Hasil untuk "Drama"

Sluchem Tavares Cherem

It is a paper that discusses the current scenery of the Traditional Circus in the state of Rio de Janeiro, analyzing the tactics and improvisations witch the actors use as forms of survival and resistance. The investigation is based on data collected in artistic class meetings, interviews, press materials and specialized bibliography. An introduction is presented that outlines the methodology and presents a brief concept of Traditional Circus and its contemporary characteristics in that state. Next, the strategies adopted by circus performers to preserve tradition and artistic language are detailed. It is concluded that many of the characteristic elements of Traditional Circus are consequences of tactics developed by artists as a form of survival.

Dinaldo Filho

The text analyzes the figural aspects of The Thin Blue Line (Morris, 1988) and A Short Film About Killing (Kieślowski, 1988) as reveries of justice driven by the abolitionist imagination of the death penalty. This imagination finds its power in the inviolability of human life as a sense of justice experienced through poetic treatments of the death penalty as a visual motif. The films are approached via a theoretical dialogue between Bachelard’s concept of poetic reverie and Dubois’ Figural question, as they allow us to investigate fiction and documentary as filmic reveries that lead us to a poetic and political experience with the phenomenological world of justice.

José Luis Caballero Bono

Karol Wojtyla y Edith Stein son dos filósofos que han escrito dramas. Podemos clasificar y comprender su obra dramática con la metáfora del continente y las islas usada por Gabriel Marcel. Marcel ha entendido sus obras de teatro como islas relacionadas con un continente que es su obra filosófica. Si ampliamos la metáfora podemos distinguir entre islas del continente intelectual, islas del continente vital e islas del continente vocacional. Los tres continentes están relacionados. Pero son distintos y permiten ordenar los dramas de Wojtyla y Stein. Aquí clasificamos de esta manera seis obras de teatro de estos autores. En esta ordenación la terminología teatral detecta un paso progresivo del teatro de tesis al teatro de compromiso. El continente vocacional es el que mejor muestra la vocación de servicio a la comunidad mediante la llamada a la mediación entre Dios y los hombres y mediante la crítica política. 

Jianfei Chen

The current study investigates the use of a dramatic text to teach spoken Chinese grammar in casual conversation. By analyzing the language used in The Teahouse (1957), a classic Chinese play, this study identifies features of spoken Chinese grammar with a focus on the distinct structures of functionally motivated casual conversation. Utilizing Cullen and Kuo’s categorization of spoken grammar (2007), the analysis offers a new perspective on spoken Chinese, highlighting the interpersonal nature of casual conversation and its implications for teaching spoken grammar. The findings indicate that The Teahouse can serve as a valuable resource for presenting advanced spoken Chinese to students, providing rich models and contextual knowledge. This suggests that incorporating the play as an authentic source of casual conversation in class may significantly enhance students’ understanding and production of spoken Chinese grammar in a meaningful way.

María Victoria Utrera Torremocha

In Así que pasen cinco años, by Federico García Lorca, the use of verse and prose has a special semiotic dimension which has to do with the different dramatic components, especially the dreamlike and realistic plane of the action, the metamorphoses of the characters, and the different dramatic levels temporally juxtaposed in the drama (metadiegesis, metadrama and metatheater). Along with other non-verbal codes, such as lighting, costumes or makeup, the mixture of verse and prose is essential in the drama formal articulation and explain the great topics that run through it: the great theater of the world, the paradox of truth of theater and lies of reality, and the masks and the hidden identities.

Donny Syofyan

Considering that Quakers have been used as important characters in American performance culture, this essay provides numerous examples of Quakers as represented in American theater and film: John Murdock’s play The Triumphs of Love (1795), Harry F. Millarde’s lost silent film The Quack Quakers (1916), and the Academy Award winning film High Noon (1952).  In a paradoxical manner, in each of these productions ranging from farce to serious drama, Friends are shown as either claiming or as striving for unattainable moral and religious human ideals, but also as an exemplary community of individuals against which other Americans might and should be measured.

Elisa Teixeira de Souza

This article´s first objective is to approach the fundamentals of the embodied mind theory by George Lakoff and Mark Johnson to discuss the idea of cellular consciousness from the perspective of neurobiology. We also discuss the field of Somatics and its potential applications on dance, highlighting the possible links between somatization and embodiment.

