Hasil untuk "The performing arts. Show business"

Viktoria Paranyuk

My audiovisual essay is concerned with the depiction of labor, women at work, and women’s solidarity. I engage with Man with a Movie Camera (1929), a film that famously lionizes the powers of montage: its associative abilities, production of affect, encouragement of experimentation, and even the potential to transform consciousness, as Dziga Vertov, its key architect, believed. I highlight the labor of the editor, Elizaveta Svilova, who is one among many other women workers. In the second half, the juxtaposition of the Soviet film with Marker's Sans soleil reveals generative resonances.

Siegmar Zacharias

The Erotics of Grieves explores grieving as a portal to liberation and social transformation. Written at the time of the ongoing genocidal violence against Palestinians in Gaza and the repression of solidarity movements in Berlin, this piece situates grieves in political, historical, and embodied contexts. Moving away from a singular, universalist concept of grief, this work conceptualizes grieves as plural, relational, and metabolically intimate processes that shape and unsettle bodies, communities, and social infrastructures. Drawing from Audre Lorde’s Uses of the Erotic and Fred Moten’s Erotics of Fugitivity, it asks how grieving can resist hegemonic power structures and create generative spaces of solidarity, refusal, and world-making. Through autotheoretical reflection, cultural analyses, and embodied performance practices this article traces the visceral, affective, and sonic dimensions of grieves. Engaging with legacies of mourning rituals, racialized and planetary grief, and the vibratory intimacies of sound, it proposes an erotics of grieves as a mode of attunement to loss, connection, and futurity beyond the fantasy of separation. In a time of structural violence, erasure, and epistemicide, The Erotics of Grieves insists on grieving as a radical force of resistance, fugitivity, and transformative care.

Sara Aresu

Marta Cebera

Celem artykułu jest analiza wybranych ilustracji Andrzeja Mleczki publikowanych w programach teatralnych Teatru im. Jana Kochanowskiego w Opolu (1975–1979) oraz Teatru im. Stefana Jaracza w Łodzi (1979–1988). W odniesieniu do teorii intertekstualności oraz ustaleń Julii Kristevy, Michała Głowińskiego i Ryszarda Nycza autorka podejmuje próbę interpretacji rysunków satyryka jako dialogów z pierwowzorami literackimi – przy użyciu takich środków jak parodia, karykatura i groteska. Opis praktyk intertekstualnych Mleczki został poprzedzony omówieniem różnic i podobieństw między programami opolskimi i łódzkimi. Prace zostały pogrupowane między innymi według kryteriów intertekstualnych zaproponowanych przez Nycza: atrybucji, presupozycji oraz anomalii.

Sławomir Wieczorek

Punktem wyjścia dla artykułu jest postulat dokonania rewizji w historii scenicznej Halki Stanisława Moniuszki poprzez uwzględnienie w jej historiografii również kryteriów społecznych i politycznych, a zatem szerszych niż dotychczasowe – artystyczne i patriotyczne. Dla zilustrowania i wsparcia tego postulatu przypomniano trzy skrajnie różne i zapomniane realizacje Halki z lat 1944–1956: z okupowanego Krakowa, ze zrujnowanego Wrocławia i jeszcze jedną z Krakowa, tym razem z ostatnich miesięcy stalinizmu. To ostatnie przedstawienie, przygotowane przez Operę Robotniczą w Krakowie w lipcu 1956, zostało przedstawione szczegółowo. Inicjatorem instytucji, a także autorem inscenizacji był Stanisław Drabik. W artykule omówiono jego koncepcję reżyserską, relację do słynnych inscenizacji Halki autorstwa Leona Schillera oraz odbiór spektaklu przez krytyków.

Jelena Novak

Review of the phone booth opera Things I Didn’t Dare to Say, and It’s Too Late Now. World premiere: 1st December 2023, Lithuanian National Drama Theatre, Vilnius.

Marcin Bogucki

This article offers a review of Sabina Macioszek’s book Opera, ciała, technologie: Strategie współdziałania w XXI wieku [Opera, Bodies, Technologies: Strategies of Interaction in the 21st Century]. The reviewer appreciates the author’s original approach, i.e. applying the tools of performance studies in research on the opera. However, he questions Macioszek’s general definitions, which result in disconnecting the problem of the interaction of bodies and technologies on the opera stage from the social and political context. The review also argues against Macioszek’s selective interpretation of Bojana Kunst’s theory, especially in the use of the term “project.” Finally, it is pointed out that the author’s positioning of theory and practice in relation to each other is problematic; they function here on the principle of contiguity, which means that the analyzed operas are treated only as exemplifications of the theoretical notions under discussion, rather than as fully-fledged artistic works.

