Hasil untuk "Dramatic representation. The theater"

Gustavo Jasso

This survey is intended as an invitation to the theory of stable $\infty$-categories, addressed primarily to mathematicians working in the representation theory of algebras and related subjects.

Simone Nogueira Rasslan

O artigo, por meio de texto ensaístico com inspiração na perspectiva arqueológica foucaultiana, trata dos modos de subjetivação provocados pelo silêncio no corpo de mulheres. Os materiais empíricos consistem em uma coleção de canções da música popular brasileira. A primeira parte da escrita é produzida a partir dos versos das canções e, a segunda parte, é produzida mais demoradamente com elementos da trama poético-musical, trazendo a atenção para uma delas, que dá nome ao artigo: Cala a boca, Bárbara (Chico Buarque e Ruy Guerra, 1973). Os silêncios serão tratados como práticas que remetem aos três ambientes da experiência: as formas de saber, poder e de relações consigo.

Sluchem Tavares Cherem

It is a paper that discusses the current scenery of the Traditional Circus in the state of Rio de Janeiro, analyzing the tactics and improvisations witch the actors use as forms of survival and resistance. The investigation is based on data collected in artistic class meetings, interviews, press materials and specialized bibliography. An introduction is presented that outlines the methodology and presents a brief concept of Traditional Circus and its contemporary characteristics in that state. Next, the strategies adopted by circus performers to preserve tradition and artistic language are detailed. It is concluded that many of the characteristic elements of Traditional Circus are consequences of tactics developed by artists as a form of survival.

Dinaldo Filho

The text analyzes the figural aspects of The Thin Blue Line (Morris, 1988) and A Short Film About Killing (Kieślowski, 1988) as reveries of justice driven by the abolitionist imagination of the death penalty. This imagination finds its power in the inviolability of human life as a sense of justice experienced through poetic treatments of the death penalty as a visual motif. The films are approached via a theoretical dialogue between Bachelard’s concept of poetic reverie and Dubois’ Figural question, as they allow us to investigate fiction and documentary as filmic reveries that lead us to a poetic and political experience with the phenomenological world of justice.

Markus Kleinau

Let $V$ and $W$ be quiver representations over $\mathbb{F}_1$ and let $K$ be a field. The scalar extensions $V^K$ and $W^K$ are quiver representations over $K$ with a distinguished, very well-behaved basis. We construct a basis of $\mathrm{Hom}_{KQ}(V^K,W^K)$ generalising the well-known basis of the morphism spaces between string and tree modules. We use this basis to give a combinatorial characterisation of absolutely indecomposable representations. Furthermore, we show that indecomposable representations with finite nice length are absolutely indecomposable. This answers a question of Jun and Sistko.

Hitoshi Konno, Kazuyuki Oshima

We introduce a new elliptic quantum toroidal algebra U_{q,κ,p}(g_tor) associated with an arbitrary toroidal algebra g_tor. We show that U_{q,κ,p}(g_tor) contains two elliptic quantum algebras associated with a corresponding affine Lie algebra bg as subalgebras. They are analogue of the horizontal and the vertical subalgebras in the quantum toroidal algebra U_{q,κ}(g_tor). A Hopf algebroid structure is introduced as a co-algebra structure of U_{q,κ,p}(g_tor) using the Drinfeld comultiplication. We also investigate the Z-algebra structure of U_{q,κ,p}(g_tor) and show that the Z-algebra governs the irreducibility of the level (k(\not=0),l)-infinite dimensional U_{q,κ,p}(g_tor)-modules in the same way as in the elliptic quantum group U_{q,p}(g). As an example, we construct the level (1,l) irreducible representation of U_{q,κ,p}(g_tor) for the simply laced gtor. We also construct the level (0,1) representation of U_{q,κ,p}(g_N,tor) and discuss a conjecture on its geometric interpretation as an action on the torus equivariant elliptic cohomology of the affine A_{N-1} quiver variety.

