Artykuł jest recenzją książki Polifonia: Rzecz o pracy twórczej Teatru Węgajty pod redakcją Katarzyny Kułakowskiej, wydanej przez Instytut Sztuki PAN w 2023. Autorka poddała analizie konsekwencje przyjętych metodologii badawczych, strukturę publikacji i układ tekstów w poszczególnych częściach tomu oraz omówiła wyłaniające się w toku lektury główne bloki tematyczne i zagadnienia, które są szczególnie interesujące w kontekście współczesnych postulatów tworzenia historii teatru i krytyki instytucjonalnej.
Dramatic representation. The theater, The performing arts. Show business
We study and classify representations of a torsion group $G$ over an idempotent semifield with special attention on the case over the Boolean semifield $\mathbb{B}$. In subsequent work we extend this theory to studying representations of matroids of low rank.
To a finite group $G$, one can associate several notions of dimensions (or degrees). In this survey, we attempt to bring together some of the notions of dimensions or degrees defined using representations of the group in General Linear Groups and permutation groups. These are embedding degree, minimal faithful irreducible character degree, minimal faithful permutation representation degree, minimal faithful quasi-permutation representation degree and essential dimension. We briefly present the progress in understanding these notions and the related problems.
Este artigo examina práticas comunicativas e modos de produção do processo de criação do grupo de dança e performance GRUA Gentlemen de Rua, no período da crise de 2020, observando procedimentos criativos que se cruzam com meios audiovisuais e com o uso do ciberespaço, investigando se essas relações se caracterizam como ações de resistência e reinvenção. Para isso, discutem-se documentos gerados pelo Grupo, como projetos, anotações, roteiros, filmes, sites etc. A fundamentação teórica estrutura-se a partir da teoria crítica dos processos de criação de Cecilia Almeida Salles e propõe diálogos com Edgar Morin, Pierre Musso, Zygmunt Bauman, Josette Féral e Vincent Colapietro, entre outros.
<p>[para. 1]: "A dramatic life isn't easy, but it makes good poetry. I remember walking the streets of San Francisco with Anselm Berrigan. We were learning to be poets, comparing survival notes and sharing the insights of neophytes who are unified in a struggle to comprehend the mysteries of their chosen paths. I was working through the theoretical tangles of Language Poetry, flexing my intellectual stamina on turgid translations of French prose. Anselm balanced my cerebral conditioning with pages of James Schuyler and Frank O'Hara. We traded poems, sat up late listening to Guided by Voices, Nirvana or Pavement, pints of beer tucked in our palms."<br> </p>
We develop a representation theory approach to the study of generalized hypergeometric functions of Gelfand, Kapranov and Zelevisnky (GKZ). We show that the GKZ hypergeometric functions may be identified with matrix elements of non-reductive Lie algebras $\mathfrak{L}_N$ of oscillator type. The Whittaker functions associated with principal series representations of $\mathfrak{gl}_{\ell+1}(\mathbb{R})$ being special cases of GKZ hypergeometric functions, thus admit along with a standard matrix element representations associated with reductive Lie algebra $\mathfrak{gl}_{\ell+1}(\mathbb{R})$, another matrix element representation in terms of $\mathfrak{L}_{\ell(\ell+1)}$.
The literature that drives the work of Lia Rodrigues1 - This article presents the readings that inspired the work of choreographer Lia Rodrigues (1956), starting in the 1990s and ending with her 2016 piece, For the sky not to fall. The study lists works of fiction and non-fiction, including literature, philosophy, and anthropology, which served as triggering devices for the works’ dramaturgies, while still not seeking to translate the written word in linear or narrative form into dance. The analysis presents this choreographic unfolding, which eschews a conventional reading, to achieve bodily states in the dancers. The collection of readings is presented in relation to the company’s repertoire, proposing dialogues between text fragments and dance.
O artigo objetiva investigar a corporeidade na linguagem da palhaçaria, traçando cruzamentos entre a atuação cênica do palhaço e conceitos filosóficos como afectos, afirmação de vida e subjetividade. Esse trabalho parte do diálogo entre conceitos da formação em palhaço e suas possíveis relações com a filosofia deleuzeana. Conclui-se, assim, que a corporeidade do palhaço dinamiza potências e problemáticas que devem ser experienciadas na prática da atuação e do pensamento, instâncias não distintas onde não se pode distinguir entre palhaço e espectador quem afeta e quem é afetado.
Palavras-chave
Palhaçaria. Corporeidade. Afetos. Afirmação de Vida.
The concept of sexual harassment originated in North America in the 1970s thanks to the feminist movement, which focused the attention on the abuses that women suffer from men in the workplace. The notion soon became part of the North American public and legal discourse and spread to Europe, where the interpretation of the phenomenon differs depending on the national context. This article traces the evolution of the concept of sexual harassment in the workplace through the analysis of the theoretical interpretations and the feminist debate on the subject. The literature suggests that the different approaches to sexual harassment in North America and Europe depend on historical and political factors that have influenced the national legislations’ development. Moreover, the feminist debate criticises punitive approaches that ignore the systemic dimension of the phenomenon.
