Hasil untuk "Dramatic representation. The theater"

Rebecca Free, Mark Ingram

              Given that our current environmental crisis is, as Amitav Ghosh argues, “in every way a collective predicament”, a critical question for discussions of the ecological impact of the arts is their role in fostering the kinds of collaborative forms of action called for to address environmental challenges. Such discussions include Baz Kershaw’s criticism of the anti-ecological “production of spectators” by theatres, and Brian Kulick’s more recent argument that theatre generates moments of collective attentiveness that might contribute to collaboration beyond the performance event.                Here, drawing on recent scholarship on the commons and commoning, we examine site-specific environmentally-focused performances in which the collaborative engagement of non-artist participants was a central part of the creative work. All set in social and environmental interstitial sites, these works constitute a mode of performance that integrates social collaboration and environmental aims and grounds these within an urban social framework extending beyond the time of the performance event. We examine the key aesthetic strategies employed in addressing the specific social and historical context of Marseille, and we look to identify the most important factors shaping their contributions to the city as a site of collaborative approaches to environmental issues.

Maíra Santos

Crítica ao espetáculo Macacos 

Elena Sinibaldi, Alessandro Simonicca

Twenty years after the adoption of the 2005 UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions, this article introduces and critically frames a dossier of studies that examine its theoretical foundations, operational implications, and contemporary developments. Starting from an acknowledgment of the polysemic nature of the concept of heritage—particularly intangible cultural heritage—the contribution brings the 2005 Convention into dialogue with the 2003 Convention, highlighting the shift from a logic of safeguarding and promotion to one of protection of cultural diversity within the global circuits of cultural and economic value production.

Alexander Kushkuley

Identities of complex irreducible representations of finite groups can be explicitly constructed from character value sets. Among other things, these identities determine representations up to Gassmann equivalency. Some examples of identities related to spherical space forms and to representations of finite $p$-groups are presented. Some old results on irreducible representations with the same identities are revisited

G. Lusztig

Let W be a Weyl group. In my 1984 book a group was attached to any special representation of W using the theory of Springer representations. In this paper we give a new definition of this group which is purely algebraic (no use of geometry is made).

Cleiton França de Almeida

Este artigo tem como objetivo pensar as especificidades das performatividades de gênero de corpos dissidentes que praticam performances de samba no Rio de Janeiro. Propõe-se uma reflexão sobre reinvenções sociais nas escolas de samba e sobre como a potencialidade de criação intrínseca ao samba, entendida em termos benjaminianos como sua aura, precisa ser retomada na contemporaneidade. A partir dos conceitos propostos por Walter Mignolo, de pensamento liminar e diferença colonial irredutível, de cruzo, intersecções de Simas e Rufino, discutem-se os entrecruzamentos entre os estudos queer e os contextos locais de raça e de classe. Por fim, elabora-se uma proposta para pensar os corpos dissidentes que sambam a partir do que se nomeia como a teoria Cuíca.

Maša Radi Buh, Nik Žnidaršič

Prispevek si za osnovo jemlje razmerje med kulturo ukinjanja (angl. cancel culture) in z njo povezano politično korektnostjo ter komedijo in to razmerje natančneje artikulira ter ga vpne v družbenopolitični kontekst. Teorije komedije, komičnega in humorja izpostavljajo dve različni interpretaciji oziroma funkciji teh žanrov: po eni plati je lahko orodje družbene normativnosti, saj s humorjem, usmerjenim proti delom družbe, ki deviirajo od fiktivnih norm, te dele družbe disciplinira, po drugi plati pa lahko prav takim sistemom tudi nasprotuje, ko s komičnostjo razkriva, »da je cesar pravzaprav gol«. Zgodovina kulture ukinjanja izvira iz historičnih družbenih interakcij temnopoltih Američanov, ki so bile komično naravnane. Podton komičnosti je zaznamoval tudi začetni pojav tega termina, ki se je prvič pojavil na družabnem omrežju Twitter v tvitih temnopoltih Američanov leta 2014, šele z razširitvijo med druge družbene skupine in z vstopom v popularno kulturo pa je dobil današnji pomen; s ciljem umika javne podpore posameznikom, znamkam itd. zaradi percipiranega neprimernega ali spornega vedenja. Stališče, da je komedija v katerikoli obliki absolutno »sveta« in »nedotakljiva«, je le posledica meščanske koncepcije avtonomije umetnosti, ki ji odreka vsakršen politični naboj ter poskuša prikriti razmerja družbene moči, ki so na delu znotraj postopkov komičnega.

