Hasil untuk "Dramatic representation. The theater"

Marcelo de Andrade Pereira, Carlos Edimilson Avila de Lima, Luiza Lemos de Rossi

This article results from a survey and analysis of the production on Performance and Gender published in the Brazilian Journal on Presence Studies (Revista Brasileira de Estudos da Presença). Twenty-one articles addressing the intersections between Performance and Gender were analyzed. From these analyses emerged the idea that the journal has progressively deepened debates on gender and its relations with other markers, fostering the emergence of a kind of performative gender pedagogy that invites us to rethink the social and cultural roles and functions constructed around gender.

João Vítor Zanato de Carvalho Ribeiro, Ana Claudia Balieiro Lodi

This article aims to analyze the artistic work Venus in Fur through the theatrical play Venus in Fur, written by David Ives in 2010, and the French feature film Venus in Fur, directed by Roman Polanski in 2013. In this analysis, we seek to understand the dialogues established between the play and the film with previous artistic works, involving the historically built meanings about women and their social role, themes that permeate Venus in Fur. The theoretical-methodological perspective that underpins the proposed analysis is based on the studies of Bakhtin and the Bakhtin Circle, by understanding that artistic works are part of a long human discursive chain of great time, reflecting and refracting their own time, while responding to the past and being projected into the future. In turn, Venus in Fur promotes a major feast of renewal of meanings, extending its dialogue beyond its socio-historical context of circulation, reaching works from the past and other contexts, by situating the representation of women in art at the center of its discussion.

You-Jin Kim, Misha Sra, Tobias Höllerer

Audience reactions can considerably enhance live experiences; conversely, in anytime-anywhere augmented reality (AR) experiences, large crowds of people might not always be available to congregate. To get closer to simulating live events with large audiences, we created a mobile AR experience where users can wander around naturally and engage in AR theater with virtual audiences trained from real audiences using imitation learning. This allows us to carefully capture the essence of human imperfections and behavior in artificial intelligence (AI) audiences. The result is a novel mobile AR experience in which solitary AR users experience an augmented performance in a physical space with a virtual audience. Virtual dancers emerge from the surroundings, accompanied by a digitally simulated audience, to provide a community experience akin to immersive theater. In a pilot study, simulated human avatars were vastly preferred over just audience audio commentary. We subsequently engaged 20 participants as attendees of an AR dance performance, comparing a no-audience condition with a simulated audience of six onlookers. Through questionnaires and experience reports, we investigated user reactions and behavior. Our results demonstrate that the presence of virtual audience members caused attendees to perceive the performance as a social experience with increased interest and involvement in the event. On the other hand, for some attendees, the dance performances without the virtual audience evoked a stronger positive sentiment.

Tithi Dwary, Khyodeno Mozhui, K. V. Krishna

A split graph is a graph whose vertex set can be partitioned into a clique and an independent set. The word-representability of split graphs was studied in a series of papers in the literature, and the class of word-representable split graphs was characterized through semi-transitive orientation. Nonetheless, the representation number of this class of graphs is still not known. In general, determining the representation number of a word-representable graph is an NP-complete problem. In this work, through an algorithmic procedure, we show that the representation number of the class of word-representable split graphs is at most three. Further, we characterize the class of word-representable split graphs as well as the class of split comparability graphs which have representation number exactly three.

Ana Filipa Magalhães

As produções pertencentes ao género performativo de teatro-música em Portugal e compostas a partir de 1970 apresentam inúmeros desafios no que respeita à sua preservação, especialmente no contexto do arquivo. Parte da documentação de teatro-música encontra-se dispersa entre várias instituições e acervos pessoais. Estas obras baseiam-se em linguagens idiossincráticas e em práticas performativas não-convencionais, que é preciso identificar e sistematizar. Muitas vezes, é necessário recorrer aos agentes envolvidos nessas performances (compositores, performers, encenadores, técnicos de som, light designers, entre outros) para, por um lado, entender aspetos da performance intrínsecos ao processo de criação, os quais não se conseguem descortinar apenas a partir da documentação, e para, por outro lado, compreender as relações entre a documentação existente. Este é o grande desafio que se coloca atualmente aos musicólogos e arquivistas, e só a partir de um trabalho de colaboração entre estas duas áreas do conhecimento será possível arquivar e reativar o teatro-música. Neste artigo, proponho discutir os conceitos de performance e re-performance, na perspetiva de Diana Taylor, para entender a exequibilidade de salvaguardar a performance no arquivo digital.

Andrzej Szpulak

After outlining the state of research, the article presents an interpretation of Abbas Kiarostami’s film The Wind Will Carry Us (1999), made using the concept of mythic narrative developed by the author two decades ago. The author reconstructs the deep structure of the story and the mechanisms inscribed in it for the transformation of the main character, and his transition from the state of inner death to life. Taking advantage of its narrative openness and symbolic universality, he inscribes it in a close biblical context. He also considers this procedure legitimate because of the concept of “unfinished cinema” repeatedly presented and affirmed by the director.

