Hasil untuk "The performing arts. Show business"

Rosyane Trotta

La investigación se basa en tres elementos constituyentes: el grupo como modo de producción y creación, la política cultural orientada a la descentralización y la noción de territorio como elemento identitario organizador de movimientos de ciudadanía. Se encuentra, como elemento de gran relevancia, la presencia de la sede como espacio de desarrollo de actividades de investigación, de creación y de intercambio de conocimientos en grupos que han recibido el apoyo de las políticas públicas. A continuación, se realiza una investigación de campo, a partir de la cual se presentan el Coletivo Estopô Balaio y la Cia Cerne, ambos ubicados aproximadamente a 30 kilómetros del centro de cada capital. En conclusión, el estudio aborda la dramaturgia territorial como parte del contexto presentado: la continuidad de un conjunto teatral, radicado en un territorio periférico, en tiempos en que las cuestiones de identidad se conectan con las luchas políticas.

Eduarda Faccio Barone, Juliana Moraes

Esta pesquisa investiga a prática continuada do ensino de balé clássico para um grupo de pessoas com mais de 50 anos, adotando uma abordagem metodológica participativa. O estudo foi realizado em parceria com o Programa UniversIdade, da Universidade Estadual de Campinas, que promove atividades extensionistas para esse público. As aulas analisadas foram estruturadas com base no trabalho de Zélia Monteiro, artista que propõe a continuidade da tradição do balé clássico enquanto desafia o discurso dominante na dança, ao valorizar as singularidades dos alunos. Os relatos dos participantes revelam que a prática do balé contribuiu significativamente para o bem-estar, autoestima, autoconsciência e sociabilidade, tornando-se parte da construção de uma velhice que celebra a experiência acumulada e a vida.

Dorota Semenowicz

Una Chaudhuri, autorka pionierskiego dla teatru ekologicznego artykułu „«There Must Be a Lot of Fish in That Lake»: Toward an Ecological Theater” z 1994, nawołuje dziś wyraźnie do tworzenia teatru międzygatunkowego. Jego podstawowymzałożeniem jest uznanie materialności gatunków nie-ludzkich i odejście od wykorzystywania natury jako metafory. Co owa materialność oznacza jednak w praktyce i jak myśleć o niej w kontekście obecności zwierząt na scenie? Niniejszy artykuł jest próbą zawieszenia etycznego esencjonalizmu, z góry wkluczającego udział żywych zwierząt w teatrze, a często kryjącego tylko pragnienie moralnego oczyszczenia, oraz zaproponowania racjonalnych ram dyskusji na temat obecności gatunków nie-ludzkich na scenie. Autorka skupia się na spektaklu Hate: Un duo avec un cheval w reżyserii Laetitii Dosch (2018), w którym z aktorką wystąpił koń. Przygląda się mu z perspektywy zooësis, czyli zaproponowanego przez Chaudhuri terminu obejmującego sposoby, w jakie „zwierzę jest w dyskursie konstruowane, reprezentowane, pojmowane i źle pojmowane”. Interesują ją trzy kwestie: 1) proces budowania podmiotowości konia i koncepcja natury w spektaklu; 2) relacja aktorka–zwierzę w kontekście ekologii feministycznej; 3) proces produkcji spektaklu. Zderza ponadto przedstawienie z innymi przykładami twórczości, w której zwierzęta pojawiają się na scenie nie jako symbol, lecz realna obecność.

Yelena V. Perevalova

The article analyzes the speeches on the national theater transformation by one of the most influential Russian publications of the 1860s-1880s - the newspaper Moskovskie Vedomosti with its appendix, the weekly Sovremennaya Letopis’; the authoritative publicist Mikhail Katkov was its editor-publisher. The relevance of the research is due to the need to study the historical experience of the domestic theater business in connection with the ongoing processes of reforming the modern Russian theater, as well as the growing interest in the role of domestic conservative journalism in the cultural life of Russia in the second half of the 19th century. The scientific novelty of the research consists in the introduction of little-studied material into scientific discourse, in particular, the publications of D. V. Averkiev, G. A. Laroche, and M. N. Katkov. An analysis of the publications of the listed authors showed that Katkov’s publications actively supported the reforms of the organizational and creative system of Russian theatrical art, advocated the abolition of the monopoly of imperial theaters and the development of free competition between state-owned and private theaters, warmly welcomed the appearance of a private people’s theater in Moscow in 1872, seeing in this “a convincing argument in favor of freedom of art”. The campaign launched by Moskovskie Vedomosti in support of the reforms of the Russian performing arts largely contributed to the large-scale transformations of the entire organizational and creative system of the Imperial Theaters, and subsequently of the entire Russian theater system. Many of the newspaper’s proposals were taken into account in the Rules for the Management of Russian Drama Troupes of Imperial Theaters adopted in 1882. The further development of the domestic theater confirmed the extreme timeliness and relevance of the performances of the Moscow newspaper: the elimination of the monopoly of the imperial theaters and the permission of private enterprises in the capitals gave an impetus to the development of theatrical business in Russia, contributed to the development of free competition between theaters, the formation of an artistic labor market, and the attraction of talented youth to the stage. The author declares no conflicts of interests.

