Hasil untuk "Drama"

Ming-Hsuan Wu, C. Chik, A. Simpson

L04 Chinese 1070 Ampersand: Encountering China: A Performative Perspective on Chinese Culture and Identity This course examines the diversified and rich history of Chinese visual and performance cultures from the Chinese mainland, Taiwan, Hong Kong, and throughout the Chinese diaspora. A collaboration between the East Asian Languages and Cultures and Performing Arts departments, this course explores Chinese cultural narratives in relation to how they have been performed — on stage in traditional forms of dance-drama, on screen in film, and as lived in the practice of everyday life — from the late Imperial period to the present. It includes a practice component that introduces the students to movement disciplines such as Tai' Chi and opera, and it allows students to pursue creative assignments such as interview, stage plays, and filmmaking that demonstrate their developing knowledge of historical and contemporary Chinese culture. Building bridges of understanding between the United States and the Republic of China in Taiwan, the course will culminate in a spring break trip to Taiwan. This course is only for first-year, non-transfer students in the Ampersand: Encountering China program. Same as L61 FYP 107 Credit 3 units. A&S: AMP A&S IQ: LCD, SC BU: HUM, IS EN: H

Raimar Richers

Simone Nogueira Rasslan

O artigo, por meio de texto ensaístico com inspiração na perspectiva arqueológica foucaultiana, trata dos modos de subjetivação provocados pelo silêncio no corpo de mulheres. Os materiais empíricos consistem em uma coleção de canções da música popular brasileira. A primeira parte da escrita é produzida a partir dos versos das canções e, a segunda parte, é produzida mais demoradamente com elementos da trama poético-musical, trazendo a atenção para uma delas, que dá nome ao artigo: Cala a boca, Bárbara (Chico Buarque e Ruy Guerra, 1973). Os silêncios serão tratados como práticas que remetem aos três ambientes da experiência: as formas de saber, poder e de relações consigo.

Elena Kurant

The aim of this paper it to discuss the techniques employed in modern political Russian verbatim drama, as well as in their performances. Modern verbatim drama seeks to stay relevant and up-to-date by referring to taboos, radical social controversies, and political incidents. So, it becomes an important event of not only cultural but also social life, and it exerts a strong impact on modern Russian society. The aesthetics of the modern verbatim drama is aimed at representing the reality which is absent from official discourse. Such texts as One hour eighteen minutes by Elena Gremina, Three quarters of sadness (Bolotnaya square case) by Polina Borodina, The last party by Anna Dobrovolskaya, and New Antigone by Elena Kostyuchenko openly explore the issues which do not function as part of the public discourse. Thus, they capture the traumatic experiences in order to overcome traumas. These texts take the traumatic events of current political and public life out of the marginal area, and they acquire the status of social statements which give hope for political and social changes, and give rise to unofficial discourse allowing the readers as well as the viewers to define their own opinion related to the traumatizing events.

Antonio Barnés

El Diablo Cojuelo de Luis Vélez de Guevara es obra sumamente interesante dentro de la narrativa española del siglo XVII. La discusión en torno a su género demuestra lo inclasificable de esta novela. Se le ha calificado de novela picaresca, de novela satírico-social, de relato, de narración picaresco-alegórica inspirada en los Sueños de Quevedo, de sátira sin pretensiones didácticas y moralizadoras: un esperpento, de novela carnavalesca, o de anatomía en palabras de Peale. Lo que está claro es que es una obra híbrida en la que confluyen diversos géneros, siendo la narrativa y el drama el cañamazo sobre el que se diseña la obra. Por todo lo dicho, queda patente que El Diablo Cojuelo es una obra netamente barroca y, por su originalidad, un hito en la narrativa del seiscientos.