Paolo Albonetti

The third son of Luigi, Alessandro (or Vincenzo) is best remembered as the father of Eleonora. Starting his career as a young and unbright primo attore, he becomes a brillante, a caratterista, and finally a generico working with his daughter. As an established actor, instead of playing major roles, Alessandro gradually slips into anonymous ‘last parts’. The remarkable consistency of the information about his biography is due to the glory of his daughter.

Marek Mosakowski

This article discusses the ways in which performances were disciplined in revolutionary France between 1789 and 1794. It presents the socio-political contexts of two legal acts regulating the production and staging of plays: the relatively liberal Le Chapelier Law of 13 January 1791 and the repressive Decree of the National Convention of 2 August 1793, which turned French theater and opera into a propaganda platform of the Jacobin regime, imposing ideology and topics on the artists. The artistic practice of the time is illustrated by two operas: Étienne Nicolas Méhul’s Hadrian, Emperor of Rome and François-Joseph Gossec’s The Triumph of the Republic. The former was suspended one day before the premiere, scheduled for 13 March 1792, as the Paris Commune deemed it overtly monarchical and politically incorrect in a France where the foundations of the Bourbon monarchy were already shaking, and the extremely polarised public sentiment was about to pave the way towards a republic. The latter was composed shortly after the fall of the monarchy and staged in early 1793. The Triumph of the Republic set new aesthetic standards for French republican and patriotic opera. Gossec’s work is discussed as an example of the principles of the new cultural politics of the Jacobin dictatorship, based on unprecedented repression and censorship.

Karol Koziol, Stefano Morra

Let $p$ be a prime number and $F/F^+$ a CM extension of a totally real field such that every place of $F^+$ above $p$ is unramified and inert in $F$. We fix a finite place $v$ of $F^+$ above $p$, and let $\overline{r}: \textrm{Gal}(\overline{F^+}/F^+) \longrightarrow {}^C\textrm{U}_{1,1}(\overline{\mathbb{F}}_p)$ be a modular $L$-parameter valued in the $C$-group of a rank 2 unitary group associated to $F/F^+$. We assume $\overline{r}$ is semisimple and sufficiently generic at $v$. Using recent results of Breuil--Herzig--Hu--Morra--Schraen along with our previous work, we prove that certain admissible smooth $\overline{\mathbb{F}}_p$-representations of the $p$-adic unitary group $\textrm{U}_{1,1}(F^+_v)$ associated to $\overline{r}$ in spaces of mod $p$ automorphic forms have Gelfand--Kirillov dimension $[F^+_v:\mathbb{Q}_p]$.

Daniela Aquino Camargo, Marta Isaacsson Souza e Silva

O presente estudo aborda as especificidades e os desafios vivenciados pelo performer no contexto da atuação em criação cênica interativa sob o modelo de scape game. A pesquisa está alicerçada na vivência como atriz da primeira autora do artigo na obra Casa do Medo, uma realização da Macarenando Dance Concept, de Porto Alegre. A reflexão aqui apresentada privilegia a análise da vulnerabilidade experimentada pelos performers na atuação interativa com o espectador, na vivência do entre da representação do personagem e no controle do desenvolvimento da trama diante da reação imprevisível dos parceiros cênicos.

Mariana Elâni Santos de Oliveira, Maria de Lourdes Macena de Souza, Luiza Jovina Barbosa Girão

Resistir para existir, os artistas populares de Rua da praça do Ferreira são o exemplo de que a continuidade de seus fazeres artísticos são parte da identidade de nossa cidade. Propomos uma reflexão de que a prática desses artistas fazem parte do campo de práticas contra hegemônicas (SANTOS, 2002). Analisamos ainda outros aspectos que conectaram-se as relações dos artistas com seu local de apresentações (DOTE, 2017), demonstrando as influências do passado que impregnaram a praça de vida e potência e transcenderam os aspectos urbanos (PELBART, 2000). A ideia de Arte de subsistência que citamos nesta pesquisa produziu, em nossa visão, intencionalidades pré-existentes antes do período pandêmico, momento em que, muitos pararam e recolheram-se em suas residências, porém, os artistas não puderam ter esse privilégio. Esse fator demarcou socialmente as vidas desses agentes da Arte que resistem à sois, chuvas, vírus mortais, entre outros obstáculos, lutando diariamente por seu espaço de trabalho na Rua e pelo reconhecimento de sua ação como fundamental para o entendimento de nossos processos culturais.   Palavras-chave Artistas Populares de Rua. Arte. Cultura. Praça do Ferreira.

Kengo Miyamoto, Qi Wang

We determine the representation-finiteness of $A\otimes B$, where both $A$ and $B$ are simply connected algebras with at least three simple modules.