Muhammad Jazuli, Slamet MD, Lesa Paranti

Seni Barongan merupakan cerminan kreativitas seni dan budaya Blora di Jawa Tengah yang bersifat kerakyatan dan syarat makna, seperti spontan, sederhana, kekeluargaan, kasar, menantang, dan berani karena memang benar. Sifat kerakyatan membuat masyarakat Blora memiliki kekuatan yang luar biasa dalam menjalani kehidupannya. Topeng singa dalam kesenian Barongan merupakan simbol kekuatan dan kekuatan. Simbol ini merupakan nilai yang sangat penting untuk digunakan dalam mendukung pendidikan karakter anak bangsa. Penelitian ini bertujuan untuk mengkaji bentuk dan corak seni Barongan (kearifan lokal) serta nilai-nilai yang terkandung di dalamnya sehingga dapat dimanfaatkan untuk kepentingan pendidikan karakter. Urgensi penelitian ini karena beberapa acara budaya tradisional di Blora memerlukan keterlibatan kesenian Barongan di dalamnya, seperti tradisi sedekah bumi, tradisi bersih kampung, dan tradisi lamporan. Hasil penelitian menginformasikan bentuk pertunjukan Barongan di Blora dibedakan menjadi dua yaitu bentuk arak-arakan dan drama. Gaya penampilan Barongan ditentukan oleh pola karyanya dan ragam gerak yang unik.   Form and Art Style of Barongan Blora Abstract: Barongan art is a reflection of the artistic and cultural creativity of Blora in Central Java, which has populist nature and conditions of meaning, such as spontaneous, simplicity, kinship, rough, challenging, and brave because it is true. The populist nature means that the Blora people have tremendous power in living their lives. The lion mask in Barongan art is a symbol of strength and might. This symbol is a significant value to be used in supporting the character education of the nation's children. This study aimed to examine the form and style of Barongan art (local wisdom) and the values contained therein so that it can be utilized for the benefit of character education. The urgency of this study is because some regular cultural events in Blora require the involvement of the Barongan art in them, such as the earth alms tradition, the clean village tradition, and the lamporan tradition. The results of the study inform the form of Barongan performances in Blora can be divided into two, namely the form of procession and drama. Barongan performance style is determined by the pattern of his work and a unique range of motion.

Dominic Lash

Nataliya L. Yuhan

The article analyzes the peculiarities of the conflict and the system of characters in contemporary Ukrainian plays with an “irreal” (unreal) chronotope. The works of Ukrainian playwrights from 2000 to 2010 featured a variety of conflicts embodied in them, the combination of different types of conflicts in one work, the flow of one species to another (internal – external conflicts, ideological, social, love, family, moral, religious, existential and no existences; conflicts Character – Character, Character – Group, Character – Environment, Character – Metaphysical notion). The heroes in “irreal” plays are people with extraordinary abilities, bioroboty, fantastic creatures, angels and characters from the other world. Characters are revealed in actions, dialogues and small monologues. In plays by S. Shchuchenko, interpersonal, love conflicts are the main ones. The author shows the type of hero who has killed himself in extreme abilities and kills them in all people who are not like him (“Return”); he persuades readers and viewers that harmony prevails in the world, and all people, animals and plants are connected with each other – so that the world needs to be grateful and positive (“HELP”); The playwright develops the theme of harmonious relationships between men and women (F.ART, Relic). In the works of S. Shchuchenko “Without a Horse”, J. Bezpyatchuk “The Court”, “Truba” and A. Naumov “Forward in the Promised” illustrate the conflicts between man and society. Moral conflicts become the main in the plays of N.L. Miroshnichenko “The Agreement with the Angel” (search for the main character of the meaning of his life), O. Goncharov “Seven Steps to Calvary” (creation of a vivid image of the thief-anti-Messiah Messiah-Japheth), O. Mykolaychuk-Nizovtsya “Take away the waiter from heaven, or Why do we get last year’s snow” (the creation of the static character of the hero – “antimitstsa”). In a psychological play with elements of the symbolism P. Arie “Colors” personified different age periods of Mary’s life in such characters as Woman in Pink, Woman in Orange, Woman in Red, Woman in Purple, and Woman in Black (White). The conflict of this work is exalted, it is closely connected with the main existential conflicts of mankind. In the fabulous plays of S. Shchuchenko, “Snow Queen” and V. Kovalenko, “Mirror” the world of fantastic creatures and common things is projected into problems of human relationships (interpersonal and interpersonal). The conflict of V. Kovalenko’s fairy tales can be considered internal: the results of internal conflicts that occur in the “souls” or “thoughts” of human things, affect the real reality and can change the thoughts and feelings of their masters.

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Elisa Belém

O artigo aborda mudanças no entendimento sobre o treinamento do ator pelo grupo LUME Teatro (Campinas, SP). A partir de considerações sobre o treinamento como uma composição de afetos, discutem-se possíveis aproximações entre o ato de criar, a atividade artística e processos de invenção de si. O debate baseia-se na hipótese de que a arte participa na formação da subjetividade e é ancorado nos escritos de autores como Kastrup; Oneto; Sontag; Quilici, sobre temáticas como percepção, sensibilidade e resistência.

