Kenya Hernández Trejo, Azul Amaranta Moreno López, Claudia Margarita González Fragoso
et al.
Los profesionales de la danza están influenciados por el contexto en el que se desarrollan, por lo tanto, la presión que hay por mantener una buena apariencia corporal es alta, puesto que el principal requisito en la danza es tener un cuerpo delgado y alargado. Es por ello que se llevó a cabo una investigación con los estudiantes de la Licenciatura en Danza de la Universidad Autónoma del Estado de Hidalgo, en la que participaron 100 alumnos de segundo a séptimo semestre, con un rango de edad entre 19 y 20 años. El 85% de la población fueron mujeres y el principal objetivo fue determinar si existe alguna relación entre autoestima e imagen corporal. Los instrumentos utilizados para determinar dicha relación fueron el MBSRQ Cuestionario de Imagen Corporal (adaptado y validado por Botella et al. 2009) y la Escala de Autoestima de Rosenberg (1965) validada por Atienza et al. (2000). Los resultados arrojaron una correlación significativa entre las variables de Autoestima e Imagen Corporal, r = .321. La correlación fue estadísticamente significativa, p < .01. A mayor autoestima, mejor percepción y valoración del propio cuerpo.
With the establishment and improvement of China's modern enterprise system, enterprise financial analysis has become an important way for business managers, investors and enterprise regulators to grasp the financial status and operating results of enterprises. Through financial analysis, the meaning of financial data itself can be accurately understood, the financial ability of the enterprise can be fully understood, and the foundation can be laid for those of the stakeholders of the enterprise to make financial decisions. From the perspective of an external user of financial statements, based on the relevant theories and research methods of corporate financial management and financial statement analysis, this paper constructs the financial analysis system based on accounting statement analysis, financial index analysis and DuPont financial comprehensive analysis as the core. Through the analysis of the financial statements and annual reports published by the listed company Songcheng Performing Arts in 2016-2020, the company conducts financial evaluation, and analyzes the financial situation, valuation forecast and future aspects of the company for reference.
Este 2022 se cumplen quince años del estreno de Griegos, la primera obra de Convención Teatro, una singular grupalidad del circuito independiente del teatro de la ciudad de Córdoba. En este escrito se realiza un recorrido por la trayectoria del grupo, que conforma sus integrantes según cada proyecto escénico –aunque siempre cuenta con la dirección de Daniela Martín– y que, desde ese 2007 hasta la actualidad, estrenó catorce piezas. En sus propuestas, Convención Teatro despliega políticas compositivas como la reescritura, la experimentación de autorías complejas, el trabajo colectivo, la construcción de dispositivos escénicos de interpelación a lx espectadorx, la exploración de la palabra poética, el cuestionamiento de las convenciones teatrales y la metateatralidad, en lo que constituye una apuesta por inaugurar comunidades de escritura y de interrogación.
Ganpati. Sacred in the Making explores the celebration of the Ganesha festival in Palermo, Italy, from the point of view of a woman of Mauritian origins and the ritual community gathering at her temporary shrine. The camera is absorbed in the sacred performance as a ritual tool, conveying the sensory experience of participating in the rite. Merging into musical and sonic performances of devotion, this film is a multimodal engagement with the construction of migrant spaced spaces and the resonances of this process in the urban social fabric.
The essay engages in conversation with the work of Pedro Lemebel, and attempts to articulate through its close reading a reflection on the stakes of epistemological care, language, and translation in contemporary globalised academia. This reflection is organized as a response to a series of texts, and stages a conversation between them: Pedro Lemebel’s Canción para un niño boliviano que nunca vio la mar (2004), the letter “White Colleagues Listen! An open letter to UK Theatre, Dance and Performance Studies” by the Network Revolution or Nothing (2020), Pedro Lemebel’s manifesto Hablo por mi diferencia (1986). Engaging in particular with the idea of “aesthetic education” advanced by Gayatri Spivak and with the reflections on language and decolonization articulated by Silvia Rivera Cusicanqui, the essay meditates on the political capacity that teachers and scholars, working in globalised neoliberal academia, can build together to attend to the urgent task of vigorously questioning the system of epistemological thinking that make possible the identification of any marker of difference.
The performing arts. Show business, Philosophy (General)
El trabajo desarrolla una reflexión teórica a efectos de problematizar el horizonte y el objeto de los estudios teatrales —el campo o el sistema teatral, el concepto de teatro— argumentando en favor de ampliar la mirada y también flexibilizar el concepto de teatro de modo de poder abarcar otras teatralidades, otras formas de expresión teatral, diversas manifestaciones de teatro popular, como por ejemplo el teatro de carnaval, históricamente dejadas de lado por el mundo del teatro (la crítica, los investigadores, las autoridades de la cultura, etc.), y especialmente, el teatro del/en “el interior” del país, que en el caso de Uruguay ha sido larga e incomprensiblemente dejado fuera del foco y del cuadro.
