Hasil untuk "The performing arts. Show business"

Marineide Silva, Joacir Antônio de Araújo da Silva

O presente trabalho é fruto de uma pesquisa bibliográfica e documental realizada na Coleção Digital de Jornais e Revistas da Hemeroteca Digital da Biblioteca Nacional do Rio de Janeiro (BNDigital) acerca da estreia e repercussão do espetáculo Malazarte, figura do folclore brasileiro que Graça Aranha tornou protagonista no seu texto teatral publicado em 1911, em francês e em português. Com a estreia do espetáculo em 1911, Graça Aranha pretendia consolidar-se como um representante do pré-modernismo na Europa, pois as primeiras representações de Malazarte foram realizadas por uma companhia francesa, para um seleto público em Paris. A historiografia do teatro brasileiro pouco tem explorado sobre a estreia e repercussão do referido espetáculo, no entanto, o contato com as crônicas e críticas dos jornais brasileiros da época, instigou a investigação e verificou-se que Malazarte foi um espetáculo pensado e favorecido para atender as demandas de transformações filosóficas e estéticas da virada política e cultural na Europa das primeiras décadas do século XX, em virtude das relações de Graça Aranha com o meio cultural europeu. Tais aspectos configuraram Malazarte como uma peça de circunstância e sua encenação como um laboratório para as experiências simbolistas

Eli Borges Júnior

Se a figura do espectador surgiria com o advento do pensamento lógico e a invenção da representação – no teatro e, então, na política da antiga Grécia –, esse papel parece entrar em crise na passagem entre os séculos XX e XXI, em que fenômenos comunicativos sugerem desafiar os modos racionais de perceber e conceber o mundo. O que, recentemente, tem sido descrito como "pós-verdade" seria, nesse sentido, um dos sintomas-chave desse movimento crítico. Este artigo oferece uma reflexão sobre o surgimento e a evolução cultural do conceito de "espectador" articulando-o à noção de "verdade" e a seu percurso na história do Ocidente. O texto explora a hipótese de crise desse conceito, a qual decorreria de outra instabilidade, a dos próprios critérios de definição, na vida comum, entre as categorias de "verdadeiro" e "falso".

Amanda K. Gatewood, LaReina Hingson

Classification systems allow for detailed and organized study of related items. The expansive and contradictory nature of circus makes it difficult to agree on one coherent, holistic classification system that constitutes “circus.” However, a well-constructed system prompts readers to discuss, discover and learn more about skills, apparatus, disciplines, cultural and geographic variation, and history. This article examines several attempts to classify circus apparatus, disciplines and skills. The systems reviewed include the Gurevich system (Soviet Union, developed in the 1950s), the CNAC system (France, developed in the 1980s), the Hovey Burgess system (United States, developed in 1974), the Bortoleto system (Brazil, developed in 2017), the Dokucirco system (Mexico, developed in 2016) and the Gatewood system (United States, developed in 2023). We aim to provide readers with tools to expand the depth and breadth of circus through improved knowledge of each classification system, as well as a better understanding of how circus has been taught and conceptualized in different temporal and geographic contexts. Les systèmes de classification permettent d’étudier des sujets connexes de manière détaillée et organisée. Le cirque est un art très vaste et contradictoire, et par conséquent, il est difficile de s’accorder sur un système de classification cohérent et holistique qui présente le cirque dans sa globalité. Toutefois, s’il est bien conçu, un tel système invite le lectorat à discuter, découvrir et en apprendre plus sur l’éventail des compétences, des appareils et des disciplines, ainsi que les variations culturelles et géographiques, sans oublier l’histoire de l’art circassien. Cet article analyse plusieurs tentatives de classification d’appareils, de disciplines et de compétences. Nous passerons en revue les systèmes suivants : le système Gurevich (Union soviétique, développé dans les années 1950), le système CNAC (France, développé dans les années 1980), le système Hovey Burgess (États-Unis, développé en 1974), le système Bortoleto (Brésil, développé en 2017), le système Dokucirco (Mexique, développé en 2016) et le système Gatewood (États-Unis, développé en 2023). Nous souhaitons offrir au lectorat des outils qui permettront d’élargir les arts du cirque dans toutes leurs dimensions grâce à une meilleure connaissance des systèmes de classification, ainsi qu’une meilleure compréhension des méthodes d’enseignement et de conceptualisation du cirque à travers de nombreux contextes temporels et géographiques.

Sukhoom Phunnarong

Marcon, Marcon Érico, L. Arthur et al.