Juan Granados Valdéz

En este trabajo me propongo plantear algunas ideas que aproximen a una estética de la danza a partir del comentario al texto de Paul Valery titulado “Filosofía de la danza”. El destacado lugar que ocupa la danza entre las artes y en la cultura de todos los pueblos es innegable. No obstante, la comprensión de su sentido es aún deficiente en muchos círculos. El recurso a cierto tipo de espectadores, en este caso un filósofo, en diálogo con quienes se dedican profesionalmente a bailar, puede adelantar en dicha comprensión, que ha de llamarse estética, porque la danza, como las otras artes se perciben, se sienten, se imaginan y se piensan.

Catalina Cepernic

Este artículo tiene como objetivo observar las operaciones en la escena que convierten a "GAS/GAZ Alegato de una madre condenada" en una obra inespecífica y, particularmente, de qué forma el texto opera de manera autónoma y se configura como objeto de exposición en la puesta. "GAS/GAZ" es una obra escrita por Tom Lanoye, dramaturgo belga, y se trata de un monólogo en el que la madre del responsable de un atentado terrorista lleva a cabo una suerte de alegato en defensa tanto propia como de su hijo. La traducción al español de esta obra fue realizada por Micaela van Muylem y llevada a escena por la Compañía Teatro Magdalena (Santiago de Chile) en 2017.

Kai Padberg

The Covid-19 pandemic plunged many theaters around the world into a temporary crisis and favored the rise of digital theater forms. This article investigates how the reception of theater changes in the digital space and, above all, how audiences as a social dimension of theatrical performances must first be constituted separately there. Based on performance analysis of the digital theater productions Homecoming and Sterben from Germany, the significance of the digital infrastructure for the assembly, performance, and action repertoires of these theater audiences is discussed. The author examines how audiences can be formed into different temporal communities in the digital space. These temporal communities are characterized by hybridity and have the potential to enable intense theatrical encounters across spatial boundaries.