Marina de Nóbile da Silveira, Luciana da Costa Dias

The aim of this work is to investigate the question of body (and of dance as a possible way of overcoming the automatisms of the body). For this purpose, a broad concept of contemporary dance is introduced, taking Artaud and his concept of body without organs as a starting point. In a second moment, the discussion expands with the necropolitical reading of the present times, carried out by Mbembe, who deepened biopolitics by developing concepts such as mortification, reconstruction of oneself and viscerality. Through literature review, the conclusions obtained point towards the body – especially the body that dances – as a possibility of insurgence of the so-called visceral resistance.

Redazione Connessioni Remote

Testo di Sara Cattani. Ricordi di Sara Cattani dallo stage di S’era tutti sovversivi con Giacomo Verde

Md. Abu Saleh Nizam Uddin

In Henrik Ibsen’s A Doll’s House, Nora’s departure from home being hurt by her husband’s behavior appears to be the most important event of the drama igniting so far a wide critical parlances of Feminist array that appreciate the departure as Nora’s freedom from male-dominated society. But Nora’s success in having a home of comfort and happiness in her post-departure future life in Feminist world deserves critical attention too. We may posit Nora will shift to a Feminist world considering the departure as the manifestation of her newly imbibed Feminist spirit because the first wave Feminism of her time is either indifferent about or antagonistic to family life by being politics-centric. However, when Nora has within her a woman’s indispensable family-centric female construction to face nonfamilial politics-centric first wave feminism, she is sure to find no home in that Feminist world. Thus, this paper aims at examining how Nora, with her declared departure from home, is going to shift to the world of first wave Feminism which, by being nonfamilial and politics-centric, works against the very family-centric construction of Nora’s female construction and offers homelessness to her.

Laura Budriesi

In questo paper propongo due pratiche di artivismo nate nel XXI secolo: il flash mob ambientalista e il “teatro di paesaggio” del collettivo di ricerca Dom. Scelgo come metodo di analisi la teoria della performance elaborata da Turner e Schechner in cui essa è forma espressiva, nonché strumento di analisi del sociale. Vorrei evidenziare come queste“alleanze di corpi” nello spazio (Butler 2017) usino strategie estetiche, reminiscenze del teatro agit prop e di guerrilla (Milohnić 2005; Loewe 2015) e si alleino ai nuovi media diventando delle smart mob. L’intento di accostare queste azioni al “teatro di paesaggio” di Dom intende mettere in luce “gli usi politici del teatro”(De Marinis 2020) perché in queste performance “simpoietiche”(Haraway 2020) i co-creatori dell’opera sono le forze animali, vegetali e atmosferiche in gradodi ridimensionare e ricollocare l’umano, istanza comune all’attivismo ambientalista.

Jordan Windholz

The digital divide is deeply felt by undergraduate students in resource-restricted universities, but creative, if also labor-intensive, solutions exist for instructors negotiating paywalls and other institutional impediments. In this essay, I argue that teaching early modern drama outside the restraints of the Shakespearean archive and through a host of digital archives, databases, and tools not only engages students in inquiry-based, active learning but also cultivates a critical sense of how digital tools obviate and exacerbate questions of access. To make my case, I describe how I designed and taught a course on non-Shakespearean drama for English majors at Shippensburg University, one of Pennyslvania’s state-funded universities. After describing the mechanics of the course, I further theorize and examine the ways centering digital archives, databases, and tools as course texts enables students to think critically about the content available through these resources as well as the information hierarchies and receptions histories they promulgate.