This text is an analysis of Krzysztof Warlikowski’s 2011 production, African Tales by Shakespeare, tracing the project of community taken up in the performance. The central thesis takes this to be neither a national community nor a dispersed, intersectional coalition, as Bryce Lease has formulated the difference between Polish political and traditional theater, but rather a transitional community—unstable, unsuccessful, and rooted in the experience of political transition. The author, by invoking references to the visual arts present in the performance, points to other community projects emerging from the experience of transition while showing how, when appropriated for the purposes of performance, their meanings change radically. In the masculine, phallic, and violent world of African Tales, art and philosophy born of the experience of femininity are lost, twisted, and forgotten. Among the most important threads of analysis, however, is the way racialization and racism function in the play. From this perspective, the problematic status of the community the play establishes is most clearly seen: as a community of phantasmic, aspirational, transitional whiteness.
Dramatic representation. The theater, The performing arts. Show business
This article explores Kuzbass potential for industrial and post- industrial tourism, drawing on successful foreign experience and several Russian cases. We identified common international trends in using industrial heritage and outlined the challenges that Russian companies are facing on the way towards a post-industrial paradigm. Western industrial museums present their local industry in the global context, while showing its impact on local community and culture. They make a wide use of modern technology, establish links with science and business, support local arts, and involve authentic members of the industry. Russia, however, can boast very few examples of industrial tourism (e.g. the Krasnaya Gorka Museum in Kemerovo), which is largely seen as having a purely academic appeal. Yet, Kuzbass, with its long history of coal-mining and other industries, has very extensive prospects in this type of tourism. To prove it, we performed a SWOT analysis of a prospective tour into reclaimed lands which showed far more strengths and opportunities for integrating local community, business, and industrial heritage than weaknesses and threats.
Calabar, a coastal town in South-South Nigeria, has had a long-standing history of cultural tourist-oriented theatre performances. And today, its image as a tourist city has grown in leaps because of the Christmas Festival (A 32-day entertainment art and cultural events) it hosts annually plus other tourism products or attractions that complement the festival. Carnival seems to be a major attraction. Other attractions are not emphasized. This study explored how tourism-oriented theatres can be developed to add to existing attractions and increase varieties for tourists. The study used a combination of research methods including experiential theatre performances, participant observation, and focus group discussion. Findings show that local culture and arts and creative industries i.e., theatre can be used to promote destinations and enhance their attractiveness. They can help build the image of the city and promote indigenous arts and culture. This research significantly models the utility of theatre in the service of tourism and urban development. Some key recommendations this research makes include, the collaboration of the tourism industry, the performing arts sectors, and private business owners. Creating demand and market for specially packaged theatre products for tourists working with travel agencies to ensure that theatre is taken from the mainstream to the tourists.
Resumo: Este texto é a apresentação de uma proposta atrevida: a de pensar em uma sociedade pós-gênero, em formas de compartilhamento da existência menos categorizadoras, tendo a arte da performance como recurso. Partindo desta premissa e das teorizações propostas por Judith Butler (performatividade de gênero) e de Jacques Rancière a respeito da construção de ficções e de uma “partilha do sensível”, analisou-se a transperformance Coletiva, que são performances de grupo baseadas no processo de construção-experimentação poética da imagem trans. E o objetivo? Tocar fogo no gênero. Na identidade. Na caixinha na qual nunca coubemos.
El radioteatro fue el fenómeno que revolucionó el campo cultural en los años 30 en Argentina. Confluyeron en él artistas de toda índole, ampliando el mercado laboral en un contexto de crisis económica y alta conflictividad social. Ahora bien, durante la década del 30 y parte del 40, el radioteatro cosechó un sinnúmero de críticas que visibilizaron las concepciones arraigadas en la sociedad sobre el arte, la cultura, el rol de los medios y los artistas. Nos preguntamos, entonces, ¿qué sucedía con la legitimidad y la profesionalización de estos artistas en un período de explosión de industrias culturales? ¿Cómo se posicionaron los sindicatos que los representaban frente al fenómeno radioteatral? Apelando a conceptos teóricos desarrollados por Mauro (2014a, 2014b, 2018a, 2018b), Pellettieri (2002) y Bourdieu (1967, 2000) y analizando los discursos que circularon en el campo cultural argentino del momento, este trabajo se propone dar cuenta no sólo de los prejuicios y las dificultades que afrontaron lxs profesionales de la actuación en un momento crucial de su propia historia como colectivo, sino también la proyección que ciertas concepciones aún poseen, atentando contra la autopercepción de lxs mismxs en tanto trabajadorxs de la cultura.