Yan Cui

The present study seeks to explore the linguistic features within conflict talks in English majors’ polylogues, namely group discussions, under the theoretical framework proposed by Scott Suzanne, and outline the multiple linguistic features which work together to index conflict talks. It has been found that negations, discourse markers, and modals are the top three most frequently used in the lexical level, and a long turn is always dominant in the conflict talks which apparently is different from the ones in Scott’s study. 1. Preface Goffman, sociologist, holds that the interactive pattern in daily life can reflect social structure, and the interactive pattern can embody the trend or rules in the continuous construction or reconstruction of the social order. Conflict talks are undoubtedly quite common in the interactive verbal communication everywhere and it can reflect the potential patterns of social order and the relationship between the interlocutors, individuals and the institutions, and among institutions. Although quite a few papers, which are about the regularity of conversational interaction, have been published in recent years domestically and abroad, rarely has the attention been given to conflict talks. “Conflict talk” was firstly adopted by Grimshaw in 1990 in his edited book, Conflict Talk: Sociolinguistic Investigations of Arguments in conversation. Since then, researchers have been trying to uncover this field in various apsects: Honda examined the interactional structure of conflict talk in Japanese talk show of public affairs; In 2011, Hanh thi Nguyen published Boundary and alignment in multiparty conflict talk, exploring the multiparty conflict talks in the pharmacy patient consultation by using conversation analysis. In China, scholars have made efforts in the research, like Pragmatic Approach to Conflict Talk between Couples in Desperate Housewives (Zhu Xiaoqin) which is based on the American TV series, and it mainly seeks to ascertain the language strategies used in it, conflict terminating mode and the characteristics of conflict between couples; Zhao Zhongde and Zhang Lin analyzed the reasons of the occurrence of conflict talk under the theoretical framework of Relevance Theory; Du Lingli first investigated the conflict talk in the online chatting room and summarized the initial, maintaining and terminating stages. Zhao Yingling published A Study of Conflict Talk in Chinese, which focused on the construction models and cohesive devices of conflict talks. In 2008, Zhao published her dissertation of doctor degree, Pragma-rhetoric Study of Conflict Talk in Chinese, which is a systematical and profound research of Chinese conflict talk. Zhao Yongqing has made the research about the basic sequence structure and the linguistic features of multi-party conflict talk with a socio-pragmatic orientation, and the dissertation adopts the working corpus from BNC with altogether 47,982 words(token), and the polylogues are mainly from TV talk shows, public government conferences, and hearings. Nonetheless, the research of conflict talks is far from satisfaction. It can be clearly found that rarely research has been done from the Chinese English learners’ perspective, and the studies mainly are based upon the scripts of novel or drama which can be unnatural. Polylogue, proposed by Kerbrat-Orecchioni in 2004 in Journal of Pragmatics, means the verbal communication among at least three participants or three parties. The polylogues among the English majors, the English learners, should be given due attention, since the unedited texts, with the characteristics of situational Advances in Social Science, Education and Humanities Research, volume 425 International Conference on Arts, Humanity and Economics, Management (ICAHEM 2019) Copyright © 2020 The Authors. Published by Atlantis Press SARL. This is an open access article distributed under the CC BY-NC 4.0 license -http://creativecommons.org/licenses/by-nc/4.0/. 162 An Analysis of the Linguistic Features of Conflict Talks in Polylogues of English Majors the contextual details, are crucial to valid and meaningful analysis. The present study can be of practical value to English pedagogy, and improve language learners’ learning efficiency, etc. 2. Research Background 2.1. Conflict Talk Conflict talk, a common language phenomenon, can be found in everyday life, courts, business negotiations, hospitals, etc. Van and Grootendorst wrote that conflict talk, which was first used by Grimshaw in 1990, refers to a verbal, social, and rational activity aimed at convincing a reasonable critic of the acceptability of a standpoint by putting forward a constellation of propositions justifying or refuting the proposition expressed in the standpoint. In addition, Eisenberg and Garvey define conflicts as, “...the interaction which grows out of an opposition to a request for action, an assertion, or an action...The negating responses or oppositions include refusals, disagreements, denials, and objections. Thus, an adversative episode is a sequence which begins with an opposition and ends with a resolution or dissipation of conflict.” Muntigl and Turnbull hold that the conflict arises when a current speaker A’s ongoing talk is contested by a speaker B, and speaker A then produces a counter-oppositional turn toward speaker B. Meanwhile, conflict talk only exists when with the second opposing turn, which retrospectively marks the arguable move as the beginning of the conflict talk sequence. The following 3 moves structure is proposed by Muntigl and Turnbull: a. A: statement b. B: counterstatement (i.e. B disagrees with A) c. A: counterstatement to B (i.e. A disagrees with B, and possible insists on Turn 1, statement) The third move plays a crucial role in the happening of a conflict talk, for the fact that if A gives in or apologizes or just remains silent instead of performing a counterstatement to B in the third turn, no conflict will develop and no conflict talk will occur. It also needs mentioning that the 3 move structure proposed by Muntigl and Turnbull embodies only a conversation or dialogue, and the present study is based on the corpus built upon the English majors’ group discussions which include at least 4 participants in the talks. But the 3 move structure can still be applied to the recognition and selection of the discourse of conflict talks since the present study aims to outline the linguistic features of English majors’ conflict talks. 2.2. Scott’s Research Scott Suzanne published her article in 2002, Linguistic feature variation within disagreements: An empirical investigation, in Text, which is a qualitative and quantitative study of the linguistic features of oral disagreements which indexes disagreements. It has identified the co-occurring linguistic makeup of conflict talks and analyzed the feature systematically. The corpus she adopts are from the four transcribed editions of the unscripted 30 minutes long American Cable News Network (CNN) television news show, Crossfire, which is about the public affairs and participated by two hosts and one to three knowledgeable guests discussing one controversial topic of current interest. The corpus is natural because the scripts in the programs are not scripted, which is in line with the corpus adopted by the present study. By referring to related literatures on disagreement, Scott has outlined the linguistic features which might index disagreement. Altogether, she has summarized 12 types, which are listed in Table 1 below. Advances in Social Science, Education and Humanities Research, volume 425

Rodney Cardoso, Robson Lourenço

Este artigo reflete sobre o percurso poético e criativo desenvolvido dentro da pesquisa “O uso do centro do corpo para a percepção do trabalho do ator”, de maio de 2017 a junho de 2018. De caráter exploratório, processual e qualitativo, a investigação apresenta as etapas de pesquisa através de um percurso metodológico de pesquisa em arte, que envolve procedimentos que mesclam escultura em argila, sensibilização corporal, experimentação e elaboração de partituras corporais com o intuito de desenvolver a composição cênica do solo “Caminho do meio”. Reflete sobre a relação entre os conhecimentos desenvolvidos através da investigação entre percepção, propriocepção, envolvendo a autossensibilização a partir das estruturas ósseas como possível proposta para o trabalho de preparação corporal para o ator, de modo a ampliar seu repertório poético e criativo.

Marina Sikora

La comedia en Buenos Aires, ha tenido desde sus orígenes a la familia como centro dramático que ha funcionado en muchos casos, como un microcosmos de distintas realidades históricas. Dentro de este marco familiar al que hacemos referencia, nos interesa centrarnos en esta oportunidad, en la figura de la mujer. Las tensiones que se producen al comenzar el siglo XX entre la vieja clase media criolla, la vieja oligarquía y la incipiente clase media de origen inmigratorio se ponen de manifiesto no sólo en la vida social sino que también se plasman en las expresiones teatrales. En la comedia, específicamente, esto se advierte de manera notoria sobre todo con el surgimiento de la comedia asainetada que tiene como protagonista a la incipiente clase media de origen inmigratorio. Sin embargo, la construcción de la identidad femenina la muestra todavía constreñida al ámbito de la casa en donde es interesante observar el rol de las madres, las esposas y las suegras que constituyen, éstas últimas, una importante fuente de comicidad. Nos interesa exponer en este trabajo algunos apuntes sobre el fenómeno señalado tomando distintas variantes de la comedia. Nos interesa también ver cómo se aborda el caso de la mujer trabajadora en piezas como Mamá Clara (1920) de Federico Mertens o El sostén de la familia (1931) de Darthes y Damel, sólo por nombrar algunas

