Hasil untuk "Dramatic representation. The theater"

Marianne Consentino

This article seeks to analyze possible relationships between comicality and violence. The study was developed through theoretical-practical research, whose procedures involved bibliographical research through scenic experimentation laboratories, carried out with students from the Theater Licentiate Degree course, at the Federal University of Pernambuco. The rapprochement between clowning and the universe of popular culture was explored, especially considering the concept of grotesque realism proposed by Bakhtin. The necessity of violence as a pedagogical resource in the proposed technique was problematized and it was concluded that the learning of this technique requires the establishment of an environment of trust, play and freedom among students.

Dagmar Teixeira Bedê

Através de uma ótica feminista, o texto analisa as linguagens cômicas presentes nos espetáculos da Plataforma de criação Divinas Tetas, de Belo Horizonte, sendo elas: palhaçaria, arte drag e cabaré. O objetivo deste artigo é dar luz ao lugar da mulher como sujeita que ri e que faz rir, além da conceitualização do termo “palhaça de cabaré” e a relação da palhaçaria e arte drag no contexto da linguagem de cabaré. Para esta pesquisa foi realizado um extenso levantamento de referências bibliográficas sobre os temas abordados, buscando também relacionar os conceitos com a prática experienciada por artistas da Divinas Tetas.

Nicola D’Andrea

La dimensione esperienziale favorisce la crescita dell’individuo sia a livello cognitivo sia a livello sensoriale. Con l’esperienza l’alunno impara a conoscere, a fare e ad essere. L’osservazione ha un ruolo fondamentale perché attraverso essa l’individuo mette in pratica competenze, conoscenze, valori e modi di essere: apprende in ogni situazione.  Questo tipo di apprendimento può essere promosso, sostenuto e allenato anche attraverso l’utilizzo di attività ben strutturate e studiate ad hoc in un contesto di scambio individuale ma anche di gruppo. L’apprendimento esperienziale è quella modalità con cui ognuno di noi può acquisire nuove competenze attraverso comportamenti che gli permettono di toccare e superare i propri limiti, di scoprire e rafforzare i propri valori. L’insegnamento della storia del teatro con l’approccio pedagogico della Ricerca-Azione nella scuola secondaria di primo grado contribuisce allo sviluppo di competenze e di soft skills in un periodo di grande cambiamento psicofisico per gli adolescenti. 

Varja Hrvatin, Maša Radi Buh, Jakob Ribič

V pričujočem prispevku bomo obravnavali koncept bralnih uprizoritev. Ugotavljali bomo, da gre v polju mlade dramske pisave za prevladujoč uprizoritveni format, ki pa ga ne gre razumeti kot vmesno stopnjo med branjem in uprizarjanjem, temveč kot povsem samostojen in polnokrven umetniški žanr. Mnoge bralne uprizoritve so zato opustile funkcijo »prve informacije« o tekstu in njegovem avtorju ter namesto tega postale čisto prava uprizoritev teksta, s čimer se je odprlo široko polje za gledališki eksperiment. To bomo premišljevali na primeru konkretnih praks, za katere je značilno, da besedilo postane glavno ali celo edino, kar je za gledališki dogodek potrebno, branje (na vse mogoče načine in oblike) pa zato ključno gledališko sredstvo.

Penda Diouf

Dorota Zaprzalska

This article analyzes the performativity of two composite icons in liturgical and museum contexts. Their unusual form, consisting of two panels combined as one work of art, is interpreted as an assemblage, following Victor I. Stoichita use of the term. Moreover, the multivalency of the term assemblage is used to present the icons as part of dynamic social assemblages by applying the theoretical perspective of assemblage theory. It becomes crucial in seeing them as active agents in the assemblages of humans and non-humans as well as understanding the potential of this unusual form and the way they function in various relations with other works of art, institutions, and people. Applying the categories of assemblage and performative icon to the analysis of two examples of composite icons, the article characterizes the influence of assemblage form on the veneration and presentation of icons. Focusing on the issue of performativity, agency, and affordance made it possible to highlight the dynamics of the assemblage form and the icon itself. Depending on the context—the performances in which it participates and the assemblages of which it becomes a part—the icon can be perceived as a work of art and/or a devotional image that transcends the realm of artistic values. The article also reflects on the assemblage nature of the icon research and study process.

Dorota Jarząbek-Wasyl

The theater physician was a crucial figure in the transformation of the theater as an institution between the late eighteenth and early twentieth centuries: he looked after the artists, guaranteed the internal order of the institution, and contributed to the shaping of the social perception and evaluation of the acting profession. He helped organize the theater as a controlled and norm-governed space, in which neither audience reactions nor the artist’s ways of being could disturb the general order. The article is a historical study of the development of the theater physician’s professional position and duties in the nineteenth century, drawing on diaries, press articles, and iconographic material (including caricatures). Starting from the analysis of source texts, such as the writings of theater physicians (Kazimierz Łukaszewicz, Gustave-Joseph Witkowski), the author adopts two parallel strategies: 1) she reconstructs the biographical and factographic background of the presence of an official doctor in Polish theatre, 2) she problematizes the relationships between the theater as an institution and forms of organized medical care, between actors’ illnesses and the images of theater as a hazardous and pathological place, between the pathography of actors’ illnesses and the idea of a public order and system of values, and between the internal and external perception of the acting profession.

