Hasil untuk "Dramatic representation. The theater"

S. Y. Zhukov

This article examines the specifics and role of the collective hero in dramatic theatrical performance. The relevance of the study stems from contemporary theater practice—today, the collective hero unfolds the director's authorial statement as both narrative and dramatic action. However, this topic has not been addressed in academic research. An analysis of the representation of the concept under study in literature and the performing arts (cinema and mass performances) is conducted; the function of the "collective hero" in dramatic performance is identified, and a definition of the concept is formulated. The study reveals key aspects of the collective hero as a bearer of culture, nationality, and statehood—sacredness, epicness, and mystery. The results of this study can enhance the competencies of both theater practitioners (in staging spectacular theatrical forms) and university and college instructors (in culture and art) in lectures and practical classes on directing, theater history and theory, cultural studies, and theater aesthetics.

Michał Mróz

The author explores the issue of “ludonarrative dissonance”, a term developed by the game designer C. Hocking in his critique of the game BioShock. The author explains Hocking’s arguments and then expands on the term, disagreeing with Hocking. In the case of BioShock, the author interprets the dissonance not as a design flaw but as a deliberate narrative strategy that momentarily distances the player from the game’s fiction to emphasize its metanarrative dimension. The author argues that ludonarrative dissonance is itself part of videogame poetics, thus echoing the works of F. Seraphine and P. Grabarczyk & B.W. Kampmann. The author then examines how ludonarrative dissonance may appear in vast, nonlinear open-world cRPGs. An analysis of examples from The Elder Scrolls: Skyrim, Fallout 3, and Fallout 4 reveals various instances of unintended dissonance. Finally, the author compares these games to Fallout: New Vegas, presenting it as an example of harmonizing the narrative – the main motifs and story – with the narrativity of gameplay, including rules, mechanics, and vast player agency.

You-Jin Kim, Joshua Lu, Tobias Höllerer

Dynamic Theater explores the use of augmented reality (AR) in immersive theater as a platform for digital dance performances. The project presents a locomotion-based experience that allows for full spatial exploration. A large indoor AR theater space was designed to allow users to freely explore the augmented environment. The curated wide-area experience employs various guidance mechanisms to direct users to the main content zones. Results from our 20-person user study show how users experience the performance piece while using a guidance system. The importance of stage layout, guidance system, and dancer placement in immersive theater experiences are highlighted as they cater to user preferences while enhancing the overall reception of digital content in wide-area AR. Observations after working with dancers and choreographers, as well as their experience and feedback are also discussed.

Irina-Nicoleta Nechifor

Abstract: The plurivalent meanings of the dramatic text allow the transcendence of the textual and the interaction of the characters who populate the scene, allowing the representation of the meanings of the fictional universe on another level, imagistic and aural. In this context, the aim of this article is to replay the role of scenery and stage movement in Ion Băieșu’s work, an author who temporarily remained in the backstage of late 20th century theater. My intention is to reveal, first and foremost, the way in which the scenery supports the dynamics of dialog, offering another level of interpretation, constituting a new world against the background of which the story unfolds. First of all, the performance moves naturally forward amid the sinuosities of verbal interactions that verge on the grotesque and absurd, giving the director the possibility of giving the set elements various forms. The reader-spectator is not put in the position of decoding, but learns the lesson of reception as simply as possible, without this lessening the impact the display of meaning. Everything breathes decadence, ruin. It is a roller coaster of emotions that unravels the character, imprinting a laziness of living, of discovery. Examples are organized in a crescendo, from the monotony of a decadent universe, to the terrifying simplicity of others, which become the scene of atrocities: accidents or premeditated murder. Nowhere else is it so well this inclusion of the grotesque in the anguished and banal everyday. Factually, Băieșu's world is made up of gestures that are meant to be definitive, final, masterfully projected into apparently insignificant backgrounds. It is a tragic farce-comedy of the communist world in which the means of expression are but a world that does not lack tragedies. But secondly, the stage movement is eminently allied to dull and bizarre, psychologically and mentally defining the distorted identities of some abulic individuals. The spectator is easily enlightened as to the nature of their experience and savoring every moment, following the chaotic, sometimes extremely slow, almost stagnant gestures. He seems to become a third actor who empathizes with the living situation, Băieșu reconstructing with humor and irony fragments of contemporary existence. The cuts are vivid and memorable, exhibiting not only a bitter taste of collective unhappiness, but also a sense of helplessness, coupled with the hope of possible moral and social rehabilitation. The exterior breathes the same domestic air and is an extension of the interior. Monotonous and dangerous, exterior spaces are repulsive to the truthful, they are populated by criminals, people with double identities, who wear, up to a point, the mask of bonhomie. The station platform or the tram station, the plain, the forest or the street itself become prototypes in which the object is confused with the human, in a game embedded in an insipid and improper nature. Therefore, this article-reflection aims to shed light on representations not of bitter but of an authentic scene in which the scenery and the movement are pertinent ways of affirming the spirit of the author's era. Key words: duality, stage, grotesque, masque, variety

