Hasil untuk "Dramatic representation. The theater"

Tatiana Avanço

Com fundamentação no dialogismo de Mikhail Bakhtin e na coreomusicologia, este artigo aborda relações entre dança e música como via de construção de sentidos e, portanto, de elaboração dramatúrgica. Apresenta-se a coreomusicologia como campo de estudos especializado em dança e música, e defende-se uma reunião de estudos correlatos em torno dessa rubrica. É realizada uma análise coreomusical da coreografia Véspera (2023) da Companhia Ballet Paraisópolis e do coreógrafo Christian Casarin, demonstrando como uma dramaturgia pode ser evocada pelo diálogo entre as formas espaço-temporais da dança e da música.

Mikko Korhonen

Let $r$ be an odd prime and $\mathbb{F}$ a field containing a primitive $r$th root of unity. Then for all $\ell \geq 1$, there is a faithful representation $f: \operatorname{Sp}_{2\ell}(r) \rightarrow \operatorname{GL}_{r^\ell}(\mathbb{F})$ called the Weil representation. We provide explicit matrices generating $\operatorname{Sp}_{2\ell}(r)$ in $\operatorname{GL}_{r^\ell}(\mathbb{F})$, which we have implemented in Magma. We also describe such generators for the irreducible Weil representations of $\operatorname{Sp}_{2\ell}(r)$, which are of degree $(r^{\ell} \pm 1)/2$ and arise as irreducible constituents of the Weil representations.

Simona Turturro

Dušan Brešar

Gledališka umetnost lahko igra ključno vlogo pri poučevanju slepih in slabovidnih, saj ponu- ja neprecenljivo doživetje, ki oblikuje miselne in kognitivne sposobnosti ter oblikuje vred- note, hkrati pa spodbuja vključevanje v socialni svet. Učitelji slepih in slabovidnih v Sloveniji so vedno vlagali veliko truda v razvoj estetskega čuta med svojimi učenci. Članek prikazuje zgodovinski pregled gledališkega ustvarjanja slepih in slabovidnih v Slo- veniji, začenši takoj po koncu 1. svetovne vojne in nadaljujoč brez prekinitve do danes. Posebej izpostavlja dosežke, kot je na primer uspeh slepe igralke, ki je magistrirala na AGRFT. Ta dediščina služi kot opomin na izjemno zavzetost in nadarjenost slepih in slabo- vidnih posameznikov, obenem pa predstavlja neizpodbiten dokaz, da gledališka umetnost ne pozna omejitev.

Luz Hojsgaard, Luz Garcia

Redacción Editorial Aniversario

Vincenzo De Masi, Qinke Di, Siyi Li et al.

Abstract This study examines the critical importance of audio design in crafting immersive experiences within the metaverse. The analysis focuses on key technologies driving this field, with particular emphasis on spatial audio techniques such as Head-Related Transfer Functions (HRTF) and Ambisonics, which enable precise three-dimensional sound positioning. The research investigates adaptive audio rendering, highlighting tools such as Microsoft's Spatial Audio Unity Plugin, which facilitates dynamic soundscape adjustments based on user interactions. Furthermore, the application of artificial intelligence in audio design is explored, with a discussion on the potential of Generative Adversarial Networks (GANs) for synthetic sound production and personalized audio experiences. The study presents two significant case studies: the partnership between TCG World, STYNGR, and Downtown for interactive sonic environments, and research on Audio Augmented Reality (AAR) in art galleries. Ethical considerations, including privacy, accessibility, and the psychological impact of immersive audio, are critically examined. The research concludes by exploring future directions, such as cross-modal integration and emotional AI systems in metaverse audio design, emphasizing the necessity for responsible development practices. Through this comprehensive analysis, the study aims to provide insights into the challenges and opportunities presented by audio design in virtual environments, contributing to the evolving landscape of metaverse technology.  

