Hasil untuk "The performing arts. Show business"

Raquel K. Cirne, Leticia Sophia Rocha Machado

Resumo: O objetivo deste estudo foi analisar narrativas de pessoas idosas sobre suas vivências nas Artes Cênicas, relacionando-as com a ampliação do potencial inclusivo proporcionado pelas Tecnologias Assistivas. Nesta pesquisa, as pessoas 60+ serão abordadas no papel de bailarinas-atrizes em espaços cênicos, pensando-se a adaptação da estrutura e metodologias das TA para atender suas demandas. A metodologia teve uma abordagem qualitativa mediante a qual foram entrevistadas quatro idosas com idade média de 66 anos. O instrumento de pesquisa utilizado foi uma entrevista semiestruturada, tendo como premissa as narrativas das idosas nos grupos de dança em que atuam. Além disso, para a análise de conteúdo, usaram-se os passos de Bardin (2011), permitindo uma compreensão sobre as preocupações das entrevistadas. Os resultados mostram que a participação nestes grupos de dança traz benefícios sobre a valorização e autovalorização das integrantes como produtoras das suas vidas. Na perspectiva das Tecnologias Assistivas (TA), observou-se que há visível falta de infraestrutura que poderia apoiar as expressões artísticas das pessoas 60+ e que são desconsideradas. Além disso, também foi possível observar em ambas as narrativas a importância de se pensar em metodologias adaptadas aos usuários dos espaços cênicos, sejam como público ou artistas, o que abrange também as TA como primordiais nesse processo. Para finalizar, observa-se que as iniciativas artísticas são cada vez mais oportunizadas às pessoas idosas, enriquecendo os processos de envelhecimento ao possibilitar o exercício da subjetividade, sendo necessárias para a mudança de paradigma em diferentes áreas como Educação, Artes Cênicas, Gerontologia, entre outras, destacando-se a necessidade de rearticular os espaços físicos para que possam tornar tais práticas mais efetivas e inclusivas. Palavras-chave: Artes Cênicas. Pessoas idosas. Tecnologias Assistivas. Acessibilidade.

Laura V Martinez

  Drawing from a larger, in-depth qualitative study of thirteen circus acrobats, this study analyzes four excerpts with underlying narratives regarding pain in performing aerial acrobatics. Using Labov and Waletzky’s (1967) guiding framework for narrative analysis and Jeffersonian (2004) transcription, this analysis situates aerial acrobats as belonging to a community of practice in which pain is discursively constructed as a feature of membership and normalized in developing the aerialist identity. How these discourses influence and are reproduced by members’ discussions suggests that pain is expected, accepted and embraced to achieve the skill sets necessary for the performance and fulfillment of their occupational roles. Importantly, this study finds that the meaning of pain is transformed collaboratively through shared pain narratives. These findings suggest that pain fulfills multiple roles and purposes in circus performance that merit further exploration.   En partant d’une étude qualitative et approfondie à plus grande échelle menée sur treize acrobates de cirque, cette étude examine quatre extraits aux récits sous-jacents en rapport avec la douleur associée aux acrobaties aériennes. À l’aide du cadre directeur de Labov et Waletzky (1967) sur l’analyse narrative et de la transcription de Jefferson (2004), cette étude considère que les acrobates aérien·ne·s appartiennent à une communauté de pratique au sein de laquelle la douleur est construite dans le discours comme un trait d’appartenance et normalisée dans le développement de l’identité des acrobates. La manière dont ces discours exercent une influence et sont repris dans les discussions entre les membres suggère que la douleur est inévitable, acceptée et intégrée en vue d’atteindre le niveau d’aptitude nécessaire pour assurer la performance et remplir son rôle professionnel. Surtout, cette étude révèle que le sens du mot « douleur » est transformé collectivement à travers le partage de récits sur la douleur. Ces conclusions font penser que la douleur joue différents rôles et vise des objectifs multiples dans le spectacle circassien qui mériteraient des recherches plus approfondies.

Patricia Fagundes

Este texto reflete sobre a noção de cabarés do sul do mundo, que entrelaça conceitos e procedimentos de criação artística, em diálogo com experiências do processo criativo de dois espetáculos, em um espaço cultural em obras, durante o primeiro semestre de 2023, em Porto Alegre, sul do Brasil. Tanto as montagens como essa reflexão integram o projeto Cabarés do Sul do Mundo, investigação teórico-prática que habita o campo da criação cênica, em diálogos entre arte e sociedade. Uma pesquisa de artista desde o chão do fazer, que entende a arte como modo de pensamento, e o próprio cabaré como modelo est(é)tico e político que pode contribuir nas necessárias transformações de nosso tempo.