Simon(e) van Saarloos

David Buckel set himself on fire to publicly stage the horrors of climate change, Delores “Lolita” Lebrón performed a sensational act in the US congress hall, hailing bullets while calling out: ¡Viva Puerto Rico Libre! When do we recognize violence as violence? When is the absence of a counter-attack a form of compliance? Do the desires of activists need an expression of violence to establish an ‘otherwise’ that’s carefully repressed? In “Blow your mind! Shards hailing, on superfluous violence to stop surviving” various instances of violence weave together, obscuring the difference between theatre, terrorism, assault and sensational act. The end of the world is a future for those who have been living like survivors. To explore the potential of violence as resistance, the author proposes to fight as an armless aimless army of vulnerables. ‘Violence happens upon you. But that’s not really true for everyone. As a white cis-woman with passport privilege, I can say I’m interested in violence. Interested in, interested in. Violence doesn’t surround me. It may happen to me, but I would perceive it as an extraordinary event, a happening. I approach violence. I approach, I approach – there’s enough comfortable distance to repeat my sentence and imagine it echoing.’

Mariana Carvalho Xavier, Rosane Muniz

Os movimentos políticos, econômicos e sociais que ocorrem em cada país e ao redor do mundo podem ser temas e/ou influências na concepção da linguagem de uma obra artística. Este artigo objetiva compreender um dos elementos da cena, o figurino, enquanto um instrumento político, um manifesto, investigando se é possível manifestar estas influências criadoras também em uma autoria dos trajes elaborados para uma performance, de forma a compor a dramaturgia. Três trajes de cena, em três contextos políticos diferentes, são analisados neste estudo: da violência política mexicana à polarização do Brasil durante as eleições de 2018, passando pela crise dos refugiados que marcou e marca a história mundial.   Palavras-chaves Figurino. Política. Performance. Cultura. Revolução.

Peggy Hackney

Este artigo resulta de apresentações em conferências na Alemanha e Estados Unidos em 1993 e 1994, revisados posteriormente. Nele, a autora discute a noção de Forma e seus possíveis significados na língua inglesa e suas origens no Sistema de Análise de Movimento Laban/ Bartenieff considerando sua inclusão como categoria de análise independente. Discute consensos e divergências no uso desse material e de suas representações em símbolos de notação nos programas de formação. A partir de sua experiência como docente integrante desses programas, apresenta sugestões para a notação e para o que diferencia Modos de Mudança de Forma, Qualidades de Forma, Base Geral de Forma Fluida e Suporte Postural de Forma Fluida, indicando, também, quando usar uma análise baseada na Forma. Ao apresentar um percurso de discussões, ela conclui com um convite ao aprofundamento dessa reflexão como modo de transição e desenvolvimento de formas e sabedorias para um futuro uso.   Palavras-chaves Sistema de Análise de Movimento Laban/Bartenieff. Forma. Modos de Mudança de Forma. Qualidades de Forma. Símbolos de Notação.

Nadia Saccardi, Fernanda Botter, Rosane Muniz

Translation of the interview with the costume designer and researcher Donatella Barbieri, published online in the Italian magazine Artribune in 2017, (https://www.artribune.com/editoria/2017/05/intervista-donatella-barbieri-libro-costume-performance), in Italian, with additions by curator and fashion historian Nádia Saccardi, who interviewed her, in addition to the interviewee's own additions to the English version, held in 2019. The text discusses the book Costume in Performance: Materiality Culture and the Body , published after six years of incubation, in 2017. After being nominated for the Society of Theater Research Literary Award in 2018, the book received the award for Best Publication on Scene Design and Scenography, at the Prague Quadrennial 2019.   Keywords Costume. Theater. Performance. Files. Victoria & Albert Museum.

Dorota Jarząbek-Wasyl, Alicja Kędziora, Emil Orzechowski

The manuscript of the diary, written by Helena Modrzejewska from 1 January to 16 February 1893, is kept in Jan Ignacy Paderewski’s collection at the National Library in Warsaw. 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).

Sol Deangelis

El presente ensayo se enfoca en el análisis del vestuario del Ballet Triádico creado por Oskar Schlemmer, de acuerdo con la estética de la Bauhaus en tanto punto de arranque de la teatralidad espacializada de los personajes de su Ballet.

Harmony Bench, Simon Ellis

No abstract available.

Janus C. Currie

In 2001, in Zürich Switzerland, German director Christoph Schlingensief staged a version of Shakespeare’s Hamlet. In this version’s famous mousetrap scene, in which Hamlet wants to force his uncle to confess to fratricide, all the players of the mise en abyme are portrayed by a group of neo-Nazis endeavouring to separate themselves from the right–wing scene. In a dramatic break from Shakespeare’s text the group go on to share their own personal experiences with the audience. The production attempted to comment on and create debate about the ‘rottenness’ of the State, not just Switzerland, amid the rise in approval ratings and growing influence of far-right parties in the surrounding countries. I posit that Schlingensief’s project is a form of radical deradicalization (i.e., a radical method of deradicalizing neo-Nazis). This paper analyses Schlingensief’s Hamlet by utilizing the concepts of adikia (disjointure, dislocation, injustice) and dike (jointure, ordering, justice), which go back to the oldest extant Greek text: the Anaximander fragment. Drawing on Martin Heidegger and Jacques Derrida’s reinterpretations of adikia and dike I endeavour to illustrate how Schlingensief’s work attempts to intervene in the disjointure caused by the contemporary politics of fear by bringing adikia to the production of Hamlet itself.

