Hasil untuk "Dramatic representation. The theater"

Louise Frappier, Marie-Christine Lesage, Émilie Martz-Kuhn et al.

Laura Kirshenbaum, Alix de Morant

Imaginée en pleine pandémie de COVID-19, alors que les portes des théâtres étaient closes, la déambulation chorégraphique In the Garden (2023) est née d’une promenade au jardin des plantes de Montpellier. Après une première résidence in situ informée par la rencontre avec les jardiniers prenant soin de celui-ci, cette oeuvre participative qui invite les publics à renouer avec l’expérience du sensible a évolué en fonction des différents jardins botaniques où elle a été programmée. Chaque nouvelle édition a été l’occasion d’une immersion dans ces écosystèmes particuliers, véritables poumons urbains, comme d’une réflexion sur le passé controversé et le devenir climatique de ces conservatoires de la biodiversité. Et, parmi d’autres gestes d’approche, c’est l’écoute profonde qui a été privilégiée pour se relier à ces milieux interspécifiques, où tout le vivant respire et conspire ensemble.

Vladimir Mirodan

Adopting the perspective of recent findings in psychology, this article examines the complex ways in which the personalities of individual actors and directors affect their interpretations of dramatic material. The article asks: How is it that in the crucible of the rehearsal room certain interpretative decisions “feel right” and others do not? What are the forces that shape these pre-reflexive processes? When taking interpretative decisions that can shape a performance or even an entire production, where does the balance lie between deliberate reflection, enculturated habits, and non-conscious processes? Are the latter rooted in our personalities? In search for answers, the article outlines the considerable effect genetic and epigenetic factors (“temperaments”) as well as inherited “tribal attitudes” have on the formation of personality. The article concludes by asking whether we need to look again at actor training in the light of advances in the psychology of individual differences and suggests a way for the practices of our training studios to renew themselves so as to reflect the findings of the new psychology.

Ivan Delmanto

This essay analyzes the narrative of the process of creating a Hamlet staging, conducted by the character Wilhelm Meister in Goethe’s novel Wilhelm Meister’s Apprenticeship. The essay is based on the concept of self-formation (bildung), present in the book and also in other works by the German author, to trace relations between the theatrical creative process and its historical context. It also seeks to present the creative process described in the novel as a kind of synthesis of multiple concepts developed by German and European theater in the 18th century, showing the dialectical inspiration of the theatrical journey narrated by Goethe.

Jolanta Dygul

This article analyzes three plays published by Gennaro Sacco, a dell’arte actor-playwright who visited the Polish royal court in 1699. Sacco became famous for his role as Coviello. He initially performed in Naples, then in the northern part of the Apennine Peninsula, and, like many Italian actors, he offered his talent to various European rulers (in Celle, Warsaw, Madrid). We hardly know anything about his stay at the Warsaw court of king Augustus II; there are no sources that would reveal the repertoire or the names of troupe members. What is extant, however, is the dramatic text of Commedia smascherata, ovvero i comici esaminati, published in Warsaw. The analysis of this play against the background of its two predecessors, published by Sacco in Italy more than a decade earlier, contributes to our knowledge of role structure, distribution, and variation in dell’arte theater. It also helps iden­tify the impact of local conditions on the work of travelling Italian dell’arte artists.

Daniel Ribeiro Fernandes Aleixo

O presente artigo expõe os elementos que legitimam o teatro musical takarazuka, fundado no início do século XX, como linguagem performática. Parte-se de dois espetáculos, Rosa de Versalhes e Era uma vez na América, destacando três elementos de análise: metodologia de atuação, atmosfera cênica e performance de gênero. Infere-se a subversão do papel da mulher como artista e a negociação entre os padrões de gênero atuais por meio de pequenas reinvenções e atributos técnicos herdados. A performatividade takarazuka recorre a escolhas artísticas e comerciais que promovem a fricção e a fantasia dos gêneros, além de alinhar preceitos políticos da era feudal ao modernismo.

Véronique Basile Hébert

Torgeir Wethal, Raphaëlle Doyon

O Treinamento deve ser um Processo Vivo: uma entrevista com Torgeir Wethal

Tobi Poster-Su

In my short, filmed puppetry performance Chang and Eng and Me (and Me) (2021), the audience witness the construction, manipulation and destruction of figures representing the Siamese-Chinese conjoined twins Chang and Eng Bunker. These processes mirror the formations and transformations of identities that Chang and Eng underwent as diasporic individuals in Siam, on tour in Europe and as naturalised U.S. citizens. In this essay, I analyse these examples from my own practice to propose a framework for critical puppetry and to assert its value as an embodied form of inquiry and resistance.

Marco Tondello

Il fenomeno della diffusione dei social network non è estraneo al contesto artistico: teorici, filosofi e artisti hanno indagato a lungo sui suoi molteplici aspetti, evidenziando le criticità e interpretando gli effetti che ha provocato nella società in cui viviamo. Con l’avvento del Web 2.0 e la diffusione di un Internet “partecipativo” (composto da blogs, wikis e reti sociali), prese forma anche un nuovo contesto di sperimentazione per la net art. Le nuove proposte artistiche iniziarono a considerare il Web come un elemento primario per la trasformazione sociale e politica. Lo scopo di questo articolo è presentare una serie di progetti artistici, ideati tra il 2000 e il 2020, che si presentano come social network con finalità artistiche, attiviste, sociali ecomunitarie. Mostrare la componente solidale dei social network può aiutarci a formulare una lettura più positiva in un momento in cui, vista la situazione sanitaria dovuta al Covid-19, è difficile pensare a una loro sconnessione.