Adrien Boyer, Jean-Claude Picaud

We introduce the Riesz operator in the context of Gromov hyperbolic groups in order to investigate a one parameter family of non unitary boundary Hilbertian representations of hyperbolic groups. We prove asymptotic Schur's relations, the latter being the main result of this paper. Up to normalization, the Riesz operator plays the role in the context of hyperbolic groups of the Knapp-Stein intertwiner for complementary series for Lie groups. Assuming the positivity of the Riesz operator, we define an analogue of complementary series for hyperbolic groups and prove their irreducibility.

Adèle Bourgeois

Let $F$ be a non-archimedean local field of residual characteristic $p$. Let $\mathbb{G}$ be a reductive group defined over $F$ which splits over a tamely ramified extension and set $G=\mathbb{G}(F)$. We assume that $p$ does not divide the order of the Weyl group of $\mathbb{G}$. Given a closed connected $F$-subgroup $\mathbb{H}$ that contains the derived subgroup of $\mathbb{G}$, we study the restriction to $H$ of an irreducible supercuspidal representation $π=π_G(Ψ)$ of $G$, where $Ψ$ is a $G$-datum as per the J.K. Yu Construction. We provide a full description of $π|_H$ into irreducible components, with multiplicity, via a restriction of data which constructs $H$-data from $Ψ$. Analogously, we define a restriction of Kim-Yu types to study the restriction of irreducible representations of $G$ which are not supercuspidal.

Savas Patsalidis

Alicja Kędziora, Emil Orzechowski

Helena Modrzejewska's diary was published several times in several variants, both in whole and in fragments (including the excerpts published in the Polish magazines such as Czas, Kierunki, Teatr and in monographs by Marion M. Coleman and Józef Szczublewski), Modrzejewska's diary has become ridden with numerous editorial inaccuracies. The text currently published in Pamiętnik Teatralny is a compilation of the three major editions of the Diary: the original based on the manuscript, including later comments and corrections, the first Polish publication in Czas, 1910, and its edition in English, published in M. M. Coleman’s Fair Rosalind: The American Career of Helena Modjeska (1969). The current edition is annotated with regard to its content: the events of the first six weeks of 1893, people described by Modrzejewska and their relationship with the actress, performances and theatrical plays, as well as the publishing history of the diary.

Antonia Gogoglou, C. Bayan Bruss, Keegan E. Hines

With the rising interest in graph representation learning, a variety of approaches have been proposed to effectively capture a graph's properties. While these approaches have improved performance in graph machine learning tasks compared to traditional graph techniques, they are still perceived as techniques with limited insight into the information encoded in these representations. In this work, we explore methods to interpret node embeddings and propose the creation of a robust evaluation framework for comparing graph representation learning algorithms and hyperparameters. We test our methods on graphs with different properties and investigate the relationship between embedding training parameters and the ability of the produced embedding to recover the structure of the original graph in a downstream task.

Bruno Schiappa

Crítica ao espectáculo A Divina Comédia – Inferno. Texto: Dante Alighieri. Dramaturgia e ence‑ nação: João Brites. Dramatografia: João Brites e Rui Francisco. Cenografia: Rui Francisco. Dramatofonia e música: Jorge Salgueiro. Figurinos e adereços: Clara Bento. Corporalidade e video design: Stephan Jürgens. Assistência de encenação: Diego Borges. Desenho de luz: João Cachulo/Contrapeso. Desenho de som: Sérgio Milhano/Pontozurca. Direcção de fotografia: Alexandre Nobre. Investigação histórica: Susana Mateus. Interpretação: Ana Brandão, Bonifácio, Bruno Bernardo, Carolina Dominguez, Catarina Claro, Cirila Bossuet, Guilherme Noronha, João Grosso, João Neca, José Neves, Juliana Pinho, Lara Matos, Lúcia Maria, Manuel Coelho, Paula Mora, Raul Atalaia, Rita Brito, Rita Gonçalves, Sara Belo, Sara de Castro e Tomás Varela. Criação e produção: Teatro O Bando. Co‑produção Teatro Nacional D. Maria II, Convento São Francisco/Câmara Municipal de Coimbra e Teatro Nacional São João. Local e data de estreia: Teatro Nacional D. Maria II, 11 de Maio de 2017.

Peter Latham, Monica Nevins

For tame arbitrary-length toral, also called positive regular, supercuspidal representations of a simply connected and semisimple $p$-adic group $G$, constructed as per Adler-Yu, we determine which components of their restriction to a maximal compact subgroup are types. We give conditions under which there is a unique such component, and then present a class of examples for which there is not, disproving the strong version of the conjecture of unicity of types on maximal compact open subgroups. We restate the unicity conjecture, and prove it holds for the groups and representations under consideration under a mild condition on depth.

Giulia Reis