Francesca Simoncini

The section is devoted to the biographical profiles of Rosa Pasini Romagnoli (Venice, 1801-Turin, 1886) and Pia Marchi Maggi (Vicenza, 13 novembre 1847[?]-Rome, 29 aprile 1900).

Eduardo Conegundes Souza

Built as a cartographic report, this article aims to give insight to the practical and conceptual procedures carried out during the research process that culminated in the scenic and musical creation of the show Uji – O Bom da Roda. Based on the cartographic method, we focus on encounters and contaminations produced between the theatrical universe and the roda de samba (samba circle) in its multiple expressive dimensions. Within a territory of creative frictions, Corporeal Mimesis presented itself as a fundamental element of articulation between music, body, scene and dramaturgy.

Sônia Maria Caldeira Paiva, Caio Sato Schwantes, Luana Santana Castro et al.

This essay explores, through creative and collaborative writing in a Tramóia format, the Narrative Drawings project conducted by the Transdisciplinary Scenography Laboratory (LTC) – Continuous Action Extension Program of the University of Brasilia (UnB), created and coordinated by Profa. Dr. Sonia Paiva – for Prague Quadrennial (PQ) 2019. The workshop, featured in PQStudio's programming, is part of the laboratory repertoire which has been operating since 2010 to achieve one of its main goals: delivering multicultural and transdisciplinary experiences to the public as a result of constant deeds that interconnect research and actions of the laboratory. Throughout the dialogues of the Tramóia, themes related to the project are addressed: LTC creation and production dynamics, relation and perception of the spectator, group concepts and metaphors, among others.   Keywords   Weft. Design. Collaboration. Transdisciplinarity. Ethnomathematics.

Andrzej Szpulak

The article analyses the particular interest that the documentary filmmakers of the late 1950s had in the architectural and urban issues. The reasons for this phenomenon are situated in several plans: they refer to the image of reconstruction from the war devastation and the reaction to its falsification in the period of socialist realism. They refer to the social interests of the filmmakers and to the strategy of metaphorising and allegorising the images of the city, which was handy in the times of censorship as it extended meanings and applied non-literality. The article analyses various film incarnations of this phenomenon.

Luiz Fernando Ramos

O texto parte da perspectiva de uma cena expandida em que os campos artísticos diferentes estão misturados em novas formas, híbridos e transgénicos. Discute a tensão entre a suposta essência e especificidade de cada uma das artes (teknês) e esta expansão diluindo as fronteiras. Propõe então a noção de uma mimese performativa, diferenciada da mimese dramática, projectando todas estas artes distintas num campo comum em que meios diferentes se misturam. Face a estas premissas, reflectimos sobre a questão da crítica artística no contem- poraneidade, retomando o ensaio de David Hume sobre o Padrão do Gosto em contraste com o Crítico de Julgamento de Immanuel Kant e discutindo a hegemonia da filosofia deleuziana nos presentes ensaios críticos sobre arte.

Sylvie Fortin

O artigo busca refletir sobre as relações entre práticas corporais e promoção da saúde, analisando exemplos oriundos do campo da dança. Em um contexto social em que o corpo recebe cada vez mais atenção, se faz importante que os profissionais da arte, fisioterapia e educação física reflitam de forma crítica sobre os valores entranhados tanto nas correntes dominantes como em discursos alternativos.

Revista El Peldaño

Editorial de éste número

Giancarlo Mazzoli

The theoretical consciousness of the philosopher Seneca about the tragic eidos appears sufficiently clear in the course of his prose. Thanks to its high formal status, tragedy is able to represent the inmanis et inuisa materia of evil, indissoluble bond of scelus, on the ethical level, and of nefas on the religious plane. Several times the prose writer offers us quotations from the locus de diluuio of Ovid Met. 1.144-148; 241 s., that correspond very exactly to the total program of nefas enunciated by the Fury in the prologue of Thyestes, 39-43 (but also by Hippolytus in Phaedra, 553-558): they give us the key suited to examine Seneca’s theater as the eidetic space specifically designed to unmask and overthrow the anti-system of evil, before it is possible to reconstruct finally, on a ‘reclaimed’basis, the coherent Stoic ethical edifice. A survey conducted on the entire dramatic corpus verifies these claims, revealing the employment of eidetic strategies intended to bring under the control of more and more robust textual grids the representation of the ‘organized chaos’ that governs, from the warning signs to the extreme annihilation, the mythical regions of evil.

Eunice Tudela de Azevedo

Entrevista a Joana Craveiro.

Sue Klemp

Richard Schechner

Can the attacks of 9/11 be considered an avant-garde artistic event? This article aims to discuss, from the point of view of the intentionality of the act and of its reception, the performative character of that historical fact. To carry forward this intent, it presents a historical overview of avant-garde art, and discusses some of the historical and cultural conditions that supposedly operated as triggers of such an event. The text also focuses on the spectacular character of the event and the conditions for its appreciation in a society greatly delimited by the media.

Paola Degli Esposti