Catarina Firmo

Crítica aos espectáculos La melancolia del turista. Criação, construção e interpretação: Shaday Larios, Jomi Oligor. Colaboração poética: Ángel Hernández. Colaboração inventiva: Ivan Puig, Jordi Fondevila. Colaboração musical e sonora: Suetszu & Jayrope. Desenhos: Pepe Oligor. Fotografias: Oligor y Microscopia, David Continente. Co‑produção: Oligor y Microscopía, Patronato Municipal de las Artes Escénicas y de la Imagen del Ayuntamiento de Zaragoza, Iberescena, Festival Grec de Barcelona, Le Parvis, Temporada Alta 2019 e Pyrenart. Data e local de estreia: 19 de Novembro de 2019, Festival Temporada Alta de Girona. Estreia nacional: 5 de Agosto de 2020, Descon’FIMFALx20; La maquina de la soledad. Criação, construção e interpretação: Shaday Larios, Jomi Oligor. Co‑produção: Oligor y Microscopía, Centre d’Arts Escèniques de Terrassa, Iberescena. Com a colaboração de: La Máquina de Teatro. Fotografias: Oligor y Microscopía, Alípio Padilha. Data e local de estreia: 14 de Agosto de 2014, Teatro El Rinoceronte Enamorado (México). Estreia nacional: 14 de Maio, FIMFALx15. Apresentado em 12 de Agosto de 2020 no Descon’FIMFALx20.

Lidiane Domingues Rodrigues, Helena Thofehrn Lessa

Este trabalho busca fomentar a discussão sobre montagens cênicas de dança voltadas ao público infantil e como esse tipo de ação pode contribuir para a formação de espectadores. Foram realizadas entrevistas semi-estruturadas com participantes do espetáculo Algodão Doce (Pelotas/RS) e suas respostas foram cruzadas com fontes teóricas e documentais. Acredita-se que para além de criar e possibilitar o acesso a espetáculos infantis de dança, é importante promover ações em que a criança possa experimentar a linguagem da dança e perceber sua importância enquanto espectadora.   Palavras-chave Dança. Crianças. Espectador.

Enrico Comba

The year 1949 has been of crucial importance in the life of Claude Lévi-Strauss, both for his academic career and for the theoretical development of his thought. In this phase of alternative possibilities and afterthoughts, he published two texts about shamanism, which became the classic references for every scholar interested in this phenomenon. These texts reveal profound reflections, innovative solutions, originality and easiness in facing up big theoretical questions. They show as well a thought in the making, which begins to explore new fields and topics of research, and which is evaluating his own strengths and interests. However, Lévi-Strauss will quickly decide to abandon the study of rituals and shamanistic practices, choosing to devote his research to the systems of thought: totemism, classification systems, and, at last, mythical thought, a topic to which he will be devoted until the end of his long scientific career.

Patryk Kencki

An introduction to edition of Franciszek Bohomolec comedy Dziedzic chytry [A Wily Heir], Polish version of Molière’s Monsieur de Pourceaugnac. Bohomolec wrote his comedies first for theater shows put on by Jesuit schools and then for the national stage founded by King Stanislaw August Poniatowski. In the first of these phases, the Jesuit poet often adapted works by playwrights who are now classics. One of the authors particularly favoured by him was Molière. Since the Society of Jesus did not allow female characters on stage (the actors performing in the shows were the boys studying in the Jesuit schools), Bohomolec was forced to remodel some motifs, characters and their motivations. Taking Molière’s Monsieur de Pourceaugnac for adaptation, he decided to replace the reason why the title character arrived in the capital. Pourceaugnac travelled from Limoges to Paris to marry a woman who was in love with another man, whereas his Polish counterpart, Dreynar, comes from Wrocław to Warsaw to accept an inheritance from his uncle. In Molière’s play, the misfortunes that befell the good-natured newcomer were concocted by the couple rightfully defending their love. In Bohomolec’s case, the culprit is a relative who is anxious not to lose claim to the inheritance. Dziedzic chytry [A Wily Heir] is thus provided with a message quite different from Molière’s original. The Polish version conveys avarice, hostility towards the stranger, and not a small dose of cynicism. The undeserved indignities and grievances visited upon the newcomer situate the play among the literary works which present an overabundance of human misery, the most emblematic of them being Justine by Marquis de Sade.

Adam Domalewski

The author considers in the paper three animated etudes made by Grzegorz Wacławek in Film School in Łódź. Films entitled Gleam, Scrap and Lost share many common features: creation of the hero’s outer world, extensive use of symbolism and condensation of events centered around one or two heroes. Particularly interesting mean used by Wacławek in endings of the films is the transformation of the presented world that can be named a scale change. Also on this basis director’s animations are metaphorically interpreted, showing their existential meaning, close to the tradition of Polish Animation School.

Maciej Drygas

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Kojin Nishido

This message was sent out to the world by Kojin Nishido, President of the Japanese section of the International Theatre Critics (IATC-J) on 30 April 2011 in response to the messages of compassion of and support from many theatre people in the world after the 3/11 earthquake in Japan. After paying gratitude, Nishido recollects scenes from Japanese theatre at the heel of the Hanshin-Awaji Earthquake in 1995. The message is one good example of how Japanese theatre critics thought the wake of the quake by looking back on past experiences at the point in time when there were few stage productions that clearly reflected the quake. (Editor)

Qingyan Zhang

Ana Campos

Recensão a Simon Stephens, Harper Regan, tradução de Jorge Carvalho, Lisboa, Quimera & Teatro Nacional D. Maria II, 2009, 138 pp. David Harrower, Blackbird, tradução de Tiago Guedes, Lisboa, Lisboa & Bicho do Mato, 2010, 107 pp.

Constança Carvalho Homem

Notas justificativas sobre a Menção Especial da Crítica 2008, atribuida a Nuno Cardoso, com especial incidência sobre o espectáculo Platonov