Iannis Zannos, Stella Dimitrakopoulou

The present paper investigates aspects of technologically mediated embodied interaction in dance-driven music performance based on an educational collaboration project between a computer music researcher and a dance researcher. We relate the experiences we made during a collaboration with students between two undergraduate courses in Greece, using a system with low-cost wireless sensors to transmit dancers motion over the internet and create sound in real time at remote class locations (Corfu, Nafplion).  Questions explored are: How can we enable students to use sensors as sources of sound control? How can we enable the collaboration of students in groups to create performance structures?  How can we create presentation scenarios meaningful to the public? Furthermore, what are the technical and aesthetic functional constraints for such a collaboration and how can we deal with failure, when unexpected things happen within the constrained framework? We document our engagement with these questions in the course of the collaboration through code examples, diagrams, photographs and videos.  Work methods discussed include the study of Iannis Xenakis work on strategy in comparison with game based strategies in choreography, and the adaptation of existing group improvisation exercises in our telematic framework.   

Mario Alberto Palasi

Los estudios de la escena han sufrido una evolución que concuerda con la importancia que se le ha dado en la historia a las representaciones teatrales. En sus comienzos, la escena, era subsidiaria del texto dramático. El susceptible de análisis y crítica era el texto y la puesta en escena era sólo la presentación del texto en vivo, la interpretación de los actores se debía subsumir a las características del texto y su fuerza. Luego la escena fue tomando importancia hasta llegar a la actualidad donde se ha convertido en la protagonista del convivio teatral. El análisis de la poética escénica es parte fundamental de los estudios teatrales contemporáneos. En este trabajo proponemos una forma de análisis del acontecimiento teatral desde la lectura diversa de los significantes escénicos teniendo en cuenta aspectos de la Filosofía del Teatro propuesta por Jorge Dubatti y los Vectores Deseantes, herramienta que propone Patrice Pavis.

pavleheidler

This is my first attempt at approaching the notion of agency as a practice though the mode of dancing and writing; deconstructing and reconstructing what I know experientially and what I am trying to comprehend theoretically. I am looking for a way of releasing bodily capacities from the jurisdiction of the mind, whose cartesian definition I don't attempt to deny, as most people I have the chance to work with and teach exhibit in one way or another proof of the fact they’ve embodied the concept. All the while, I am considering philosophical texts, anatomical texts, and (science) fiction; I am taking into account my bodily experience, I am dancing and I am writing, I am teaching, conversing, occasionally making progress, occasionally falling back to the embrace of old habits, making unnecessary assumptions, and failing. Repetition is a part of the study. Minimal difference is a part of the study. Changing perspective is a part of the study. My strategy includes not trying to fix but approach with care and attention every step I am taking; every achievement, every set-back; every question and every answer. I assume my learning curve to be cyclical, as I continue to practice in public, always vulnerable but eager to engage in an exchange.

Robson Rosseto, João Vitor Muniz da Silva

Este artigo é dedicado aos estudos das artes cênicas no cruzamento com a psicologia profunda, mais especificamente sobre o conceito de arquétipos e inconsciente coletivo por Carl Gustav Jung. Na criação atoral, a pesquisa aponta meios para emersão de conteúdos do inconsciente do performer em cena (na criação e na execução), conexões entre o ator e o xamã, a partir de práticas que resultam transes/estados alterados de consciências, utilizando como técnica base o exercício e linguagem cênica Campo de Visão, a partir das perspectivas da exaustão física, da coralidade e da comparação com sistemas de treinamento em Jerzy Grotowski.

