Hasil untuk "Dramatic representation. The theater"

Maria Fukelman

Roberto Aulés nació en Buenos Aires el 31 de julio de 1924. Fue un reconocido actor, director y dramaturgo que se dedicó especialmente al teatro para niños, aunque no de forma exclusiva. Su vida tuvo un final trágico cuando, el 3 de abril de 1978, se quitó la vida. El artista es recordado fundamentalmente por la creación su compañía El Teatro de los Niños, sucedida en 1954. Sin embargo, su vínculo con el movimiento de teatros independientes ―no solo en los inicios de su profesión, sino a lo largo de los años― ha sido poco revisitado. Por lo tanto, para el presente trabajo, la propuesta será abordar el desarrollo de Roberto Aulés en el marco de su paso por el teatro independiente. Abstract: Roberto Aulés was born in Buenos Aires on July 31, 1924.He was a renowned actor, director, and playwright who devoted himself especially, but not exclusively, to children's theater.His life came to a tragic end when, on April 3, 1978, he took his own life.The artist is primarily remembered for the creation of his company El Teatro de los Niños, which began in 1954.However, his connection with the independent theater movement —not only at the beginning of his career, but throughout the years— has been little revisited.Therefore, for this work, the proposal will be to address the development of Roberto Aulés within the framework of his time in independent theater. Keywords: Roberto Aulés; independent theatre; childhood; experimentation. DOMINIO ARK: https://id.caicyt.gov.ar/ark:/s30087562/pm7pprq1x

Anna Cariny Dias de Amorim, Heleniara Amorim Moura

This article echoes the importance of attentive listening to both noise and subtlety in order to grasp the richness of the Reinado de Nossa Senhora do Rosário (Our Lady of the Rosary) in Divinópolis, Minas Gerais (Brazil). The proposed discussion considers the soundscape of the Reinado in conjunction with the Bantu philosophy of Vital Force. The listening that guided the path of this writing stems from the author’s experience as a member of the Terno de Moçambique from the Interlagos neighborhood. The sounds that inhabit the festival are presented as poetic elements that echo and shape the history of the Reinado and provide a form of community resistance that sustains the culture and memory of Afro-descendant peoples in the Central-West region of Minas Gerais.

Małgorzata Mieszek

Artykuł przybliża nieznaną do tej pory w literaturze przedmiotu jezuicką tragedię Genezjusz, zapisaną w rękopiśmiennym kodeksie z kolegium w Samborze. Jest to opowieść o mimie rzymskim, który podczas odgrywania przed Dioklecjanem parodii chrztu świętego dostąpił łaski nawrócenia i z błazna wykpiwającego religię chrześcijańską zmienił się w jej gorliwego wyznawcę. W artykule rozważania o Samborskim przedstawieniu omówione zostały na szerszym tle historyczno-literackim, w tym wcześniejszych realizacji motywu Genezjusza, zwłaszcza na gruncie polskiego teatru jezuickiego. Artykuł pokazuje stosunek osiemnastowiecznej tragedii do średniowiecznej podstawy źródłowej oraz wcześniejszych realizacji teatralnych. W toku analizy uwidoczniono celowe przekształcenia tematu, których w historii o Genezjuszu dokonał anonimowy jezuita – rozbudowanie historii o wątki rodzinne, usunięcie postaci Dioklecjana, pogłębienie negatywnego wizerunku tytułowej postaci, nadanie jej cech tyrana i prześladowcy. Wprowadzone do tragedii zmiany wiązały się również z dydaktyczno-utylitarną funkcją dramatu, który krytykował nieposłuszeństwo synowskie i niewłaściwe wykorzystywanie kreacyjnej funkcji sztuki oraz unaoczniał siłę chrztu świętego.