Anna G. Chupova

The article explores the early opera by Salvatore Sciarrino, based on Henry James’s novelette The Aspern Papers. Sciarrino’s Aspern has aroused considerable interest both in the aspect of the transposition of James’s prose into the musical sphere, and in terms of the formation of the poetics of musical theater and the principles of the composer’s dramatic thinking. The experimental character of the singspiel (in the author’s definition) was stipulated by the idea of representation as an act of composition. Rejecting the traditional format, Sciarrino and his co-author of the libretto Giorgio Marini created an intertextual connection between the novelette and the opera, having turned the reading of the text into an element of dramaturgy, along with other components — the singing, the music and the stage decorations. The protagonists of the story (the Narrator, Giuliana, Titta) dissolved in the recitations of various actors. The arias based on the texts of Lorenzo da Ponte from Le Nozze de Figaro, performed by one single singing protagonist, the Female Singer, offstage, created an ironic estrangement on the scenic (between the dramatic performance in spoken dialogues and the music) and the stylistic levels (between da Ponte’s text and Sciarrino’s music). The special optics of artistic imagination established this way, making it possible to view the one through the other, helped the “ghost” of Mozart, the musical equivalent of the “divine Aspern,” appear. Mozart’s “disturbing presence” also explains the unexpected genre-related definition given by the composer to his work. The singspiel becomes an object of anamorphosis, in which elements of the genre projected from the past acquire a strange oneiric form in the present. Reflecting on Sciarrino’s invitation to search for “music in the music and drama in the drama” in Aspern, the author of the article reveals the connections between the Italian maestro’s opera and Piotr Tchaikovsky’s The Queen of Spades, set up by the palimpsest effect hidden in James’ original text. An important connecting link between the two operas is the figure of Mozart as the ideal of “the Composer”, who had managed to absorb and transform the traditions of different eras and national schools of composition. In this light, Sciarrino’s Aspern becomes a musical metaphor of the search for and the finding of oneself in the “traces” of others.

Marina de Nóbile da Silveira, Luciana da Costa Dias

The aim of this work is to investigate the question of body (and of dance as a possible way of overcoming the automatisms of the body). For this purpose, a broad concept of contemporary dance is introduced, taking Artaud and his concept of body without organs as a starting point. In a second moment, the discussion expands with the necropolitical reading of the present times, carried out by Mbembe, who deepened biopolitics by developing concepts such as mortification, reconstruction of oneself and viscerality. Through literature review, the conclusions obtained point towards the body – especially the body that dances – as a possibility of insurgence of the so-called visceral resistance.

Ifeta Čirić-Fazlija

Abstract Starting from the premise that contemporary crisis is a pervasive continuation of the modern “series of interrelated crises” (Fernández-Caparrós and Brígido-Corachán vii), this article examines the manner in which the US theater has responded to the outbreak of the COVID-19 pandemic. Simultaneously considering crises as “agents of change and transformation” (xvii) and bearing in mind the #MeToo, and Black Lives Matter movements, the article questions the likelihood of contemporary American theater overcoming its own crisis of representation. Relating modern and current crises, the essay first outlines twentieth century dramatic literature and theatersi against the backdrop of the World Wars, the 1918 health crisis, economic depression, and post-war (racialized) society, focusing on plays by American women of color. The study then centers on dramatic and theatrical developments brought about by the annus horribilis of 2020, surveying new genres, authors and performances, and discerning no significant improvement in systemic discrimination on Broadway stages. The essay also offers complementary reading of Trouble in Mind (1955), a meta-drama mirroring systemic racial and gender discrimination in American theaters, and By the Way, Meet Vera Stark (2011) which unravels similar issues, albeit in the film industry.