Christina Banalopoulou

Since the first memorandum “agreement” between Greece and its international creditors in 2010, the “tragedy of the Greek debt crisis” has become one of the most popular narratives that frame Greece’s condition of indebtedness. Highlighting the interplay between appearances of “debt crisis” and notions of tragedy as its point of departure, this essay builds on Nietzsche’s thought and introduces a philosophy of tragedy that understands what appears to be a “debt crisis” as, in fact, a crisis of the creditor’s capacity to reproduce the non-resolvable power relations between them and their debtor. For Nietzsche, in order for the creditor to experiment with their debtor’s appropriation, the creditor stages a series of acts of judgment (κρίσις) that introduce masks and appearances of their debtor’s redemption. In the comments that follow I make the case that Gilles Deleuze and Félix Guattari draw upon Nietzsche’s philosophy of tragedy in order to grasp the interdependencies between performances of evaluation, capitalistic modes of production and the production of infinite debt. Drawing upon Deleuze and Guattari’s readings of Nietzsche’s philosophy of tragedy and Maurizio Lazzarato’s works on Nietzsche and Deleuze and Guattari, I argue that what appears to be a “Greek debt crisis” is a crisis of credit’s capacity to extract profit from infinite debt. Connecting this theorization to the Greek situation, I look at the “YES” and “NO” demonstrations that occurred two days before the Greek bailout referendum of 2015. I contend that while the “YES” demonstration reenacted the infinitization of Greece’s indebtedness to its creditors the “NO” demonstration performed politics that exceed notions of judgment and debt.

Saioa Olmo Alonso

Las propuestas artísticas participativas comportan un tipo de conducta social. Considerar esta como un intercambio nos puede ayudar a pensar qué tipo de comportamientos estamos construyendo los artistas con los participantes en los dispositivos artísticos que planteamos. Para preguntarnos sobre “¿a qué estamos jugamos en los proyectos de arte participativo?” recurrimos a la teoría del análisis transaccional para encontrar mecánicas que a modo de patrones de conducta, nos hablen de eso que buscamos en estos proyectos, lo que satisfacemos y cómo lo hacemos. 

Maria Cristina de Freitas Bonetti

This article outlines the trajectory of Dionysos’ myth, the deity of intoxicating ecstasy and the sacred lyricism, and investigates what distinguish as sacred Dionysian that goes beyond the limits authoritative by moderate Apollo, as well as the rudiments of ritualistic dances and the beginning of the Greek theater . For this, retraces the path of Dionysus in ancient times, exploring the imagery of creation and its various expressions ground of the mythology, the symbolism, rituals and art as conditions for its survival in Classical Greece. The main objective is to demonstrate the syncretic plot of the symbology of these elements in different cultural expressions which are rooted and originate decisions and actions that shape the boundaries between objectivity and subjectivity in the conception of artistic materiality, placing this in the transcendent area that is transfigured in real. In this discussion, it addresses the aspect of Dithyramb and agrarian rituals that revive symbolism, imagery and resignify archaic myths that reactualized and vivify prehistoric rituals in contemporary times.Keywords: Dionysos; Myth; Dithyramb; Greek Theatre; Rituals; Sacred Dances.“The Dionysos’ Mythical Drama: Between The Intoxicating Rapture And Sacred Lyricism”ODRAMA MÍTICO DE DIONISO:ENTRE O ÊXTASE EMBRIAGADOR E O LIRISMO SAGRADO

Karoline Gritzner

The form of tragedy has been central to philosophical projects since classical antiquity, and it gained special critical import as a result of the so-called 'tragic turning within philosophy' during the Romantic period of German Idealism (see Beistegui 2000). The aim of this short paper is to address the notion of aesthetic appearance (semblance, Schein) within aesthetic theory (Theodor W. Adorno) and in contemporary tragic theatre (Howard Barker) and to show that the problem of semblance re-appears as a productive critical category in the current discourse of performance philosophy.

Leticia Paz Sena

Cristiane Bouger

Conversation with Boxing Gloves Between Chamecki and Lerner

Observatorio de Espacios Escénicos Observatorio de teatros en riesgo

El artículo presenta el Observatorio de Espacios Escénicos-Observatorio de teatros en riesgo, a cargo del dossier que introduce. Presenta las líneas de trabajo del OEE-OTR y sus proyectos en curso

Sandra Meyer

O artigo propõe uma reflexão sobre a obra de Vaslav Nijinsky (1890-1950) enquanto ação intempestiva, destacando a ação deste no seu tempo e a forma com que inseriu a dança noutro regime de temporalidade ao utilizar a imobilidade como estratégia de composição. Este artigo analisa a questão da imobilidade em duas das três marcantes obras de Nijinsky: “A tarde de um fauno” [L'après-midi d'un faune, 1912] e “Jogo” [Jeux, 1913].