Isaac Costa

O texto sustenta sua metodologia na Análise de Discurso. Para tanto, mobiliza significantes no intuito de analisar discursivamente a performance artística de uma drag queen. A tese apresentada é a de que montar-se é um mecanismo discursivo que cria um punctum simbólico que encobre o real traumático de crescer impedido de associar-se ao feminino. Conclui que o lugar da drag, como tensão entre a formação masculinista e o seu avesso, representa um espaço limiar, dissidente, de mestiçagem e transfiguração da dor, repressão e perda. A contribuição refere ao fato de que é por meio desse fazer artístico que o sujeito do discurso resiste e se autoriza a agir, a significar.

Anna Barbieri

The space of Bridgeland stability conditions is a complex manifold that can be attached to a triangulated category, of which it encodes some homological properties. These notes are an introduction to this topic, with a focus on examples from representation theory, and review the example of the Bridgeland-Smith correspondence for some quiver categories from marked surfaces.

Alexey Elagin

We continue the study of thick triangulated subcategories, started by Valery Lunts and the author in arXiv:2007.02134, and consider thick subcategories in the derived category of coherent sheaves on a weighted projective curve and the corresponding abelian thick subcategories. Our main result is that any thick subcategory on a weighted projective curve either is equivalent to the derived category of nilpotent representations of some quiver (we call such categories quiver-like) or is the orthogonal to an exceptional collection of torsion sheaves (we call such subcategories big). We examine the structure of thick subcategories: in particular, for weighted projective lines we prove that any admissible subcategory is generated by an exceptional collection and any exceptional collection is a part of a full one. We show that the derived categories of weighted projective curves satisfy Jordan-Holder property and do not contain phantoms. Finally, we extend and simplify results from arXiv:2007.02134, providing sufficient criteria for a triangulated or abelian category to be quiver-like.

Benjamin Steinberg

This paper develops the fundamentals of modular representation theory for finite monoids, introducing the decomposition matrix and exploring its connection to Brauer characters. We define modular characteristic and explain how the representation theory in nonmodular positive characteristic behaves like the characteristic zero theory by showing that one can lift from nonmodular characteristic $p$ all simple and projective indecomposable modules, as well as a quiver presentation of the basic algebra. As an application of the theory developed, we give a new proof of Glover's theorem that the monoid of $2\times 2$-matrices over $\mathbb F_p$ has infinite representation type over fields of characteristic $p$. We also investigate the relationship between nonsingularity of the Cartan matrix of a monoid algebra in characterstic zero and in positive characteristic. We show that for von Neumann regular monoids the Cartan matrix is always nonsingular and we show that if a monoid has aperiodic left (or right) stabilizers, then nonsingularity in characteristic zero implies nonsingularity in positive characteristic. Florian Eisele has recently shown that the Cartan matrix of a monoid algebra can be nonsingular in characteristic zero and singular in positive characteristic, disproving a conjecture of the author in an earlier version of this paper. A new conjecture is proposed, unifying the cases of regular monoids and monoids with aperiodic stabilizers.

Emre Sen

In the derived category of mod-KQ for Dynkin quiver Q, we construct a full subcategory in a canonical way, so that its endomorphism algebra is a higher Auslander algebra of global dimension $3k+2$ for any $k\geq 1$. Furthermore, we extend this construction for higher analogues of representation finite and hereditary algebras. Specifically, if $M$ is an n-cluster tilting object in the bounded derived category of n-representation finite and n-hereditary algebra, then we construct a full subcategory in a canonical way, so that its endomorphism algebra is a higher Auslander algebra of global dimension $(n+2)k+n+1$ for any $k\geq 1$. As an application, we revisit the higher Auslander correspondence. Firstly, we describe the corresponding module categories that have higher cluster-tilting objects, and then we discuss their relationship with certain full subcategories of the derived category. Consequently, we obtain a vast list of n-representation finite n-hereditary algebras whose n-cluster tilting objects are always minimal generator-cogenerator. Moreover, resulting algebras can be realized as endomorphism algebras of certain full subcategories of (higher) cluster categories.