Kaya Arro

We introduce a functor calculus for functors $\mathsf{FI}\to\mathcal{V}$, which we call $\mathsf{FI}$-objects, for $\mathsf{FI}$ the category of finite sets and injections and $\mathcal{V}$ a stable presentable $\infty$-category. We show that $n$-homogeneous $\mathsf{FI}$-objects are classified by representations of $\mathfrak{S}_n$ in $\mathcal{V}$, allowing us to associate "Taylor coefficients" to an $\mathsf{FI}$-object. We show that these Taylor coefficients, in aggregate, themselves carry the structure of an $\mathsf{FI}$-object, and we show that, up to the vanishing of certain Tate constructions, "analytic" $\mathsf{FI}$-objects can be recovered from their $\mathsf{FI}$-object of Taylor coefficients. We then establish a close relationship between our $\mathsf{FI}$-calculus and the phenomenon of representation stability for $\mathsf{FI}$-modules, suggesting that $\mathsf{FI}$-calculus be understood as the extension of representation stability to the $\infty$-categorical setting. In this context, we show how representation-theoretic information about a representation stable $\mathsf{FI}$-module can be read off from its $\mathsf{FI}$-module of Taylor coefficients.

Claudius Heyer

The Geometrical Lemma is a classical result in the theory of (complex) smooth representations of $p$-adic reductive groups, which helps to analyze the parabolic restriction of a parabolically induced representation by providing a filtration whose graded pieces are (smaller) parabolic inductions of parabolic restrictions. In this article, we establish the Geometrical Lemma for the derived category of smooth mod $p$ representations of a $p$-adic reductive group. As an important application we compute higher extension groups between parabolically induced representations, which in a slightly different context had been achieved by Hauseux assuming a conjecture of Emerton concerning the higher ordinary parts functor. We also compute the (cohomology functors of the) left adjoint of derived parabolic induction on principal series and generalized Steinberg representations.

Ljudmil Dimitrov

Prispevek se osredotoča predvsem na recepcijo slovenske (sodobne) dramatike v Bolgariji. Natančneje, kako se besedila, ki spadajo v tuji jezikovni in sociokulturni kontekst, ne glede na to, kdaj so bila napisana, izkažejo za nova v ciljni kulturi in se interpretirajo v skladu s problemi našega časa. Predstavljam predvsem novo zbirko petih slovenskih dram, ki sem jih izbral in prevedel ter spadajo v estetski okvir modernega (od moderne do postmoder- nizma), združujejo pa jih motivi čudeža, fantastičnega, nadnaravnega. Motivacija za mojo izbiro je dvojna. Po (ne)pričakovanem velikem uspehu prve zbirke Zalezujoč Godota. Pet sodobnih slovenskih dram (2014), iz katere so bile tri drame uprizorjene na bolgarskem odru (ena trikrat), ena delno, uprizoritev ene pa je bila zaradi nesreče odpovedana, posku- ša druga zbirka ne le spoznati bolgarsko občinstvo in bolgarske gledališčnike s slovensko klasiko, temveč slednjo vključiti v lastno dramsko tradicijo, v kateri so prevladujoči motivi tudi mit, čudež ter infernalno. Ali lahko drugega razumemo s pomočjo svojega, kako novo postane staro in zakaj ustvarjanje predstave po dramskem besedilu še vedno ni zastarelo?

Julia Varley

Celebrando o Essencial

Riccardo Drigo, Elena Randi

L’articolo è la traduzione delle Memorie di Riccardo Drigo con note e Introduzione.

Marianela Vallaza

El presente trabajo pretende problematizar el rol de la dirección y la dramatur- gia a partir de un proceso creativo del grupo Proyecto MONDO. Desde esta práctica se busca analizar, comprender, teorizar si la creación de la obra teatral Un Plan Lunático responde a una dramaturgia de grupo, de autora, si fue un proceso creación colectiva y qué implica cada categoría. Se intenta dar cuenta de cuáles fueron las dificultades que existieron desde el rol de la dirección, vinculándolas con las experiencias previas, la formación y la relación con las diversas y múltiples formas de construir escena.