Tekena Gasper Mark

PurposeArts practitioners have looked for ways to engage their audiences and sustain their interests and patronage of theatre shows amidst the coronavirus pandemic that kept patrons at home. This has led to digital engagement with audience members via social media. This research paper looks at digital audience engagement in Nigeria’s theatre using Segun Adefila’s production of Tosin Jobi-Tume’s Corona Palava which was performed on 4 August, 2020, at the Crown Arts Centre in Bariga, Lagos, Nigeria and later made available on Facebook on 22 December, 2020 and 21 December 21 2021.Design/methodology/approachThis study is based on the “Arts Audience Experience Index” theory proposed by Radbourne et al. (2009). It employs netnography as its methodology. This entails observing and analysing users’ comments, communication style, frequency of engagement and dwell time while watching Corona Palava production on the researcher’s Facebook timeline “Tekena Gasper Mark” and on the Facebook group “Bolt Drivers in Port Harcourt”. Overall, 53 comments (39 from the researcher’s Facebook friends and 14 from members of the Facebook group “Bolt Drivers in Port Harcourt”) were sampled and analysed to provide insights into how the spectators experienced the Corona Palava production.FindingsThe text that accompanied the Facebook video provided viewers with information about the performance, helped them prepare for what to expect, reduced the likelihood that they would experience any unease while watching it and increased the likelihood that they would look for similar performances in the future. They were pleased with the performance; there were no functional risks, no economic risks and no psychological and social risks. Although they may have watched it at varying times, Facebook provided a space for them to engage with the performance as a group and share their thoughts in the post-performance comments.Research limitations/implicationsOne of the study’s limitations is that one cannot ascertain how many of the respondents are drivers. Also, the researcher believes that the length of the video may have discouraged participation in the study. In order to increase viewership and provide better findings, future studies and artistic endeavours could consider shorter pieces (about 3–5 min) and wider locations (transportation businesses) where a larger number of drivers with active social media presence, can participate in the research.Practical implicationsThis study documents an innovative approach to reaching theatre audience via social media in Nigeria.Social implicationsThis research demonstrates that Nigerian theatre and arts practitioners are reinventing their approaches to play production by using the social media to reach their audiences in the post-COVID-19 era.Originality/valueThe study reveals that as a result of the coronavirus pandemic, Nigerian theatre artists have looked for ways to engage their audiences and sustain their interest and patronage of arts projects through social media.

Wojciech Kaczmarek

This article presents the theater scholarship of Irena Sławińska (1913–2004), an eminent humanist affiliated with the Catholic University of Lublin for more than five decades, co-founder of Polish drama and theater studies. The author discusses Sławińska’s research on the language of drama, poetic and religious drama, as well as her methodological proposals for drama and theater analysis, anthropology, and philosophy. The article also describes the scholar’s role in developing relations between Polish and Western theatre studies, especially with regard to Anglo- and Francophone research, and highlights her original contribution to the analysis of anthropological foundations of the idea of theater that refers to classical philosophy and Christianity.

Hsu-Ming Teo, Karen Pearlman, Malcolm Choat et al.

Creative practitioners inside academia are often tasked with explaining how their embodied practices constitute research. The Peribiophoty project reverses this paradigm to ask: how does academic research constitute embodied practice?  By considering the personal and intellectual contexts (peri), surrounding academics and their biographies (bio), through audio-visual representation (photy), we investigate how academic thinking is embodied thinking. The notion that “traditional” research only involves the brain is challenged by the audio-visual representations of thoughts and ideas embedded in objects, experience, time, and interactions. Peribiophoty makes its propositions about academic thinking through embodied presence and rhythmic juxtapositions of gesture, things, place, text on screen and voice. It evokes the narrative pasts and selves of the project’s literature, history, and digital games scholars as substantively entangled with their ongoing research programs and demonstrates that their academic research is necessarily an embodied and embedded practice.

Katarzyna Lisiecka, Adam Regiewicz

Wprowadzenie do bloku tematycznego poświęconego relacji między operą a kulturą popularną.

Walter Lima Torres Neto

Neste ensaio, procuramos introduzir uma tentativa de resposta à pergunta: Por que o teatro viaja, e para que o teatro viaja? Nossa hipótese é que o teatro viaja desde sempre. E o motivo da viagem está associado a uma busca de reconhecimento e gratificação. Sugerimos algumas pistas oriundas da mitologia do próprio teatro para tentar explicitar a condição deste nomadismo teatral que nos chega até os dias de hoje em condições diferentes.