Fabien Le Tinnier

Thaís Daltoé

Segundo a mitologia grega, Tirésia significa ser ao mesmo tempo mulher e homem - daí a origem do nome. Do gênero drama, Tirésia vem contar a história de uma transexual que tomava hormônios para manter seu corpo em forma de mulher, e que vivia com seu irmão em Paris, se prostituindo. Um dia, Tirésia conhece um homem, Terra Nova, que se encanta com sua beleza; não podendo tê-la, decide raptá-la e trancafiá-la em um quarto. Com o passar do tempo, sem poder tomar sua doses regulares de hormônio, seu corpo vai voltando a ter a forma de homem. Terra Nova, que antes adorava vê-la, se decepciona, e em um momento de raiva o cega. Depois de cegá-lo, o abandona na floresta onde é resgatado por Ana, uma jovem que o leva para a Igreja, onde se recupera em sua forma masculina.

Thomas Richards

This text discusses the work The Living Room, directed by the author, and reflects on its meanings and functions. The article confronts problems performance raises in relation to contemporary social life, bringing forward the isolation of life today and the possibilities performance offers to fight it. We problematise the crisis experienced by the author and the consequent creation of the work as a mobile performative device in relation to the staging space. Finally, the work questions the forms of interaction and type of participation possible in performance.

Rafał Syska

This essay analyzes the narration strategies and methods of making meanings in neo-modernism movement. Filmmakers, who are its representatives, prefer the opposite model of cinematic communication which is commonly used in mainstream movies. The article begins with the definition of neo-modernism and description of key components that provide specific forms of narration and reception. Moreover, there were presented main terms related to the modernism and so-called slow cinema. In main fragments of the essay the author focused on some neo-modernist crime stories, which have been created through different, than in traditional cinema, methods of making meaning. Then, there were analyzed such elements of cinematic style as: use of off-screen space and non-conventional concepts of narrative ellipsis. Zadaniem artykułu jest przeprowadzenie analizy narracji i sposobów produkcji znaczeń w filmowym neomodernizmie. Podejmowane w ramach tej formacji strategie inscenizacyjne stanowią rewers metod powszechnie używanych w kinowym mainstreamie. Esej rozpoczyna próba zdefiniowania, czym jest neomodernizm oraz czym się charakteryzuje – zarówno na płaszczyźnie narracyjnej, jak też odbiorczej. Ważnym elementem opisu stało się wprowadzenie terminologii związanej z filmowym modernizmem i tzw. slow-cinema. W głównych fragmentach eseju zostały poddane analizie neomodernistyczne kryminały, oparte na odrębnej, niż dzieje się w tradycyjnym kinie, produkcji znaczeń. Potem opisane zostały kluczowe strategie inscenizacyjne, w których priorytetowymi zadaniami było przeniesienie ważnych fabularnie zdarzeń w przestrzeń pozakadrową i niekonwencjonalny sposób wprowadzania elips czasoprzestrzennych.

Stefano De Matteis

Tadeusz GADACZ

The paper presents several understandings of evil distinguished by Józef Tischner, like the axiological evil, agathological evil and structural evil. While exposing the phenomenological approach of Tischner, Gadacz discusses evil as ‘a phantom’ that accompanies the very source form of experience which, according to Tischner, stands for the episode of meeting another man. In this perspective evil as a ghost proves to be the source experience as well, alike the episode of meeting being the source of happening of the good and freedom. Therefore, the original experience does not inform us whether something exists or it should be such and so, but rather tells us that there is something which ought not to be.

María Isabel Crubellier

A través de los postulados hermenéuticos propuestos por Hans- Georg Gadamer (1991) y Gianni Vattimo (1991) se profundiza en el análisis de la obra sanjuanina Desvestir Santos del Grupo El Candado Teatro. Desde este marco teórico mi lectura es dialéctica con una investigación que vengo desarrollando acerca de la categoría del cuerpo en el teatro, lugar ritual que se constituye como tercer horizonte donde se produce el encuentro del yo y el otro a través de cuerpos no metafóricos, y por el que se restituye un sentido de pertenencia a un presente histórico. El encuentro entre mi corporalidad y la corporalidad del otro en un tercer horizonte deviene alternativa de una utopía. La experiencia con esta puesta nos propone a los espectadores a desvestir a la mujer de las imposiciones que carga su corporalidad por un discurso que la condiciona biológica, sexual y socialmente. Deshabitarla, a través del arte y la reflexión, de esta corporalidad históricamente constituida, posibilita pensar su cuerpo como expresión extensiva de percepciones transformadoras. En Desvestir Santos el mito de cómo debe ser la mujer sanjuanina- imagen que se corresponde con la imagen de la mujer que funda y nos da sentido de pertenencia a este lugar, a nuestra historia y a nuestra tradición- se halla invertido. Esta hipótesis se fundamenta en la teoría hermenéutica de comprensión de un texto.

Catarina Maia

Crítica de Catarina Maia ao espectáculo Uma ilha na lua (An Island in the Moon) da autoria de William Blake e direcção artística de José Geraldo