Mairi Ann Cullen, Geoff Lindsay

This paper explores why some special educational needs (SEN) disagreements become very distressing for parents and how such disagreements can be prevented or resolved. It is a qualitative study of the experiences of 78 parents (70 mothers, eight fathers) who participated in a national study of experiences of England's SEN disagreement resolution system, 2015–17. The study took place in the context of the biggest reform of the English SEN legal landscape since the seminal Warnock Report in 1978: the Children and Families Act 2014. This legislation extended aspects of individual statutory rights for parents and for the child/young person with SEN and increased expectations of their meaningful involvement in the assessment of needs and planning of provision to meet those needs. It also had a much greater focus on partnership working as a way to prevent disagreements and made statutory the requirement to offer mediation to support early resolution of disagreements. Data were analyzed inductively using the Framework approach and then interpreted in the light of stress theory and the “drama triangle.” The main findings are that disagreements are initially driven by a belief that the child's SEN are not being met; and that complaints and disagreements are subsequently driven by experiences of delays and role dissonance during the process of seeking to have the child's needs met. The parental experience of distress can be understood in the light of classic stress theory. The emotional intensity and metaphors of battle can be understood as part of a “drama script.” Prevention and early resolution are aided by professionals and practitioners showing empathy, having the knowledge, skills, and understanding to do their job properly, taking responsibility to redress wrongs, by greater investment in the SEN system (staff, staff training, range of appropriate educational provision), and by parents offering peer support. This paper is unique in two ways: in covering parents' experiences across the English SEN disagreement resolution system and in interpreting our findings using psychological frameworks to understand what drives the intensity of such disagreements—and therefore of the way through them to resolution and improved prevention.

Renata Tavares (Universidade Estadual do Paraná – UNESPAR, União da Vitória/PR, Brasil)

O trabalho analisa a noção de verdade na dança-teatro de Pina Bausch, estabelecendo aproximações entre a valorização da autenticidade do movimento e do gesto preconizadas pela coreógrafa e a noção de verdade como desvelamento em Martin Heidegger. Por meio de entrevistas que Pina deu ao longo de sua vida, procura-se discutir algumas nuances de sua ideia de dança, no sentido estrito de uma linguagem e suas possibilidades, visando sustentar a interpretação de que o tanztheater de Pina Bausch propõe o alargamento de certas fronteiras conceitualmente rígidas mesmo na dança contemporânea. Tais fronteiras dizem respeito às noções de autoria, de individualidade, de representação e, em última instância, da própria linguagem.

Bruno Fontes

Este ensaio apresenta uma análise do filme "Alice nas Cidades" (Wim Wenders, 1974). Será assinalada a forma como o protagonista, um jornalista com um bloqueio na escrita que se refugia na fotografia, supera os seus dilemas por intermédio de um percurso de desorientação na companhia de uma criança, que vem lentamente restituir-lhe a capacidade de escrever. A análise será enriquecida sobretudo com trabalhos de Vilém Flusser, Gilles Deleuze e Roland Barthes.

G. Freytag

Fernanda Drummond

Este trabalho tem como objetivo central tratar de aspectos da desmontagem do discurso oficial da História Portuguesa Colonial pela narradora do romance A costa dos murmúrios, de Lídia Jorge. Através do questionamento de conceitos como verdade, erro, pós-verdade e linearidade discursiva, bem como da metodologia narrativa pluriperspectivada, a autora lança empreende uma narração híbrida, que compreende um conto, de título “Os Gafanhotos”, que abre o romance, e uma seção maior que é propriamente a narrativa questionadora, sob a perspectiva de Eva Lopo. Pesquisamos a ideia de imagem e o drama do indizível para chegar a novos modos de narrar o contexto da guerra, uma narrativa de caráter pós-colonialista e empreendida por mulheres depois de 25 de abril de 1974.

David J. Harding

Erica Magris (Université Paris 8 Vincennes Saint-Denis – Paris, França)

O artigo examina dois espetáculos da diretora britânica Katie Mitchell no teatro Schaubühne, de Berlim – Fraulein Julie (2010), em colaboração com o videoartista Leo Warner, e Die Gelbe Tapete (2013) – que, como um díptico, exploram a vida íntima de duas mulheres que sofrem por meio de um complexo dispositivo de cineteatro. A simultaneidade de dois planos de presença em cena, o do jogo e o da filmagem, bem como a ação cênica e cinematográfica, produz uma tensão permanente entre efeitos contraditórios – identificação/distanciamento, ontinuidade/descontinuidade, dispersão/concentração – tanto nos atores quanto nos espectadores, criando uma interface flexível que envolve o palco e a plateia, permitindo uma imersão teatral na subjetividade.

A. Bernardini

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M. Wiggins, C. Richardson

E. Weissmann