Gasper P Mwembezi, T. Chusi, E. Justine

Purpose: This study was conducted to assess the effects of creative industries at the Museum Village. This study was conducted at Museum Village located in Kinondoni Municipality in Dar es Salaam Region. Generally, the study assessed the effects of creative industries on the artist’s income in Museum Village by identifying types of creative industries practiced by artists, determine the level of income generated from different type of creative industries and analyzed the factor influencing income of the artist in the creative industry. Methodology: The study adopted cross-sectional research design with a sample size of 119 whereby data were collected through interview, observation and documentary review and then analyzed using descriptive statistics, mean comparisons and Multiple Linear Regression. Findings: The findings revealed that most of respondents were engaged in performing arts (51.5%) followed by designing (40.7%) and only (7.8%) were engaged in visual arts. Moreover, the study revealed that mean income earned from different type of creative industry among the artists were (273,155.34 TZS) for designing, (57,766.99 TZS) for visual arts and (147,864.08TZS) for performing arts. Results on factors influencing income of the artist in the creative industry showed that Market availability (p=0.003), Size of the business (p=0.026), Experience (p=0.014) and Technology used (p=0.019) are significant. This study concludes that creative industries performed by artist at Museum Village have positive effect on the level of income and savings among the artists. Recommendations: The study recommends that, Government of United Republic of Tanzania through its Ministries and other development partners may wish put more effort to provide technical and financial assistance for creative industry artist to perform well so as to enhance favorable environment and increase their income for their betterments.

Thiago Rodrigues Carvalho, Washington Walmick Penafort Junior, Jean Mark Lobo de Oliveira et al.

Storytelling - As the display of data impacts on a good analysis, it is a process that seeks through the relationship between art and data science, uniting the act of storytelling and the search for information, which will help in the time of processing an important decision anddecision. The objective is to show the historical process of the joining of two distinct arts that by joining them made the data analysis process easier, in addition to how to present this data to a client orin a corporate meeting, a process facilitated by Business Intelligence tools and not leaving aside how to perform a good presentation. The methodology used is exploratory research, due to the theme addressed being recent, which generates a scarcity of materials about it, thus seeking to present another form of knowledge to the reader. Considering the submissions with an eye on the positive results that large companies had when adopting the storytelling technique with data, leaving the most interesting analyses to the customer, using day-to-day software such as Microsoft Power BI and Microsoft Power Point, presenting more in-depth analysis, organized and not leaving aside elegance, making it a better experience.

Louis Utama, Oey Hannes Widjaja, Richard Andrew et al.

Today in a changing world, there are many options High School students can take to fill their spare time outside of the educational process. One of the positive things is being a member of the student council. As long as they are members of the OSIS, students have several work programs that must be carried out in accordance with the programs that have been arranged. One program that has great internal and external appeal is the performing arts program. One of the most important things to make a good performing arts activity is making an event proposal. The most basic problem in creating event proposals is a lack of knowledge of the fund sponsor market. If a business proposal can provide a clear market, there will be many people who will be interested in participating in these activities both as contestants and as sponsors of funds. With the implementation of this program in the form of a one-day seminar, it is hoped that some of the participants will be motivated to achieve more and work optimally for internal and external parties with a touch of entrepreneurship. This art performance event can show how student achievement academically and non-academically can be presented to internal parties, namely parents and teachers as well as external parties, namely prospective school students, alumni and sponsors of the event. Along with these circumstances, one goal with the thought of the Community Service team (PkM) from Tarumanagara University (Untar) which aims to develop the potential of each student who is educated there to be given training on the importance of market aspects so that students can be more easy to determine who is the target market and the target to carry out these activities and the result of this activity is that students can make a good proposalABSTRAK:Saat ini di dunia yang terus berubah, ada banyak opsi yang dapat dilakukan oleh siswa Sekolah Menengah Atas untuk mengisi waktu luang mereka di luar proses pendidikan.  Salah satu hal positif adalah menjadi anggota OSIS. Selama menjadi anggota OSIS, maka siswa mempunyai beberapa program kerja yang harus dijalankan sesuai dengan yang program yang telah disusun. Salah satu program yang mempunyai daya tarik besar dari internal maupun eksternal adalah program pentas seni. Salah satu hal yang terpenting untuk membuat sebuah kegiatan pentas seni yang baik adalah pembuatan proposal acara. Masalah yang paling dasardalam pembuatan proposal acara adalah kurangnya pengetahuan mengenai pasar sponsor penyandang dana. Apabila sebuah proposal bisnis dapat memberikan pasar yang jelas maka akan banyak orang yang akan tertarik untuk turut serta dalam kegiatan tersebut  baik sebagai peserta lomba maupun sebagai sponsor penyandang dana.  Dengan pelaksanaan program ini dalam betntuk seminar sehari diharapkan sebagian dari peserta termotivasi untuk lebih berprestasi dan berkarya secara maksimal kepada pihak internal maupun eksternal sekolah dengan sentuhan kewirausahaan. Acara pentas seni ini dapat menunjukan bagaimana prestasi siswa secara akademik maupun non akademik yang dapat dipresentasikan kepada pihak internal yaitu orang tua dan guru serta pihak eksternal yaitu calon siswa sekolah, alumni maupun para sponsor acara tersebut. Seiring dengan keadaan tersebut maka satu tujuan  dengan pemikiran dari tim Pengabdian kepada Masyarakat (PkM) yang berasal dari Universitas Tarumanagara (Untar) yang bertujuan untuk mengembangkan potensi dari tiap siswa  yang menempuh pendidikan di sana untuk dapat diberikan pelatihan mengenai pentingnya aspek pasar sehingga siswa dapat lebih mudah untuk menentukan siapa pasar sasaran dan target untuk menjalankan kegiatan tersebut dan hasil dari kegiatan ini adalah siswa dapat membuat proposal dengan baik,.