Mostefa Boulanouar & Ali Krim

Abstract : Sarcasm is an inherent tendency in the dramatic conscience since the early beginnings of theatrical practice, as it is a human expressive representation through its interaction with the various events and phenomena presented to it that provoked different reactions from the human being. Since theater is a collection of presentations of various human phenomena, it was self-evident that it carries. It contains satirical tendencies about what a person rejects or deplores, whether behaviorally or intellectually. The satirical style in theater is the result of the dramatic moment, but a tendency that has its beginnings and its founders, members, and even its pioneers. Although the father of arts was of Greek origins, the same origin is satire in the theater, and it became linked to the Greek dramatist Aristotle, and he was not alone in drawing it in any way, but his contemporaries recognized his excellence in it. He enabled it within his theatre, and allowed it to emerge as a special phenomenon, and this is evident through the play “The Frogs,” which was considered the opening and beginning of the satirical activity in the theater, after which dramas continued in the same manner. Aristotle considered that his goal in writing the play “The Frogs” was not merely to arouse laughter. The reason he turned to ridicule was the corruption that prevailed in society during the Peloponnesian War, but the goal was to reform that corruption after spreading it among the public, and ridicule is a beneficial and common good. And it wasn't Algerian theatre with an innovation of saying that it pursues a satirical tendency through its dealings with the issues that were presented to the Algerian person through his historical and cultural process, this art in Algeria He started laughing / being sarcastic with Juha's play for its companions, Alalo 1926, followed by performances, sketches, and improvisational skits for the purpose/goal of criticizing the social behaviors that prevailed in Algerian society during the colonial/destiny era. Through this research paper, we will present an Algerian textual model in which satirical tendencies were a basic path for displaying its expressive foundations and pictorial references, which is the text “The Unhappy and the Sleepy” by Azzedine djelaoudji with its rejection of many of the values that have come to characterize many collective as well as individual behaviors. Keywords: Théâtre, satire, humor, social values, Intellectual representations.

Andréia Vieira Abdelnur Camargo

Este artigo aborda a relação entre dança e música a partir de um experimento tecnocultural que faz uso de elementos performativos do Bumba Meu Boi maranhense. A pesquisa cruza uma investigação mediada por tecnologia a discussões advindas dos campos da Musicologia, da Antropologia, das Artes Cênicas e de palavras de mestres de comunidades tradicionais. Busca-se descrever e compreender como performances culturais afro-brasileiras congregam fenômenos de multimodalidade, multicoordenação e vizinhança como fatores indispensáveis na construção de um saber corporificado, integrado e complexo, indicando inseparabilidade entre corpo, dança e música.

Yongliang Sun, Yaohua Zhang

Based on the recent works of M. Saorin and A. Zvonoreva on gluing (co)silting objects and of L. Angeler Hugel, R. Laking, J. Stovicek and J. Vitoria on mutating (co)silting objects, we first study further on gluing pure-injective cosilting objects in algebraically compactly generated triangulated categories and gluing cosilting complexes in the derived categories of rings. Then we discuss the compatibility of cosilting gluing and cosilting mutation.

Amandine Mercier

La présence de l’enfant est manifeste dans les pratiques et créations de La Societas Raffaello Sanzio, compagnie théâtrale expérientielle italienne. Du processus de création à la scène, de la poïétique à la praxis, l’enfant apparaît comme l’un des protagonistes majeurs des recherches dramaturgiques, participe activement aux démarches créatrices et occupe un rôle prépondérant dans les performances scéniques. Qu’il en soit spectateur, acteur ou sujet d’expérimentation, l’enfant est à la fois l’origine et l’enjeu, le modèle et l’imago du théâtre laboratoire de la compagnie. Son errance est le moteur de l’école expérimentale de Théâtre de Jeunesse des Castellucci et permet de créer, développer et tester une méthode singulière de vivre-ensemble par l’art, dans laquelle l’enfant est en action dans son rapport aux corps- voix, à l’Autre et au monde et déploie son sens critique à la contemporanéité.

Sylviane Guilherme, Silvia Aparecida de Sousa Fernandes

The text presents a critical analysis of the roots of dance from the perspective of historical and dialectical materialism, the formulations of Marx and Engels, and of the Marxist aesthetes who followed them, proposing a study of the concept, reason and purpose of dance for the human race. It approaches themes such as work as the founding category of the human being. It then discusses human body movement as free creation work, intentional body movements of work and the process of their transition into dance movements. Finally, based on studies on human manifestations developed on the aesthetic level, it shows how the human being arrived at dance as art.  

Simon Roby

With each resonance of the Laplacian acting on the compactly supported sections of a homogeneous vector bundle over a Riemannian symmetric space of the non-compact type, One can associate a residue representation. The purpose of this paper is to study them. The symmetric space is assumed to have rank-one but the irreducible representation τ of K defining the vector bundle is arbitrary. We give an algorithm that aims at determining if these representations are irreducible, finding their Langlands parameters, their Gelfand-Kirillov dimensions and wave front sets. As an example, we apply this algorithm to the Laplacian of the p-forms in the cases of all the classical real rank-one Lie groups.

Belén Buendía

This article examines corporal mimesis, a technique created and developed by LUME Teatro. The objective is to explain how, with this technique, the performer poetically embodies different stimuli that are found in everyday life, be they people, images, voices, sounds, animals, or even texts or monuments. The concepts of mimesis, observation, and affectation, which form the basis of this practice, are discussed. Then, different experiences with corporal mimesis are described. Finally, it is concluded that this technique is an open field for exploring acting, which is found in an intermediate place between creation and training based on the sensorial universe of the artists who develop it.