Manuel Iglesias-Vázquez

The interdisciplinary nature of theatre studies often results in research that places greater emphasis on literary analysis than on architectural considerations. Consequently, theatrical literature tends to focus more on the relationship between text, author, and context, rather than on the interaction between the text and the spatiality shaped by the architecture of the performance space of the building. This research introduces and applies a mixed methodology to examine the use of theatrical space in dramatic works, concentrating on the architectural study of paratexts, which shows the influence of literature on the architectural design process of the theater building. This study focuses on the works of Luigi Pirandello, particularly Henry IV and Six Characters in Search of an Author, exploring their influence on the Odescalchi Theatre in Rome, and vice versa. This combined approach, alongside the theatrical qualities of the texts, allows for a detailed analysis of how architecture and spatiality are represented in Pirandellian metaproductions. The findings and their architectural modelling highlight the relationship between literature and theatrical spatiality, providing a quantifiable connection in each of the works examined.

Esther Fernández, Anton Pujol, Alejandra Juno Rodríguez Villar

Abstract:The purpose of this introduction and this special issue as a whole is to further the exploration of the limits of dramatic representation by expanding the definition of what is impossible to express—the unrepresentable—from a transhistorical approach expanding from early modern theater to contemporary dramaturgy. While massacres are considered the most unspeakable events in human terms, within the field of theater and performance, we can study and experiment with the limits of representation around other topics that have also been silenced throughout history due to religious, psychological, or social conventions. If taboo is what cannot be expressed and therefore needs to be suppressed and silenced, it is worth asking how and why such topics have forced their way onto the stage and for what purpose.Resumen:El propósito de esta introducción y de este número especial en su conjunto es profundizar en la exploración de los límites de la representación dramática ampliando la definición de lo que es imposible de expresar, lo irrepresentable, desde un enfoque transhistórico que se expande desde el teatro de la primera modernidad hasta la dramaturgia contemporánea. Si bien las masacres son consideradas los hechos más inefables en términos humanos, dentro del campo del teatro y la performance podemos estudiar y experimentar los límites de la representación en torno a otros temas que también han sido silenciados a lo largo de la historia al considerar convenciones religiosas, psicológicas o sociales. Si tabú es lo que no se puede expresar y por lo tanto necesita ser suprimido y silenciado, vale la pena preguntarse cómo y por qué tales temas han irrumpido en el escenario y con qué propósito.

Vera V. Serdechnaia

The article examines the history and characteristics of reading (“chitka”) as an independent genre of theatrical process that arose in Russia in the 1990s as a specific form of representation of the new drama dramatic text. Having emerged as a “poor” version of the performance, the reading genre acquired independence and value in a new meaning, affirming the literary-centric nature of the theater in a new capacity. The article examines the history of the reading genre and characterizes the reasons for the preservation of this genre: these reasons are not only material in nature, but also social, as well as epistemological (the depth of the viewer’s immersion in the text). The most important part of the reading, the discussion of what is read with the viewer, gives the readings the character of an action to create a community. The article also identifies genre differences in readings: intimacy of space, frequent use of non-theatrical spaces, free seating, refusal of external decorative means (music, plastic arts, costumes, scenery), defamiliarization of the actor’s existence, the discussion of what was heard with the audience. The perception of the reading is associated with the activation of the viewer’s imagination, his co-authorship in directing the performance, with obtaining not only an impression, but also a hermeneutical experience. Thus, in the period of post-dramatic theater, reading becomes a form of return to the literary basis of the theater. At the end of the article, the author examines the experience of creating an reading association for the modern drama “Aurora reads” in a Russian city Krasnodar. As a result, the article concludes that reading in the modern theatrical process not only remains an independent genre, but also gives rise to new theatrical traditions. In the regional aspect, readings are very important as a form of creating a community interested in dialogue about modern drama.