Aris Wahyudi

Antansena adalah putra Dewi Urangayu, salah satu istri Bima. Dia adalah karakter yang unik di dunia wayang Ngayogyakarta. Sebagai seorang ksatria Pandawa, Antasena mewakili kekuatan dan kebijaksanaan, rendah hati, dan unik. Dia memiliki perilaku yang aneh terhadap saudara yang lain. Dia tidak pernah berkata sopan kepada siapa pun, seperti Bima, ayahnya. Dia memiliki karakter yang khas yang tidak ditemukan dalam tradisi Mahabharata atau tradisi wayang lainnya. Keberadaannya dilengkapi dengan karakternya, sejarah, dan kehidupan dari lahir sampai mati di dunia. Antasena yang benar-benar dibuat untuk menempatkan ide. Melalui mitologi wayang, karakter Antasena dari aspek kedatangannya adalah identifi kasi laut sebagai budaya Jawa akan menjelaskan konsep ’Jembar Tanpa pagut’, kualitas jiwa yang harus dibangun oleh orang Jawa untuk menghadapi kehidupan. Melalui hubungan analogi tersebut, kehidupan nyata orang Jawa harus memahami diri mereka ke tempat itu. Kata kunci: Antasena, wayang, konsep ’jembar tanpa pagut’ ABSTRACT The Antasena Play: ”Jembar Tanpa Pagut” Concept in Wayang Ngayogyakarta Tradition. Antansena was Dewi Urangayu’s son, one of Bima’s wives. He was a unique character in Ngayogyakarta wayang world. As a Pandawa knight, Antasena represented a powerful, wise, low-profi le but unique knight. He had such an odd behavior against his other brothers’. He never said politely to anyone, just like Bima, his father. He is the specifi c character in Ngayogykarata wayang tradition, because it will not be found in Mahabharata tradition or other wayang traditions. His existence comes with his character, history, and life from birth to death in wayang world. As a culture, Antasena is absolutely made for placing an idea. Through wayang mythology, a mean in Antasena character from his coming aspect is an identifi cation of ocean as Javaneses culture would explain the concept of ‘jembar tanpa pagut’, a soul quality which must be built by Javaneses to face life. Through such analogy relation, Indonesian’s real life (especially Javaneses) should understand themselves to place it. Keywords: Antasena, ocean aspect, ”jembar tanpa pagut” concept, life quality perfection leading.

Sunyata -

Tri Ubaya: Intermediality From Wayang to Karawitan Performance. Karya ini merupakan alih wahanadari pertunjukan wayang kulit menjadi pertunjukan karawitan. Cerita wayang lakon Alap-alapan Kunthi sayaalih wahanakan menjadi pertunjukan karawitan. Cerita ini dipilih karena di dalamnya terdapat peristiwa yangdahsyat, ucapan Dewi Gendari yang berisi tiga janji (tri ubaya) menjadi cikal bakal perang Barata Yudha. Komposisikarawitan ini mengalihwahanakan suatu tokoh, suasana, karakter, dan peristiwa dalam pertunjukan wayang menjadikomposisi karawitan.

Sarah Whatley

No abstract available. This article was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 1 (2010), Parallel Press. It is made available here with the kind permission of Parallel Press.

Barbara Meazzi

Traducción: Beatriz Trastoy "Nei e cicisbei" e "Il baro dell'amore" son las dos únicas obras teatrales escritas en 1920 por Amalia Guglielminetti, quien desarrolló su actividad artística en Italia pero, sobre todo, en su Turín natal, a partir de los años 10 del siglo XX. El objetivo de este ensayo es analizar ambos textos prestando particular atención a las imágenes femeninas puestas en escena por la autora y poniendo de relieve los eventuales contenidos vanguardistas de su escritura dramatúrgica.

Marta Fik

What postulates with regard to theatre are put forth by the dramaturgy of an author regarded as a nihilist and an antichrist of culture? The dramatic works and theoretical statements of Tadeusz Różewicz challenge all theatre conventions, targeting fashions, snobberies, and habits. At the same time, they consistently attempt to develop an aesthetic that best reflects the characteristics of the contemporary world. The negation of the dominant modes of constructing protagonists or action in drama not only reflects the chaos and disintegration of the surrounding reality, but also brings attempts at creating new model situations in which Man and Humankind have found themselves. Różewicz’s new protagonists – ageless, faceless, nameless, unindividualized and mechanized – influence the character of the action or lack of action in his dramas. The “openness” of the internal composition has varying degrees, and the “looseness” of the construction does not imply randomness or arbitrariness. Różewicz is consistent in exposing stereotypes at the word, sentence, and dialogue levels, while at the same time images created in stage directions occupy an increasing amount of space in his texts. Due to his lack of confidence in lengthy dialogues, his drama annexes extra-verbal territories. The freedom that Różewicz leaves to the producers is therefore highly limited.