Anthropology, Dramatic representation. The theater
Fra Quattro e Seicento in Europa si assiste a un processo di progressivo cambiamento nella concezione del potere e nell’immagine del signore e del principe. Questo passaggio è l’esito dell’assunzione da parte dei nobili di un nuovo paradigma di comportamenti, non più dettati unicamente dalla natura, ma conformi a una «natura seconda», frutto di processi educativi ispirati a alla rinnovata ideologia umanistica della formazione dell’uomo di potere. In questo contesto la danza, così come appare in particolare in quei depositi di memoria attiva che sono i trattati di danza fra XV e XVII secolo, contribuisce, con altre pratiche sociali, a costruire, in termini relazionali, una nuova forma di mascolinità al potere. Il saggio mostrerà come la danza, guidata, tra l’altro, da una precettistica orientata alla costruzione delle identità di genere, fosse all’inizio dell’età moderna un potente strumento d’incorporazione di valori nel guidare la figura maschile dapprima dall’idea romanza di condottiero e cavaliere a quella di principe umanista; in un secondo momento verso una mascolinità marcata dai tratti della gagliardezza e della leggiadria.
Depuis un processus immersif à Saint-Nazaire en France et la présentation publique de Phonographie maritime à l’Université du Québec à Chicoutimi au Québec, nous voulons sonder et revendiquer le concept de textualité performative. Notre objectif ne consiste pas à cerner définitivement ce que nous entendons par une textualité performative en raison même de sa nature transitoire et de sa forme en connexion (in)constante, mais plutôt à témoigner de l’expérience aurale et écologique qu’elle suscite, puis de la matérialité polymorphe et vibrante qui s’en échappe, convoquant non plus seulement des mots mais aussi un maillage de paysages, de cultures, de scènes, de médias, de corporéités et de sensations.
The article develops its title thesis, which proposes interpreting Kieślowski’s Camera Buff (Amator, 1979), his second full-length feature film, as a revised version of his documentary First Love, made five years earlier. Both films have similar starting points ‒ the story of a couple expecting the birth of their first child. But the conclusion in each case also has something in common and results in the abandoning of a film project. The latter similarity meant that Kieślowski changed the character of the main protagonist in his full-length movie. It is no longer a documentary hero but the film auteur himself. This was probably the essence of the director’s artistic discovery made while shooting Camera Buff. It meant the abandonment of the documentary character when the prolonged relationship with him (and her) proved to be ethically dubious and his (and her) development predictable. At the same time, Kieślowski expressed his own creative experience as the film’s author creating a fictitious character in Camera Buff, inspired by various figures of real ‘prototypes’.
A real representation $π$ of a finite group may be regarded as a homomorphism to an orthogonal group $\Or(V)$. For symmetric groups $S_n$, alternating groups $A_n$, and products $S_n \times S_{n'}$ of symmetric groups, we give criteria for whether $π$ lifts to the double cover $\Pin(V)$ of $\Or(V)$, in terms of character values. From these criteria, we compute the second Stiefel-Whitney classes of these representations.
The subject of the article are the poetics of films made in the Lodz Film School in the first years of its existence. Analysis of selected films allows us to trace the metamorphoses of documentary forms which were sometimes parallel to changes being observed in mainstream documentaries, sometimes preceding them, sometimes imitating them. Documentary school films from this period illustrate one of the most important phenomena in the history of Polish documentary cinema: the transition from a persuasive document to an observation film whose poetics are the basis for defining the documentary in Poland.
Let $k$ be a field, $A$ a finitely generated associative $k$-algebra and $\operatorname{Rep}_A[n]$ the functor $\operatorname{Fields}_k\to \operatorname{Sets}$, which sends a field $K$ containing $k$ to the set of isomorphism classes of representations of $A_K$ of dimension at most $n$. We study the asymptotic behavior of the essential dimension of this functor, i.e., the function $r_A(n) := \operatorname{ed}_k(\operatorname{Rep}_A[n])$, as $n\to\infty$. In particular, we show that the rate of growth of $r_A(n)$ determines the representation type of $A$. That is, $r_A(n)$ is bounded from above if $A$ is of finite representation type, grows linearly if $A$ is of tame representation type and grows quadratically if A is of wild representation type. Moreover, $r_A(n)$ is a finer invariant of A, which allows us to distinguish among algebras of the same representation type.
Let W be a Weyl group. We define a new basis for the Grothendieck group of representations of W. This basis contains on the one hand the special representations of W and on the other hand the representations carried by the left cells of W. We show that the representations in the new basis have a certain bipositivity property.
This paper simplifies and further develops various aspects of Tasho Kaletha's construction of regular supercuspidal representations. Moreover, Kaletha's construction is connected with the author's revision of Yu's construction of tame supercuspidal representations. This allows for a more direct construction of regular supercuspidal representations that is more amenable to applications.