtrappa utviklet. Artikkelforfatterne har fulgt det første studentkullet på GLU 1-7 som har fulgt progresjonsplanen, og undersøkt hvordan dramaundervisning kan styrke deres kompetanse innen klasseledelse.  Forskningsspørsmålet som stilles er: På hvilke måter erfarer GLU 1-7-studenter at undervisning i dramafaglige estetiske læringsprosesser er relevant for deres utvikling som klasseledere?  For å besvare spørsmålet, er det samlet inn skriftlige studentrefleksjoner i etterkant av undervisningsøkter i drama gjennom studentenes 1. studieår. Det er gjennomført semistrukturerte intervjuer med to fokusgrupper 1. og 5. studieår, og gjennomført en digital spørreundersøkelse på 5. studieår.  Studentene erfarer at dramafaglige estetiske læringsprosesser styrker dem som relasjonsbyggere i klasserommet, samtidig som de får erfaring med arbeidsmåter de kan anvende for å skape variert og engasjerende undervisning. De beskriver det å lære gjennom dramafaglige arbeidsmåter som kroppslig, sanselig og erfaringsbasert. Deres egen opplevelse av dramaundervisningen, og engasjementet de ser hos elever i grunnskolepraksis, er av avgjørende betydning for at de selv ønsker å bruke drama i skolen. 

Paula Ansaldo

A lo largo de la década del 60, asistimos en Buenos Aires a una progresiva desaparición de las representaciones en ídish en el país que llevan a la declinación del circuito teatral judío, cuyo gran auge se había producido entre los años 30 y los 50. Las razones de esta crisis son múltiples y responden tanto a factores internos como externos. Durante los años 50 comienzan a aparecer una serie de problemas que ni los artistas, ni los empresarios logran resolver. El primero es la ausencia de juventud en el público y sobre el escenario, que se debía a la falta de recambio generacional en los elencos teatrales judíos. El segundo es la ausencia de obras nuevas en el repertorio del teatro ídish que lleva a que se representen siempre los mismos autores y las mismas temáticas, que cada vez tienen menor relación con la realidad judeo-argentina e interpelan cada vez menos al público local, y especialmente a las nuevas generaciones de judíos argentinos. En este trabajo indagaremos en dichos factores centrándonos en los procesos que inciden en su profundización a lo largo de la década del 60 y que finalmente llevan a la desaparición del circuito teatral en ídish de Buenos Aires.

Elisabetta Papone

The essay analyses the close relationship established by the three major photographic studios active in Genoa between the end of the nineteenth century and the beginning of the twentieth century with the intellectual and artistic environment, in particular with the theatrical world, both locally and nationally. Starting from a systematic analysis of the cultural and society chronicles published in the newspapers, and comparing the information found with the photographs preserved in the main city and national photographic collections and with the photomechanical reproductions in contemporary publications, an attempt was made to recompose and date the images relating to the opera and dramaturgy produced by the Genoese studios. Despite the sharing of the communication strategy based on the systematic presence in the media and on the often instrumental alliance with the entertainment world, the photographers considered here express themselves with different styles. Among them, the Sciutto photographic studio comes out for quality and awareness, especially with the portraits of Eleonora Duse, memorable for the author and the actress. Finally, light is shed on the influence exerted by the theatrical performances on the taste of the bourgeoisie and on the contamination with the photographic portrait.

Lúcia Regina Vieira Romano

Este artigo examina a cena da Cia. Livre, que problematiza a constituição da identidade brasileira, relacionando o indivíduo no contexto urbano e o pensamento ameríndio. Desde o espetáculo Vem Vai, o caminho dos mortos (2007), identifica-se um trânsito entre o mato e o asfalto, instituído nas traduções cênicas da antropofagia, segundo Andrade (1928), Campos (1992) e Nunes (1979), e da cosmologia amazônica, a partir das teorias do perspectivismo, em especial, Descola (1992), Carneiro da Cunha (1998), Kopenawa e Albert (2015) e Viveiros de Castro (1996; 2002; 2015). Conclui-se destacando a estratégia decolonial da companhia no recurso à antropologia, para imaginar outras humanidades.

