The popular Spanish fiction series Money Heist has been seen in more than 190 countries and has won the International Emmy Award for Best Drama. In 41 episodes over five seasons, a group of thieves dressed in red overalls and concealing their faces behind Salvador Dalí masks break into the Royal Mint of Spain and the Bank of Spain with the intention of carrying out an ambitious heist at each location. There are almost no product placements of real-life tourist attractions in the narrative structure of the series. This article discusses whether certain symbolic constructs identified in Money Heist could act as tourism inducers in the same way as the placement of real-life locations, a practice explored extensively in recent research. This study finds a considerable increase in tourist numbers to the Royal Mint of Spain that coincided with a massive rise in searches on YouTube for identifying elements of the series and a significant correlation between those elements and Spanish tourist destinations on Instagram. It thus offers evidence of the presence of symbolic constructs that could serve as inducers of both domestic and international tourism to Madrid.
This article presents the theater scholarship of Irena Sławińska (1913–2004), an eminent humanist affiliated with the Catholic University of Lublin for more than five decades, co-founder of Polish drama and theater studies. The author discusses Sławińska’s research on the language of drama, poetic and religious drama, as well as her methodological proposals for drama and theater analysis, anthropology, and philosophy. The article also describes the scholar’s role in developing relations between Polish and Western theatre studies, especially with regard to Anglo- and Francophone research, and highlights her original contribution to the analysis of anthropological foundations of the idea of theater that refers to classical philosophy and Christianity.
Dramatic representation. The theater, The performing arts. Show business
The article focuses on one of the most critical issues when it comes to cultural heritage, namely the authenticity of a specific cultural practice and its role in the definition of a community identity. A fundamental characteristic for many UNESCO programs, authenticity is formally excluded from the text of the 2003 Convention for the Safeguarding of Intangible Cultural Heritage and from the Operational Directives; yet, in the application of these tools, it is one of the most problematic issues both for the communities of practitioners and for the bodies responsible for the protection of the registered elements, with clear implications of anthropological, political, and economic nature. The contribution reflects on the myth of authenticity and its declinations in terms of “ownership” and “exclusivity” of different cultural practices, approaching the analysis from a dual perspective: the regulatory developments at an international level and the most recent determinations of UNESCO are placed in dialogue with the legal and doctrinal interpretations in the Italian context, restoring the complexity of a subject in which demo-ethno-anthropological skills prove essential for the understanding of the law and its application to the concrete cases of human communities.
Anthropology, Dramatic representation. The theater
Bu çalışmanın amacı, ortaokullarda değerler eğitimine ilişkin öğretmen
görüşlerini ortaya koymaktır. Bu amaçla çalışma, nitel araştırma deseninde ve
durum çalışması modelinde yürütülmüştür. Araştırmanın çalışma grubunu 30
öğretmen oluşturmaktadır. Çalışma grubu ölçüt örnekleme yöntemiyle belirlenmiştir.
Veriler, tümevarımsal içerik analizi ve betimsel analiz tekniği ile analiz
edilmiştir. İçerik analizi sonucunda; değerler, yöntemler ve değerlerin öğretimi
şeklinde üç ana tema belirlenmiştir. Öğretmenlerin görüşlerine göre, ortaokullarda
öncelikle dürüstlük, yardımseverlik, saygı, hoşgörü, adalet, vatanseverlik,
sorumluluk ve çalışkanlık gibi değerler kazandırılmalıdır. Katılımcılar, ortaokullarda
değerlerin öğretiminde daha çok rol-model olma, örnek olay inceleme,
drama tekniği ve öykü anlatma yöntem ve tekniklerinden yararlandıklarını
ifade etmiştir. Katılımcılar ayrıca değerler eğitiminin süreklilik temelinde etkili
bir planlama ve işbirliğine dayalı olarak yansıtma, özendirme ve örnek olma
şeklinde sürdürülmesi gerektiğini ifade etmektedir. Değerlerin öğretim programlarında
kazanımlar şeklinde yer alması, öğrenciler tarafından uygulamalı
etkinliklerle içselleştirilmesi, öğretmenler, yöneticiler ve velilerin öğrencilere
örnek olması gerektiği önerilmiştir.
Philosophy. Psychology. Religion, Philosophy of religion. Psychology of religion. Religion in relation to other subjects
Este ensaio objetiva problematizar a paisagem como noção operacional em Artes da Cena. Reflete-se sobre a paisagem no teatro de Gertrude Stein como paradigma para uma cena arquitetada desde uma forma correlacional. Depreende-se, então, que a paisagem na sua condição exemplar pode operar como uma poiética teatral percebida na sua integralidade, nas suas materializações e nos seus possíveis sentidos imaginários.