Redazione Connessioni Remote

Testo di Sara Cattani. Ricordi di Sara Cattani dallo stage di S’era tutti sovversivi con Giacomo Verde

Даулеткалиева Раушан Нурымовна

Бұл мақалада музей коммуникацияларын жылжыту мен жарнамалаудағы PR құралдарының ролі жан жақты қарастырып, анализ жасалған. Шет елдік пиарологтардың көзқарастары қарастырылып, PR технологияларының музей коммуникацияларын дамытуда 3 негізгі бағытына талдау жасалған. Осы бағыттардың негізі ретінде іс-шаралар маркетингін қарастырып, толығымен мәні ашылып жазылған. Осыған байланысты артықшылықтары мен кемшіліктерін көрсететін талдау кестелерін құрастырған. Сонымен қатар музейдің интернеттегі ақпараттық активтері туралы, оларды қалай қолдану керектігі туралы ақпарат жазылған. Соңында музей коммуникацияларын дамытуда бұқаралық ақпарат құралдарның қандай маңыздылағы бар екендігі көрсетілген.

Steven M. Warner, Johannes O. Royset

The Synthetic Theater Operations Research Model (STORM) simulates theater-level conflict and requires inputs about utilization of surveillance satellites to search large geographical areas. We develop a mixed-integer linear optimization model that prescribes plans for how satellites and their sensors should be directed to best search an area of operations. It also specifies the resolution levels employed by the sensors to ensure a suitable fidelity of the resulting images. We solve large-scale instances of the model involving up to 22 million variables and 11 million constraints in scenarios derived from STORM. On average, the model yields 55% improvement in search coverage relative to an existing heuristic algorithm in STORM.

Laura Budriesi

In questo paper propongo due pratiche di artivismo nate nel XXI secolo: il flash mob ambientalista e il “teatro di paesaggio” del collettivo di ricerca Dom. Scelgo come metodo di analisi la teoria della performance elaborata da Turner e Schechner in cui essa è forma espressiva, nonché strumento di analisi del sociale. Vorrei evidenziare come queste“alleanze di corpi” nello spazio (Butler 2017) usino strategie estetiche, reminiscenze del teatro agit prop e di guerrilla (Milohnić 2005; Loewe 2015) e si alleino ai nuovi media diventando delle smart mob. L’intento di accostare queste azioni al “teatro di paesaggio” di Dom intende mettere in luce “gli usi politici del teatro”(De Marinis 2020) perché in queste performance “simpoietiche”(Haraway 2020) i co-creatori dell’opera sono le forze animali, vegetali e atmosferiche in gradodi ridimensionare e ricollocare l’umano, istanza comune all’attivismo ambientalista.

Haris Fajar Nugroho, Dharsono Dharsono

Panca Wasta is a teaching at the level of family life  which contains advice on values that elevate human position in personality, nobility, welfare and knowledge that must be possessed by a man (Javanese) in particular. The focus of the creation of the work is in the form of a kris blade which is inspired by the five elements of the Panca Wasta teachings which contain; wisma, turangga, kukila, curiga and wanita, using recycled metal. The purpose of the creation of this work is to create a dhapur kris blade using recycled metal with a metaphorical tinatah motif from the five elements of the panca wasta teachings. The creation of works uses an artistic creation approach, namely; experiment, contemplation and embodiment of works. The resulting work is a kris blade complete with warangka, hulu/jejeran/ukiran, mendhak, and pendok of Surakarta style. When the teachings of Panca Wasta are used as the concept of creating a kris, it shows that the work of a kris is quite interesting, has aesthetic beauty and full of philosophical values and meanings.