Anika Marschall

This article analyses Tania Bruguera’s Tatlin’s Whisper #6 (2009), which creatively rewrites the widely distributed image of Fidel Castro’s victory speech in Havana (1959). By drawing on Xinghua Li, Brandon LaBelle and John Mowitt, the article discusses how the performance connects the whisper and frustrated revolutionary hopes, whilst contesting Western epistemologies. The article demonstrates how the whisper as a speaking from and to the margins is crucial for rethinking the politics of performance, and how to be in common otherwise.

Claudia Parra

In a period when the stereotype of womanhood in Irish drama was determined by political influences, and the male figure was the sole representation of the active force of humanity, Sean O’Casey’s women were a type of subject which was apparently non-existent, even though they demonstrated the real significance of the power they withheld among their families and communities. In Juno and the Paycock (1924), the playwright surprises the audience by staging representations of Dublin tenement women which subvert the prevailing image of powerless females in Irish drama. O’Casey’s female characters, Juno and Mary, undergo a process of strengthening which enables them to surpass domineering structural forces and challenge conservative and oppressive gender expectations about power. They are depicted as being imperfect, just as men are, but they are also representations of autonomous individuals who embody characteristics that lead us to envisage female empowerment. This article seeks to demonstrate that when applying notions of personal empowerment, O’Casey’s play confers visibility and appropriate representation to those strong marginalised women.

Laurel Brake

It is helpful to understand George Eliot as a ‘woman of letters’ whose literary work extends beyond the novel, even fiction. The considerable variety of formats and range of genres of which Marian Evans/George Eliot availed herself between 1840 and 1880 are directly related to the coincidence of her lifespan with the efflorescence of the press. This article examines the trajectory of her career through three networks of print production: that of the Brays in Coventry, including Charles Bray and his newspaper in which Marian Evans published early work, and his family, Cara Bray and Sara Hennell with whom she made close emotional and literary bonds; that of John Chapman and his publishing and periodical circles in London, where she was afforded a unique opportunity to edit in its office one of the famous quarterlies of the day, the Westminster Review,  and to read, meet and edit its contributors and their work; and lastly, the network of George Henry Lewes, her partner in life and work, whose range of journalism and publications — including fiction, drama, science, and  criticism of German literature offered her access to reliable advice, wide experience, and contacts with editors, publishers, and authors across the literary spectrum. 

Dominika Kaniecka

The people against Oliver Frljić, or Poland after The Curse In the spring of 2017, the play entitled The Curse, directed by Oliver Frljić premiered at one of Warsaw theatres. It was not the first attempt to perform in Poland on the part of the Croatian director, well known as a controversial artist whose plays discuss social and political issues. His previous appearances on Polish stages usually evoked an air of scandal. The content of The Curse, too, had its producers investigated by the state prosecutors soon after its premiere; and blasphemy and incitement to crime in the theatre were discussed in the public sphere. The Curse is a loose adaptation of Stanisław Wyspiański’s drama, originally written in 1899. It deals provocatively with questions about modern religiousness and non-religiousness, touching upon relations between the Polish Catholic Church and the state, and upon national identity in contemporary Poland. This paper is focused on reactions to Frljić’s play, especially on different ways of expressing public anger as the most frequent reaction; it shows how politicians, members of religious and nationalist groups and other protesters became part of the performance. It aims to explain the success of one of the most scandalous theatrical ventures in Poland, describes the peculiarity of the Polish context, the dynamics of reaction of opponents and students of Frljić’s activities, and shows the lasting consequences as well as the performative potential of the Croatian director’s presence in the Polish public sphere. A very important circumstance in researching The Curse is that – as emphasized both in the performance itself and in the public debate – Polish national values were criticized by an outsider, in other words, by the Other. The article pays particular attention to two contexts: one is engaged theatre’s potential to transcend its own boundaries and influence the social and political reality; the other is the author’s personal participation in Frljić’s performance.   Naród przeciwko Frljiciowi albo Polska po Klątwie Wiosną 2017 roku w jednym z warszawskich teatrów premierę miał spektakl Klątwa w reżyserii Olivera Frljicia. To nie był debiut reżysera w Polsce, jego poprzednim działaniom na polskich scenach towarzyszyła atmosfera skandalu. Frljić jest znany jako kontrowersyjny artysta, którego sztuka dotyka sprawa społecznych i politycznych. Wkrótce po premierze prokuratura wszczęła postępowanie przeciwko realizatorom spektaklu, w związku z jego treścią; namawianie do zbrodni i bluźnierstwo w teatrze zdominowały dyskusje w sferze publicznej. Klątwa to luźna adaptacja dramatu Wyspiańskiego, napisana w 1899 roku. Prowokuje pytaniami o współczesną religijność i niereligijność, dotyka relacji między Kościołem katolickim a państwem, porusza także kwestie związane z tożsamością narodową we współczesnej Polsce. Artykuł koncentruje się na reakcjach na spektakl Olivera Frljicia, zwłaszcza na temat różnych sposobów wyrażania publicznego gniewu; pokazuje, jak politycy, członkowie grup religijnych i ugrupowań nacjonalistycznych oraz inni protestujący, stali się częścią przedstawienia. Tekst ma na celu wyjaśnienie sukcesu jednego z najbardziej skandalicznych przedsięwzięć teatralnych w Polsce, opisuje specyfikę polskiego kontekstu, dynamikę reakcji przeciwników i badaczy działań Frljicia, ale pokazuje także trwałe konsekwencje oraz performatywny potencjał obecności chorwackiego reżysera w polskiej sferze publicznej. Istotnym dla badań czynnikiem jest eksponowany i w spektaklu, i w debacie publicznej fakt, że polskie wartości narodowe zostały skrytykowane przez Innego/Obcego. Rozważania zostały przedstawione w kontekście oczywistego dla teatru zaangażowanego potencjału do przekraczania własnych granic, ingerowania w sprawy społeczne i polityczne, ale także w kontekście osobistego udziału autorki artykułu w spektaklu Frljića.