This paper completes the original Script Drama Analysis article (Karpman, 1968) that first introduced the Drama Triangle, Role Diagram, and Location Diagram into TA script literature. As did the previous article, this script theory paper also creates ‘as many new ideas as possible’ to continue Berne's legacy of invention by brainstorming as he taught his followers in his weekly Tuesday night seminars ‘Think Tank’ in San Francisco in the 1960s. (Karpman, 2014).
New game and script theory are woven into novel combinations, to open doors and inspire additional new script theory. Included are: a) 15 new scripting drama triangles including the Palimpsest, Redecision, Transference, Freudian, Existential, Miniscript, Biodynamic, and Darwinian Drama Triangles; b) A family games analysis including the child's Redecision Triangle, the Script Game, Script Scene, Script Scene Imago and Dysfunctional Family Analysis; c) Two new script formulae for the Script Game Payoff; d) Three new internal and external Script Energy Drive Systems; e) Three new script reinforcement systems: Script Formula G, Script Formula P3. and a Miniscript Drama Triangle; f) A new three-cornered Darwinian instinct; g) Six new Existential Continuums; and h) Four combination three level script teaching diagrams.
This study is aiming at developing aesthetic learning design with a systemic approach to achieve educational value in performing arts. The study was conducted by employing research & development approach, consisting of stages, i.e. (1) identifying learning objectives, preceding by need assessments, (2) doing learning analysis, (3) analyzing students’ behavior and characteristics, (4) identifying specific learning objectives, (5) developing learning outcomes assessment tool, (6) developing learning strategy, (7) selecting and developing learning material, (8) designing and evaluating formative learning design, and (9) designing and conducting summative evaluations. The results of this study are a set of aesthetic learning implementation plan with a systemic approach that meets the development criteria. The aesthetic learning design has been tested and tried out; and is effectively able to achieve the learning objectives of the aesthetic course in university; namely, students are able to find the value of education in performing arts and foster aesthetic sensitivity.
This is an introduction to a eight essay section on the Shakespeare Authorship Question. The introduction suggests that there are significant irregularities in the traditional biography, that the authorship question has a history of some 400 years and that among its adherents are notable figures in many fields from Henry James, Walt Whitman, Sigmund Freud and Mark Twain to Tyrone Guthrie, Derek Jacobi and Mark Rylance. It is argued that, should a different author be identified, the contexts of the plays—social, political, sexual—would possibly change leading to new insights in staging them.
Study on Drama entitled “Perlawanan Diponegoro” or “Diponegoro Insurrection” by Lephen Purwanto is aiming at deeply digging the semiotic meanings attached to it. This study employed Keir Elam’s theatrical semiotics as the approach, while Krippendorf’s content analysis was implemented as the method of study. Citing from Krippendorf, content analysis is a method that is particularly develop to study symbolical phenomena with a major purpose that is to dig and reveal other examined phenomena, comprising content, meaning, and essential element of a literary work.
The paper gives an insight into the horror fiction genre in Latvian literature, from folklore to modern literary works. Although the horror genre is represented by only a few works in Latvian literature, these works manifest several national characteristics. These characteristics are the main focus of the present study. Although Latvian folklore offers plenty of material for the horror genre, in the form of ghost stories and legends, very few writers have actually exploited these rich sources in their creative work. The first attempts to incorporate horror motifs into original literary works appear only at the beginning of the 20th century and, surprisingly, they are found in poetry rather than prose. The first elements of the horror genre in drama appeared in a play by Jānis Rainis. Prose was the last literary form where elements of horror fiction appeared. Short story writers first used elements of legend and folklore in a symbolic and allegorical manner, and only as late as the 1920s did they start to incorporate the supernatural without explaining it away rationally. Under the Soviet regime development of the horror genre stopped altogether, since it was unacceptable to the ruling system. The next traces of the horror genre began to appear in Latvian literature only in the 1970s and 1980s. New horizons opened when national independence was regained in 1990.
El texto que aquí presentamos invita a considerar la relación que puede ser establecida entre la tragedia ática y la tradición mítica griega. Luego de describir las condiciones culturales que hacen posible dicha relación, pasamos a formular la idea de que la fiesta religiosa dionisíaca organizada en forma de concurso teatral se fundamenta en un proceso de reaprehensión mítica que sirve de sustento al drama en general, y a la tragedia en particular. Solo que, a nuestro juicio, y tal es la conjetura que formulamos, la reaprehensión del mito que conduce al nuevo ordenamiento poético denominado tragedia entraña tres fases: a) de selección y modificación; b) de reestructuración; y c) de codificación. La consideración de los aspectos sociales y artísticos de cada una de estas fases contribuye a dotar de sentido la conjetura expuesta.