El trabajo analiza La Terquedad de Rafael Spregelburd a partir de la interpretación de la noción de terquedad como ese sin sentido de Planc de buscar obstinadamente un sentido a través de la invención de una lengua artificial, numérica y universal que anule las diferencias, basada en el anhelo del protagonista de devolverle a los hombres la facultad primitiva que Dios le dio al hombre de un habla sin lengua. Nuestra investigación se basa en un análisis de la organización temporal de los hechos en la trama, la cual se inicia y termina con el hombre primitivo, con la negación de la lengua, también de la artificial inventada por Planc, ese alfabeto numérico propuesto como solución a la multiplicación caprichosa que cada idioma hace de sus palabras. Entendemos que la obra descansa sobre una estructuración circular de la fábula que reproduce la terquedad del protagonista y contribuye a resaltar una noción de lenguaje sin relación con el mundo, un lenguaje vuelto sobre sí mismo.
Yogyakarta is one of the most popular tourist destinations in Indonesia. In Jogja, Malioboro is one of the most visited place for its nature, culinary, shopping, culture, and arts. Every year, in Malioboro, room occupancy rate has increased significantly. The promising tourism business had allured many online booking service provider, including Traveloka. Using Traveloka, users can reserve, give ratings and opinions on hotel services. The rating and opinion are employed to indicate hotel services quality. Later on, from the indicator, user satisfaction level can be obtained. In this study, a new approach, the rule-based method is utilized to sort out opinions containing services. Moreover, it is also employed to extract service words and opinion words. Afterward, it is utilized to identify sentiments from opinions. Because the result is still impractical, then, it is segmented according to the department and function of the hotel. From the summary, indicators of the hotel service quality can be obtained. Later, the indicators will be utilized to determine the user satisfaction level. From the experiment, it is shown that the rule-based method can be employed to sort service-based opinions and to calculate service quality indicators. The rule-based method can classify opinions based on services with precision of 0.97, recall of 1, and f-measure of 0.98. The rule-based method can classify opinions based on sentimen with precision of 0.99, recall of 1, and f-measure of 0.99. As comparison, the experiments are also performed with other methods, namely KNN, SVM, J48 and Naïve Bayes. The result shows that the rule based method achieves the best performance, compare to the other methods.
This article begins by arguing that the ‘madness’ of Antonin Artaud is either fetishised or resisted, depending on the disciplinary angle from which one works. It proposes an alternative approach to the study of Artaud, which might avoid such pitfalls by reading Artaud’s work as performative philosophy or a philosophy of performance. The approach is defined by the principle of ‘working with’, rather than working on, a literary or philosophical figure. The second part of the article works, or philosophises, with Artaud, reading his work on the ‘Theatre of Cruelty’ alongside Immanuel Kant’s work on judgment from the third Critique. It explores the Kantian distinction between determining and reflective judgment, extending reflective judgment into what I call anarchic reflection. To do so, the article elucidates the conceptual relation between actuality, entropy, an-archy, cruelty and sublimity, defining anarchic reflection as an unintentional and/or intentional crisis of the judgment or krisis (κρίσις) of Form that opens the possibility of its transformation.
The performing arts. Show business, Philosophy (General)
Enquanto forma de acesso a determinado objeto cultural, o arquivo se institui no espaço entre a lembrança e o esquecimento, permitindo a preservação, a conservação, e a apresentação de conteúdos para além de seus momentos de criação. Sua dinâmica de constituição e valorização determina como se constituem acervos e suas formas de contato com o público, desde o momento em que são criados e enquanto continuarem sob a guarda dessas instituições. Nesse sistema, que mostra que a criação de arquivos e sua disponibilização é elemento fundamental para a manutenção da memória cultural, é preocupante que a dança encontre, até o momento, pouco espaço dentro de instituições museais. A maior dificuldade da guarda da dança é seu traço mais íntimo: a realização e transmissão corpo a corpo dessa arte identificam que o arquivo mais próximo da dança trata-se de um arquivo corporal, vivo e pulsante, que frequentemente escapa às formas de catalogação às quais os museus estão habituados. Dentro dessa problemática, este artigo aborda a conceituação dos arquivos da dança, especialmente dos arquivos do corpo, investigando alguns exemplos de sistemas de preservação dos mesmos, ao se indagar acerca das particularidades desses arquivos, de sua determinação, e das propostas institucionais pontuadas, ilustrando, para além de sua dificuldade, a importância e o interesse em se preservar a dança, sua memória e seus arquivos.