Thi-Huyen Nguyen, Wu-Yuin Hwang, Xuan-Lam Pham et al.

In this study, an application (app) called ezTranslate was developed to aid English as foreign language (EFL) learning by assigning lessons that adapt to students’ interests, in order to motivate them to engage concurrently in physical activity in a real context. ezTranslate was developed by combining state-of-the-art technologies—automatic speech recognition and a cloud translation service, which permit effortless language translation. ezTranslate also offers user-oriented, self-speaking practice opportunities via its speech shadowing function. This app is designed (1) as an effective support tool for EFL speaking in authentic contexts and (2) to engage students in exercise as they walk in their environment. Results suggest that using ezTranslate in familiar situations significantly promotes student cooperation, as evidenced by their increased listening and speaking. Furthermore, there were significant differences in English speaking performance and homework aptitude in participants when using ezTranslate with or without authentic contexts. Indeed, this study’s findings emphasize the importance of authentic support for EFL speaking; namely, students’ interests. The familiarity and fascination of students with real contexts can motivate them to communicate in English better and more frequently. As for the effect of exercise on EFL learning, statistical analysis revealed that the more steps students take, the more they practice speaking English. These results are very promising. Creating an interactive medium in which students not only acquire knowledge but also move their bodies promotes brain and body activity vital to their overall health. In the near future, we plan to extend activity design, executing authentic drama-play to sustain effective, healthy EFL learning.

Muhammad Bayu Gumelar, Ajat Sudrajat, Arip Hidayat

Penelitian ini merupakan suatu analisis kualitatif tentang kepribadian tokoh Jamila yang terdapat dalam naskah drama �Pelacur dan Sang Presiden� karya Ratna Sarumpaet ditinjau dari gerakan feminisme liberal. simpulan kepribadian tokoh Jamila; mempunyai kepribadian Koleris; egois, emosional, pemberontak, orang yang bisa berkomunikasi secara terbuka dengan orang lain, berorientasi pada tujuan, mempunyai kualitas kepemimpianan sejak lahir, mempunyai sikap menantang, keras kepala, bebas, mandiri, disipin dalam hidup, mengoreksi yang tidak benar, serba memaksa, membuat keputusan dengan segala konsekuensinya, mengambil kuasa dengan cepat dan tegas, lebih tertarik mencapai tujuan daripada menyenangkan hati orang lain, kurang ramah tamah, jujur, ingatan kuat, imajinasi kuat, rasa benci kuat, jarang dicintai, banyak orang takut padanya, sulit memahami titik tolak pemikiran orang lain, berjuang sampai tujuan tercapai, pikiran diisi tujuan cita-cita dan rencana, orang yang tekun bekerja, daya tahan kuat, lebih banyak menyelesaikan pekerjaan dari watak lainnya. Kepribadian tokoh Jamila ditinjau dari Gerakan Feminisme Liberal; (1) perempuan harus berpikir rasional, perempuan tidak lebih lemah dari laki-laki, apabila mendapat represi maka perempuan berhak untuk melawan, (2) menolak pola pikir yang membelenggu untuk tidak mendapat kebahagiaan, (3) memperjuangkan masyarakat agar wajib memberikan pendidikan kepada perempuan seperti halnya pendidikan kepada laki-laki, (4) menolak peran gender yang opresif, yaitu peran yang digunakan sebagai alasan untuk memberikan tempat yang rendah bagi perempuan atau tidak memberikan tempat sama sekali.