M. Smith

This essay argues that Thomas Middleton and William Rowley's The Changeling (1622) draws on debates about sense perception in the period to interrogate the effects of dramatic representation. After a brief overview of early modern perceptual theory, this essay demonstrates that the play's villain, De Flores, manipulates other characters’ perception through language. In fact, De Flores uses theatrical language to manipulate how other characters perceive their environment, indicating the theater's ability to manipulate audiences. By affecting how characters perceive, De Flores affects other characters’ ability to process and react to their environment, which impedes their judgment. The essay argues that much of The Changeling's dramatic action unfolds through a conflict between two models of perception—presentational and representational—that undergird much of the play's dramatic conflict. In the play, pervasive anxiety about judgment, particularly how perception affects judgment, is structured around the distinction between these two models of perception. Considering the play alongside representational and presentational models indicates how early modern dramatists engage with intellectual theories to consider how representation works and how spaces are experienced. In this way, the theater refracts and dramatizes theories about perception.

Diana L. Frenkel

7-17; 0327-8859; 2683-7900 literature had to fulfill a privileged place. The success of a good education translates into personal and social achievement and recognition. The tragic contests, whose spectators did not have any economic impediment that pre-vented them from attending thanks to the theorikón (public money destined to the payment of tickets to the theater), are proof of the presence of the dramatic genre in the representation of characters whose events had precipi-tated them to misfortune in the tragic genre but also success in comedy. The famous passage from Aristophanes Frogs 1053-6 places the teacher of chil-dren on a level of equality with the poet for adults. Lyric poetry is also a teaching tool for Theognis who advises his young lover Cyrnus how to adapt his behavior in order to achieve success in his life. Solon, a politician, an-guished by the dangers that could loom over Athens, exhorts his fellow citi-zens to live according to criteria based on justice. Xenophon recreates an image of Cyrus as the ideal sovereign who has managed to forge a vast em-pire, thanks to his personal qualities, lineage and education. Ischomachus, main character of the story in the mouth of Socrates in the Oeconomicus also by Xenophon, owes much of his prosperity to the teachings that he has transmitted to his young wife. Ultimately, Herodas's Mime III " The Teacher " offers a real painting of education in antiquity in which blows were part of it.

Iveta Zlá

The article is about mediating an involvement in the development of the Rosswald Castle Theater between 1750 and 1760. Attention is paid to the theater repertoire and the representation of the artistic atmosphere in the Rosswald Castle. Last but not least, the article outlines the role of the Rosswald sentimental garden, in which the dramas, operas and ballet performances were also located. The article points to the incorporation of creative impulses of Enlightenment into the repertoire of the Rosswald cultural scene. The focus of the investigation is on the activity of Johann Heinrich Friedrich Müller, who implemented the dramatic rules of the Enlightenment in the Rosswald Castle Theater.

Elisa Teixeira de Souza

This article´s first objective is to approach the fundamentals of the embodied mind theory by George Lakoff and Mark Johnson to discuss the idea of cellular consciousness from the perspective of neurobiology. We also discuss the field of Somatics and its potential applications on dance, highlighting the possible links between somatization and embodiment.

Yury A. Neretin

We classify irreducible unitary representations of the group of all infinite matrices over a $p$-adic field ($p\ne 2$) with integer elements equipped with a natural topology. Any irreducible representation passes through a group $GL$ of infinite matrices over a residue ring modulo $p^k$. Irreducible representations of the latter group are induced from finite-dimensional representations of certain open subgroups.

Clément Guérin, Gang Liu, Allan Merino

In this paper, we give a complete picture of Howe correspondence for the setting ($O(E, b), Pin(E, b), Π$), where $O(E, b)$ is an orthogonal group (real or complex), $Pin(E, b)$ is the two-fold Pin-covering of $O(E, b)$, and $Π$ is the spinorial representation of $Pin(E, b)$. More precisely, for a dual pair ($G, G'$) in $O(E, b)$, we determine explicitly the nature of its preimages $(\tilde{G}, \tilde{G'})$ in $Pin(E, b)$, and prove that apart from some exceptions, $(\tilde{G}, \tilde{G'})$ is always a dual pair in $Pin(E, b)$; then we establish the Howe correspondence for $Π$ with respect to $(\tilde{G}, \tilde{G'})$.