G. Mazziotti

As lockdown regimes have forced nearly everyone to stay at home in many parts of the world, an increasingly larger portion of global audiences started relying upon a small number of digital platforms to access arts, culture and entertainment. When theatres, concert halls, clubs and other performing arts venues closed in response to COVID-19, many artists spontaneously started broadcasting live performances from their homes and recording studios. This unexpected change showed what the creative sector might look like if hundreds of millions of users had to simultaneously rely mostly on digital services to access music, films, TV programs and other artistic productions. A major concern is that the largest online platforms, some of which have long exceeded one billion users, have acquired and exert too much economic power to the detriment of consumers, suppliers and competitors. The undisputed dominance of a handful of tech companies in controlling (or deeply influencing) access to creative works raises existential questions for cultural industries, their core businesses, and even more so for the authors and performers who must make a living. A first question concerns the value of digital content: what is the function content plays in a platform-dominated economy? This question arises from the technical reality that platforms’ commercial value is not so much in the content as it is in their personal data collection and very sophisticated and secret algorithms. Social media platforms such as YouTube and Facebook, as well as on-demand content suppliers like Spotify and Netflix, are ultimately data-analytics businesses. Appealing content is a bait to keep their users active on their platforms as much and as long as possible. The main commercial purpose of these businesses is to collect, process and sell targeted advertising based on extensive user data.

I. Widyawati

Every business must use a development strategy; even small companies should use strategic management. One of the regions participating in the development of regional economic dynamics is Ronggo village, Tajinan sub-district by producing Carnival costumes. In the village there are several craftsmen producing the same product. The costume craft sector has particular potential, as one of the leading UMKM/MSMEs (Micro and Small and Medium Enterprises). In addition, these costumes are one of the main attractions during the Carnival, or the Cultural Parade or Carnival, when costumes are displayed as part of the procession. These carnival costumes are rented out to the general public who will hold a cultural parade in the local area or outside the area. However, unfortunately the Carnival costume producers lack business expertise. Their skills lie in the areas of creation and creativity, not using schooling techniques to support these abilities. Keywords: management strategies, Carnival costumes, UMKM, MSMEs, Performing Arts

Ariadne Mikou

The European Mediterranean appears to be an active key player for the production and circulation of screendance. Focusing this research on the pre-pandemic state of screendance in Italy, France, Greece and Spain and employing a methodology of one-to-one interviews, this text examines the art policies that have been in place for potentially supporting the production of screendance, the ways that spectatorship and social engagement kept on growing and the predictions for the yet-to-come evolution of the form in a context disassociated from, yet applicable to the on-going pandemic. Although screendance is understood differently among the interviewees – curators of major festivals such as DAN. CIN. LAB., Festival International De Vidéo Danse De Bourgogne, COORPI/La Danza in 1 minuto, Cinematica Festival, Stories We Dance International Videodance Contest, Choreoscope - The International Dance Film Festival of Barcelona and the formerly known Athens Video Dance Project – International Dance Film Festival – the aim of this research is to create knowledge regarding the heterogeneous landscape of screendance in the European Mediterranean as well as a broader understanding of the shifting Mediterranean culture.

I. P. Ardiyasa

Titov Chuk’s Mayvani

S. Harrison

Vaca Ludeña, C. Gisela

Ewa Dulna-Rak, oprac., Wanda Świątkowska, oprac.