Leonor Madureira

Ritos fúnebres, assombrações e outros processos escatológicos para encarar a vida

Jean-François Dat, Thomas Lanard

We consider the category of depth $0$ representations of a $p$-adic quasi-split reductive group with coefficients in $\overline{\mathbb{Z}}[\frac{1}{p}]$. We prove that the blocks of this category are in natural bijection with the connected components of the space of tamely ramified Langlands parameters for $G$ over $\overline{\mathbb{Z}}[\frac{1}{p}]$. As a particular case, this depth $0$ category is thus indecomposable when the group is tamely ramified. Along the way we prove a similar result for finite reductive groups. As an application, we deduce that the semi-simple local Langlands correspondence $π\mapsto \varphi_π$ constructed by Fargues and Scholze takes depth $0$ representations to tamely ramified parameters, using a motivic version of their construction recently announced by Scholze. We also bound the restriction of $\varphi_π$ to tame inertia in terms of the Deligne-Lusztig parameter of $π$ and show, in particular, that $\varphi_π$ is unramified if $π$ is unipotent.

Fabio Mangolini

Starting point of the article’s thesis is the author's personal experience of theatrical practice and contact with other theatrical cultures, especially in Asia and, even more, in Japan. Aim of the text is to analyse the reasons for the mutual fascination between typically Western theatrical forms and practices, such as what is generically defined as Commedia dell'Arte and others that, equally generically, are defined as Oriental Theatres. This attraction has origins (even if subconscious) that are not only theatrical but rather cultural, or even better, related to cultural visions. The image of the Commedia dell’Arte - a tradition re-invented in the course of the 20th century and made mythical in the collective imagination by the theatrical avant-gardes in the perspective of a profound renewal of European theatre - corresponds to a vision of a generic Theatre of the East, repository of a sort of imaginary purity that has remained uncontaminated and unchanged over the centuries - the so-called living traditions. These theatrical visions are, in turn, the result of the construction of induced cultural identities, of distorted visions of the Other. They are thus part of a cultural imagology that rests on the sedimentation of ideological constructs ranging from mythopoiesis to exoticism, and even corresponds to an induced vision of identity of Japan and Italy. Finally, by returning the discussion to a purely artistic sphere, the importance of the dynamics leading to the hybridisation of languages is assessed, a fertile ground for the connection and construction of cultural bridges and a heuristic practice, moreover, typical of the Commedia dell'Arte, as it made hybridisation its essence, modulating and regenerating itself in European theatres, and not only, from the 16th century onwards.

Mirosław Kocur

Instead of a typical review of a research monograph, this article proposes deliberations on selected motifs from Wojciech Dudzik’s book Maska w kulturze współczesnej Europy: Teorie i praktyka [The Mask in Contemporary European Culture: Theories and Practice] (Warsaw, 2020). Although this subjective choice of themes only partially reflects the variety of problems discussed by Dudzik, thise article situates a number of issues in broader contexts: (1) Recent research has shown a surprising ambivalence towards the pandemic face mask as a protection against infection. (2) Present-day devil masks seem to continue the ancient tradition of the mask as a fear-inducing object. (3) European performative practices ignore the insides of masks, unlike in the East, where they are important to actors, stimulating spiritual contact with previous wearers. (4) Sight bimodality is crucial for performing in a mask. (5) In the digital world, the biometric mask takes power over the individual’s bodily identity.

Martyna Patora

Prace w oryginalnej (kolorowej) wersji dostępne są pod adresem: https://www.behance.net/gallery/68541945/chaos

Laís Jacques Marques, Bruna Luana Capelin Kunzler, Marcia Berselli

Esta cartilha pretende apresentar possíveis intervenções para desestabilizar sistemas que levam ao assujeitamento corporal pessoas consideradas marginalizadas pela estrutura dominante. Observaremos como práticas artísticas (ou práticas criativo-pedagógicas) podem contrapor as opressões cotidianas instauradas em regimes socioeducativos. Como suporte de reflexão, oficinas teatrais e artísticas realizadas em centros de internação, além de autoras e autores com as(os) quais dialogamos em busca de premissas para a ação.   Palavras-chave Juventude em Cárcere. Regime Socioeducativo. Oficinas Artísticas. Pedagogia do Teatro.