Eduardo almeida Santos

O presente trabalho aborda as possibilidades do texto teatral que se constrói a partir do drama moderno até a obra considerada pós-dramática, quando o teatro contemporâneo se vê diante da crise e da possibilidade do fim do drama como elemento norteador das criações de encenação ou de dramaturgia. Logo, os diversos elementos que convergiam na construção deste norte se encontraram em suspensão. Ao refletir sobre uma série de obras cênicas contemporâneas, uma das saídas apontadas e analisadas por este estudo será o uso e o conceito da “Ironia” principalmente no texto Insulto ao público, de Peter Handke. É a ironia que atua no imperfeito, no contraditório e no vazio – que são partes constantes da dramaturgia de nosso tempo.    

Juan José García-Noblejas

When reasoning about the stories and dramas of television series, it is useful to resort to an ethical and anthropological criterion. This approach calls for distinguishing between an anthropological reason applicable to people in the real world and the dramatis personae. There are two coherent anthropological behaviors that may contribute to a viewers’ active position. The first one is to consider that Aristotle's Poetics and the contemporary extension of his content can rationally account for those stories and dramas, today precisely qualified as ‘tragic’. The second one is to understand the real world and its dramatic representations, in accordance with the Leonardo Polo’s transcendental anthropology, the vision which Jürgen Habermas finds in religions, and Joseph Ratzinger - articulating reason and faith - has summed up as living veluti si Deus daretur.

A. Gaudreault, T. Barnard (trad.), B. Soto Vázquez (trad.)

<img src="/public/site/images/marta/227.JPG" alt="" />

Nicola, Christian

O que é carisma? O que atrai a atenção do espectador? O que caracteriza a capacidade de atuar? Essas perguntas desafiaram muitas pessoas. As respostas são fundamentais para muitos aspectos além do teatral. A maioria dos estudos foi feita sobre aspectos estéticos e práticos, sobre estruturas de interpretação do texto. Alguns autores e pesquisadores conseguiram compreender a conexão com o misticismo e a fé. Atualmente, a fronteira da pesquisa é descobrir evidências empíricas, tanto científicas como fisiológicas, para produzir um método que represente nosso tempo: a era das conexões digitais. O corpo não esquecerá: ele evolui.

Marlini Dorneles de Lima, Renata de Lima Silva

Este artigo apresenta uma reflexão acerca da investigação cênica e performance do trabalho “Entre raízes, corpos e fé”, em que se investigou poéticas para a cena da dança na contemporaneidade, pautada em matrizes estéticas presentes nos saberes e fazeres tradicionais das mulheres do cerrado e no cotidiano de seus corpos. Para isso, apresenta algumas itinerâncias percorridas pelas artistas pesquisadoras no processo de criação, considerando a potência do encontro, das corporeidades e das abordagens estéticas construídas na trajetória de pesquisa do Núcleo Coletivo 22.

Roberto Alonge

This essay deals with the practice of the workshop, which always bewitched Luca Ronconi. Recently, Ronconi organized in Umbria, with Roberta Carlotti, the Centro Teatrale Santa Cristina, where he directed the approach to two plays of Pirandello, Sei personaggi in cerca d’autore (laid out in 2010 and 2011, before to turn into the mise-en-scène seen by Roberto Alonge in Milan, in October 2012) and L’innesto (born in 2012, perhaps destined for a brilliant future on the stage also). They are a double expression of the interest that Ronconi attaches to Pirandello, an author not very loved in the past by Ronconi. The Grand Master of the Italian theatre revises the Pirandellian texts, but his reworking focuses attention to the secret sensibility of the dramatist, between maternal instincts and incestuous reveries.

Robert Sixto Sinnerbrink