Julista Ratna Sari

Di era global, tradisi lokal tidak selalu mengalami pelemahan budaya. Tradisi musik patrol GAMAN Surabaya adalah salah satu seni yang tumbuh karena proses invented of tradition lewat aktivitas pertunjukan. Menurut penjelasan Hobsbawn (2000), invented of tradition adalah kemunculan tradisi yang difungsikan agar tradisi tidak dipandang sebagai sesuatu yang tua atau identik dengan kuno. Tradisi musik patrol dalam penelitian ini dimaksudkan untuk menjawab permasalahan mengenai bagaimana melalui aksi GAMAN (Gerakan Anak Muda Anti Narkoba) menciptakan identitas sosial bernuansa seni? Untuk menjawab permasalahan tersebut, peneliti menggunakan metode kualitatif dengan pendekatan fenomenologi dalam menguraikan fenomena aksi GAMAN Surabaya, di mana data diperoleh berdasarkan observasi partisipasi, wawancara mendalam dan dokumentasi yang dilakukan. Hasil penelitian ini menunjukan adanya 1)proses invented of tradition secara berkesinambungan yang didukung penuh oleh proses globalisasi yang ada pada ranah sebuah pertunjukan dari pengembangan tradisi musik patrol sahur lokal, serta 2)kajian yang melibatkan unsur identitas GAMAN yang dipertemukan dalam sosial dan seni.

Ewa Partyga

This article brings a comparative reading of the finales of three dramas by Henrik Ibsen: Rosmersholm (1886), Hedda Gabler (1890), and The Master Builder (1892). The metatheatrical techniques used by the dramatist in these three final scenes serve to problematize the situation of the onstage spectators and the theatrical audience with their varied interpretative strategies. Death of the characters is presented in a metatheatrical frame that is constructed a little differently in each drama. The metatheatrical devices complement one another in order to underscore the power of perceptual schemas, to demonstrate the way they operate, and to suggest ways of undermining them. Ibsen does not, however, try to favour one interpretative strategy over any other; he encourages the audiences to take personal responsibility for the meaning of what they see. In all the plays under discussion, the scene of a play within a play involves an instance of repetition. For this reason, the proposed reading makes use of Kierkegaard’s concept of repetition, which enables one to comprehend the theatre as a place of expanding consciousness. Ibsen’s metatheatrical motifs reinforce this function of theatre, yet they also help us understand that both the meaning of a theatrical work or event and the process of its reception involve Kierkegaard’s dialectics of paradox.

Melissa Blanco Borelli

This article analyzes the use of the spasm as a choreographic tool in the following music videos: The Talking Heads’ “Once in a Lifetime” (1981), Radiohead’s “Lotus Flower” (2011), and Atoms for Peace’s “Ingenue” (2013). I read the choreography in these videos as representations of the spasm (as defined by Franco ‘Bifo’ Berardi) which can ultimately become a chaoide (as defined by Gilles Deleuze and Félix Guattari) when deployed in specific ways by specific bodies. My analysis of these videos suggests opportunities for thinking about how the corporeal labor of the spasm—especially its contingent sweat alongside (un)successful moments of corporeal fluidity—mark bodies as agents capable of negotiating how they might control their own embodied relationship to semiocapitalism and its privileging of speed and productivity.

Rosi Braidotti

This paper deals with feminist cultural politics, nomadic thought and media activism. It combines theoretical insights from Gilles Deleuze’s philosophy with Riot Grrrl bands and women’s punk music. The paper explores two central aspects of the Pussy Riot’s performances: the visual and the musical. The visual includes an analysis of “the face” as a landscape of both power and resistance and discusses also the function of the mask as a cultural and political device. It then highlights the role of iconic images like Queen Beatrix, Angela Davies, the Guerrilla Girls and others in popular culture. The musical component includes Janis Joplin, the ultimate Riot Grrrl band Bikini Kill, Nina Hagen and, of course, Pussy Riot. Embodying the slogan “If I can’t dance, I don’t want to be part of your revolution” the paper argues for an affirmative and  creative approach to feminist theory and practice and to contemporary cultural politics.

H. Willems, H. P. Bjørgen, Thor-Ståle Kristiansen et al.

I. A. Wani

Grzegorz Kozdraś