Justyna Machaj

Celem pracy jest analiza twórczości filmowej rosyjskiego reżysera i scenarzysty Kantemira Bałagowa. Na podstawie dwóch pełnometrażowych produkcji – Bliskości (2017) oraz Wysokiej dziewczyny (2019) zwrócono uwagę na formalny aspekt wymienionych filmów, rolę feminizacji narracji historycznej, a także złożoną sieć inspiracji (kinowe klasyki i rosyjska literatura). Istotnym dla twórczości Bałagowa jest kontekst społeczno-polityczny Rosji, który służy omawianemu twórcy jako narzędzie rewizji narodowych mitów. Uzupełnieniem rozległego portretu reżysera jest charakterystyka twórczości Aleksandra Sokurowa, wprowadzająca istotny dla badań aspekt prawosławnego ikonopisarstwa. Autorka wskazuje, że kluczy interpretacyjnych dla twórczości Sokurowa i Bałagowa należy poszukać właśnie w symbolice prawosławnych ikon. Ambicją niniejszej pracy jest poszerzenie aktualnego stanu badań nad filmografią Kantemira Bałagowa, który obecnie ogranicza się do premierowych recenzji oraz festiwalowych wywiadów.

Giuseppe Scandurra

The present issue explores how a network of intellectuals was formed in Ferrara and its surroundings between the beginning of the Fifties and the end of the Eighties, producing plenty of innovative and anthropologically relevant works. This generation of intellectuals shared a remarkably transdisciplinary point of view, in a moment when the boundaries between disciplines were much less conspicuous than now and the Chair of Anthropology at the University was yet to be founded (it happened in Ferrara in 2008/09). The essay shows how this network was formed, to which extent it contributed to Ferrara becoming a cultural capital, how it managed to transform the Teatro Comunale and the Palazzo dei Diamanti, for instance, into outstanding cultural institutions.

Agnieszka Kamrowska

The aim of this text is to analyze the cyborg motif in mainstream American science fiction films, as represented by the Terminator and RoboCop film series. The cyborg characters presented in these films are focused mainly on violence and destruction, which emphasizes the technophobic attitude of the culture within which these films were made. The only redemption of their otherness is showing their humanity. For a cyborg, its technological provenance is a burden and results in its sense of guilt. In this manner, American science fiction films support anthropocentrism and the conservative status quo.

Livia Cavaglieri

Maria Chiara Barbieri

The essay traces the complex but rapid process of reopening the theaters and reorganizing the dramatic London companies after a nearly twenty years’ interruption of spectacular activities. In 1660, as soon as Charles II returns to the throne, he orders the immediate resumption of theatrical performances, which for the first time will see the female characters acted by women. Women who are not yet called actresses, but ‘women actors’ like the actors who used to perform the female parts before the theatres’ closure in 1642. At first their colleagues do not like the innovation which, instead, is quickly welcomed by the public. Although almost without training, most of the actresses who first tread the stage will be able of making theatre a profession, some even to excel in it.

Sumana Hatui, E. K. Narayanan, Pooja Singla

We prove a characterization of monomial projective representations of finitely generated nilpotent groups. We also characterize polycyclic groups whose projective representations are finite dimensional.

Michele D'Adderio, William Hautekiet, Paolo Saracco et al.

Given a subgroup H of a finite group G, we begin a systematic study of the partial representations of G that restrict to global representations of H. After adapting several results from [DEP00] (which correspond to the case where H is trivial), we develop further an effective theory that allows explicit computations. As a case study, we apply our theory to the symmetric group and its subgroup of permutations fixing 1: this provides a natural extension of the classical representation theory of the symmetric group.

Sebastiano Carpi, Simone Del Vecchio, Stefano Iovieno et al.

We show that any positive energy projective unitary representation of Diff(S^1) extends to a strongly continuous projective unitary representation of the fractional Sobolev diffeomorphisms D^s(S^1) for any real s>3, and in particular to C^k-diffeomorphisms Diff^k(S^1) with k>=4. A similar result holds for the universal covering groups provided that the representation is assumed to be a direct sum of irreducibles. As an application we show that a conformal net of von Neumann algebras on S^1 is covariant with respect to D^s(S^1), s > 3. Moreover every direct sum of irreducible representations of a conformal net is also D^s(S^1)-covariant.