Pamela Antillanca

<span>En el presente trabajo se abordará la relación sonido/imagen, poniendo especial atención a la música y a los elementos que la conforman. Se pretende obtener una visión tanto general como particular de las bandas sonoras, y para ello se analizarán tres obras musicales pertenecientes a tres películas de Studio Ghibli. Los temas son “Una ciudad con vistas al mar” de Kiki, entregas a domicilio, “Un día de verano” de El viaje de Chihiro y “El tiovivo de la vida” de El increíble castillo vagabundo. Estas obras fueron compuestas por Joe Hisaishi y los tres films dirigidos por Hayao Miya-zaki.</span>

Danielle Childs

W. Moojen, M. Arts, W. Jacobs et al.

PurposeInterspinous process devices (IPDs) are implanted to treat patients with intermittent neurogenic claudication (INC) based on lumbar spinal stenosis. It is hypothesized that patients with lumbar spinal stenosis treated with IPD have a faster short-term recovery, an equal outcome after 2 years and less back pain compared with bony decompression.MethodsA randomized design with variable block sizes was used, with allocations stratified according to center. Allocations were stored in prepared opaque, coded and sealed envelopes, and patients and research nurses were blind throughout the follow-up. Five neurosurgical centers (including one academic and four secondary level care centers) included participants. 211 participants were referred to the Leiden–The Hague Spine Prognostic Study Group. 159 participants with INC based on lumbar spinal stenosis at one or two levels with an indication for surgery were randomized into two groups. Patients and research nurses were blinded for the allocated treatment throughout the study period. 80 participants received an IPD and 79 participants underwent spinal bony decompression. The primary outcome at long-term (2-year) follow-up was the score for the Zurich Claudication Questionnaire. Repeated measurement analyses were applied to compare outcomes over time.ResultsAt two years, the success rate according to the Zurich Claudication Questionnaire for the IPD group [69 % (95 % CI 57–78 %)] did not show a significant difference compared with standard bony decompression [60 % (95 % CI 48–71 %) p value 0.2]. Reoperations, because of absence of recovery, were indicated and performed in 23 cases (33 %) of the IPD group versus 6 (8 %) patients of the bony decompression group (p < 0.01). Furthermore, long-term VAS back pain was significantly higher [36 mm on a 100 mm scale (95 % CI 24–48)] in the IPD group compared to the bony decompression group [28 mm (95 % CI 23–34) p value 0.04].ConclusionsThis double-blinded study could not confirm the advantage of IPD without bony decompression over conventional ‘simple’ decompression, two years after surgery. Moreover, in the IPD treatment arm, the reoperation rate was higher and back pain was even slightly more intense compared to the decompression treatment arm.

Annesha Zeheen, Anwar Hossain

The study seeks to consider socio-economic background of the students enrolled at PU with a view to assessing individual performances and improvements. The assessment covers comparative achievements of different school of PU namely Business, Engineering and Liberal Arts and Social Science. Since performances of the students depend on the University curricula and quality of the faculties and also on parent/ guardian’s income level, gender, religion, accommodation arrangement, past academic background and socio-economic and cultural status, the paper tries to statistically evaluate comparative importance of factors behind their performances. The analysis attempted to collect data through population survey (SIMS), but had to rely on random sample survey as required data were not available in SIMS, and regressions were run to evaluate comparative importance of the factors. The results showed that parents’ income and father’s education level have influence on academic performance of a student. Past academic track records of the students plays an important role in University achievements. Business School seems to be performing better than other schools. Further, the results recommend choice of career preferences of the students, opportunities and alternative options for better job opportunities. As most students were found to prefer job and Business students like it in banks/financial institutions and Engineering students in construction and telecommunications industries, the University may be recommended to take appropriate policy package.

Rüdiger H. Rimpler

The real world of everyday life with its unfailing routines, repetitions and manifold habits may be seen as a matrix for the immanent expressions of what could holistically be called ‘The Void’, ‘The Real’ or simply ‘The all-embracing presence of immanence’. Thus, everyday life situations may tell us more than we normally assume about ourselves and the chimerical vision of an existing subject within the process of self-expression. But how can we investigate such situations in an appropriate manner, so that they show us by themselves somehow pre-reflexive patterns they incorporate? There is no unique method of how to investigate such situations; however, there should be a methodological form of performative settings beyond the stage which I would like to discuss. Following some of the ideas of Julian Klein and Arno Böhler on the significance of our feelings and on the limits of conceptual thinking I propose a specific form of philosophical performances, which is based on a grounding of emotions within thinking and on postponed deliberations within networking groups of individuals who are sharing a similar background of specific experiences in a given population.

Maryellen Wright

Rajalingam, Yasothai