Georges Banu

Le Zeitgeist définit ce qui se constitue en “esprit “propre à une époque et que certains artistes captent dès ses premières manifestations annonciatrices. Ils sont les précurseurs. Ensuite, lorsque s’engage la diffusion de l’esprit du temps d’autres artistes empruntent cette voie et agissent en lanceurs qui oeuvrent à sa reconnaissance. L’étape suivante consiste dans la conversion en “mode” de l’esprit du temps qui se généralise grâce aux suiveurs qui, eux, précèdent les imitateurs ceux qui s’affilent à ce est échoue désormais un stéréotypie de la modernité. On doit évoquer a contrario des phénomènes de résistance représentés soit par des artistes qui adoptent une position esthétiquement intégriste soit par des artistes irréductibles, réfractaires aux métamorphoses propres à l’esprit du temps.

Julien Rajaoson

O pensamento pós-colonial é uma epistemologia crítica - que podemos qualificar como radical - que provém da missão civilizadora do colonialismo, de sua matriz e de seu legado. Ao contrário daquilo que o prefixo do termo pós-colonial faz supor, essa reflexão não pode ser reduzida apenas à análise de situações cronologicamente posteriores ao momento colonial. O objeto da crítica pós-colonial é a grande narrativa racionalista, linear e secular enunciada pela filosofia iluminista, por trás da qual se encontra uma visão unilateral e linear de um devir histórico que seria idêntico e válido para todas as nações. Apesar de sua pretensão universalista, a filosofia iluminista não consegue - ao que parece - transcender seu lugar de palavra: ela assemelha-se mais a uma tendência de como perceber o mundo por intermédio do ponto de vista europeu, ou ocidental, do que a uma filosofia propriamente dita.

Carlos Eduardo Silva

O presente artigo aborda os grupos de teatro como os genros de uma sogra nada indesejável, Mnemôsine, a deusa da memória, por isso, são núcleos importantes da memória do Teatro Brasileiro, restaurada e enriquecida constantemente. O conceito de memória é observado não apenas como a trajetória artística dos coletivos, mas como um saber adquirido que conserva as diversas experiências vivenciadas pelos membros de um grupo, seu conhecimento prático e sua maneira peculiar de fazer teatro. Além disso, a memória é tomada como uma força dinâmica, adquirida e aperfeiçoada essencialmente pelo convívio no grupo, em razão do caráter comunitário da construção dos saberes e cuja potência dependente da estabilidade da formação do coletivo articulada com estratégias de registros documentais que possam ser transmitidos às gerações subsequentes e aos novos participantes, de modo a manter vivos os princípios éticos, ideológicos e estéticos das grupalidades. As reflexões foram possíveis através da análise das trajetórias do Ói Nóis Aqui Traveiz e da Companhia do Latão. Para tanto foram entrevistados atuantes artistas dos dois grupos. Por fim, observa-se como os grupos em questão enfrentam as pressões econômicas e políticas que são forças que tentam desagregar e destruir as memórias dessas organizações.

A. Vershik, N. Tsilevich

The paper is devoted to the study of some well-knonw combinatorial functions on the symmetric group $\sn$ --- the major index $\maj$, the descent number $\des$, and the inversion number $\inv$ --- from the representation-theoretic point of view. We show that each of these functions generates in the group algebra the same ideal, and the restriction of the left regular representation to this ideal is isomorphic to the representation of $\sn$ in the space of $n\times n$ skew-symmetric matrices. This allows us to obtain formulas for the functions $\maj,\des,\inv$ in terms of matrices of an exceptionally simple form. These formulas are applied to find the spectra of the elements under study in the regular representation, as well as to deduce a series of identities relating these functions to one another and to the number of fixed points $\fix$. \smallskip\noindent {\it Keywords:} major index, descent number, inversion number, representations of the symmetric group, skew-symmetric matrices, dual complexity.

Xuhua He, Sian Nie

In this paper, we study the relation between the cocenter and the representations of an affine pro-$p$ Hecke algebra. As a consequence, we obtain a new criterion on the supersingular representation: a (virtual) representation is supersingular if and only if its character vanishes on the non-supersingular part of the cocenter.

Gabor Elek

We present a novel approach to the representation theory of finite dimensional algebras motivated by the emerging theory of graph limits. We introduce the rank spectrum of a finite dimensional algebra $R$ over a finite field. The elements of the rank spectrum are representations of the algebra into von Neumann regular rank algebras, and two representations are considered to be equivalent if they induce the same Sylvester rank functions on $R$-matrices. Based on this approach, we can divide the finite dimensional algebras into three types: finite, amenable and non-amenable representation types. We prove that string algebras are of amenable representation type, but the wild Kronecker algebras are not. Here, the amenability of the rank algebras associated to the limit points in the rank spectrum plays a very important part. We also show that the limit points of finite dimensional representations of algebras of amenable representation type can always be viewed as representations of the algebra in the continuous ring invented by John von Neumann in the 1930's. As an application in algorithm theory, we introduce and study the notion of testing of parameters of modules over finite dimensional algebras, that is analogous to the property testing of bounded degree graphs introduced by Goldreich and Ron. We shall see that for string algebras all the reasonable (stable) parameters are testable.