Aikaterini Delikonstantinidou, Ísis Arrais Padilha, Sayonara Pereira

The original review essay “Non-Still Life: a Mosaic Portrait of Dimitris Papaioannou” offers a panoramic view of the work of the greek painter and choreographer Dimitris Papaoannou, from his artistic initiation to the international tour of Still Life, and it was written based on the analysis of materios form the press recording made available by the artist and texts developed by the author herself. The preceding presentation, “The Mosaic-Dimitris by Aikaterini Delikonstantinidou” giver support to the translation by pointing out relevant aspects of its process and organization in six items. In the “Preliminary Notes”, the figures of speech presented in the title are developed, which reiterate the author's objectives. The "Introduction" draw connections between art and life that will be further explored by the following item, “The Body at the Center of the Narrative". In “Large-scale work at sports events”, the artist's expectations and contradictions are discussed. In “Choreographies of Existence”, highlights the conceptual choreographic synthesis that develops from how the artist deals with the reception of his pieces, and finally the author reaffirms in the “Concluding Notes” the multiplicity and breadth of the choreographer's production, associating them to philosophical questions related to the the piece named in the title.   Keywords Dimitris Papaioannou. Contemporary Greek Theater. Contemporary Theater Direction. Choreography. Physical Theater.

Christine Matvienko

Genkai Zhang

We study branching problem of the metaplectic representation of $Sp(2, \mathbb R)$ under its principle subgroup $SL(2, \mathbb R)$. We find the complete decomposition.

A. I. Molev

We classify the finite-dimensional irreducible representations of the super Yangian associated with the orthosymplectic Lie superalgebra ${\frak osp}_{2|2n}$. The classification is given in terms of the highest weights and Drinfeld polynomials. We also include an $R$-matrix construction of the polynomial evaluation modules over the Yangian associated with the Lie superalgebra ${\frak gl}_{m|n}$, as an appendix. This is a super-version of the well-known construction for the ${\frak gl}_n$ Yangian and it relies on the Schur--Sergeev duality.

Salah Mehdi, Martin Olbrich

We consider compact locally symmetric spaces $Γ\backslash G/H$ where $G/H$ is a non-compact semisimple symmetric space and $Γ$ is a discrete subgroup of $G$. We discuss some features of the joint spectrum of the (commutative) algebra $D(G/H)$ of invariant differential operators acting, as unbounded operators, on the Hilbert space $L^2(Γ\backslash G/H)$ of square integrable complex functions on $Γ\backslash G/H$. In the case of the Lorentzian symmetric space $SO_0(2,2n)/SO_0(1,2n)$, the representation theoretic spectrum is described explicitly. The strategy is to consider connected reductive Lie groups $L$ acting transitively and co-compactly on $G/H$, a cocompact lattice $Γ\subset L$, and study the spectrum of the algebra $D(L/L\cap H)$ on $L^2(Γ\backslash L/L\cap H)$. Though the group $G$ does not act on $L^2(Γ\backslash G/H)$, we explain how (not necessarily unitary) $G$-representations enter into the spectral decomposition of $D(G/H)$ on $L^2(Γ\backslash G/H)$ and why one should expect a continuous contribution to the spectrum in some cases. As a byproduct, we obtain a result on the $L$-admissibility of $G$-representations. These notes contain the statements of the main results, the proofs and the details will appear elsewhere.

Naomi A. Weiss

This paper explores the construction of dramatic space in the prologues of classical Greek drama. Drawing from theater scholarship on the phenomenology of space, I show how tragedians and comedians alike experimented with how to shape their audience’s understanding of a play’s setting. I focus on opening scenes in plays by Sophocles and Aristophanes where a character sees with and for the audience, and demonstrate how these moments of staged spectatorship are not necessarily straightforward or seamless; they can facilitate the viewing of dramatic space but also, by laying it bare, reveal its complications. Sometimes there are multiple representational possibilities for physical space within and around the theater; sometimes physical and fictional space are to be seen simultaneously; sometimes the representational gap between physical and fictional space is kept open for a surprisingly long time. Such exposure of the process of theatrical representation, I argue, can draw the audience in as a co-participant in a drama’s production.