S. Keisari

Processing the life story is vital to a human’s development, providing individuals with resources and promoting adaptation to changes throughout the life course. Narrative therapy is a main approach in psychotherapy that is found to positively affect individuals’ psychological well-being and mental health. This paper in the Zeitschrift für Psychodrama und Soziometrie (ZPS) presents the ways narrative therapy is integrated with role play and playback theatre in individual therapy sessions. Dramatic roles from different periods of one’s life are explored simultaneously as part of the therapeutic process to create a concrete and integrative representation of one’s life story. A case study illustrates the integration of narrative therapy, role reversal, and playback theater techniques in one-on-one sessions.

Dr. Ilham EL Majdoubi

This article employs a theoretical framework that integrates gender, discourse analysis, and psychoanalysis to examine the metaphorical and metonymical construction of sexualities. The focus here is not on the reality of sexualities, but rather on their representation in modern theater. The study findings indicate that psychoanalysis is a valuable tool for interpreting dramatic works and the cultural frameworks underlying them. The psychoanalytic approach offers insights into the motivations and unconscious desires of both authors and characters. Theater has undergone a significant transformation, moving from a realm of shadows to one of light and elucidating the subtle interplay between personal desire and intellectual production. The transition from the state of invisibility to that of visibility on the stage signifies deeper transformations in societal attitudes. These changes have resulted in the acceptance of marginalized identities, particularly those of non-heterosexual orientations, and the evolution of the nature of representation itself.

T. Kaczmarek

Henry Bataille’s name is often classified among authors who are fond of the poetics of “boulevard theater”, which seems to perpetuate the canonical form of drama. However, at the turn of the twentieth century, this theater underwent an undeniable crisis that undermined the very foundations of Aristotelian aesthetics, particularly those of action. The questioning of tradition is manifested primarily through a new approach to conflict, the origin of any dramatic intrigue, which evolves from a dispute between antagonists into a resolute intrapersonal confrontation unfolding within the troubled souls of characters grappling with acute suffering. While delving into evil and its scenic representation, Henry Bataille approaches this issue in an unusual manner for a French playwright of the late nineteenth century. In the play La Possession, we witness, on one hand, the expression of cruelty fueled by animosity between characters, and on the other hand, we observe metapsychological violence descending upon the poor, defenseless creatures facing the irrevocability of fate. If the first conflict (interpersonal) physically pits adversaries against each other—with physical violence being replaced by a battle unfolding on moral and psychological levels, the second one (intrapersonal) takes place within the heart and psyche of the hero, who, paralyzed by existential anguish, is torn between his fantasies and his relationship with reality.

Mariana Rhormens

O presente artigo apresenta as máscaras Mapiko de Moçambique, discorre sobre as suas origens, estéticas, danças, musicalidades, rítmicas, confecções, tradições e transformações. Traz para o debate o conceito de liminaridade a partir dos pensamentos de Victor Turner e Van Gennep. Discute a liminaridade do mascarado na manifestação Mapiko de Moçambique e discorre sobre o carácter liminóide da máscara e as possibilidades de habitar o “entre lugares” ao mascarar-se.

Andrzej Dębski

Research on film culture in the General Government has not yet addressed the issue of Germans going to cinemas. This article aims to ll this gap. But the topic is particularly interesting from a comparative perspective, both in relation to the film offerings in cinemas for Germans and Poles and the film tastes of the two audience groups, which in the period before the outbreak of the World War II were characterized by distinct preference profiles. This article compares the film offer and film preferences of Germans and Poles in Krakow, which was the capital of the General Government. This issue is presented against the background of more recent research on the functioning of cinemas and film distribution in the Third Reich, as well as archival material relating to the General Government.

А. Ж. Саржанов

В статье раскрывается тема создания музыки в союзе композитора и балетмейстера. Рассматривается продуктивное творческое воздействие результата такой работы на казахскую мелодичность, традиционную этнокультуру. Автор изучает характер совместной работы казахстанских и зарубежных деятелей искусств над сочинением национальных балетов, результаты творческих объединенных проектов области танцевального и музыкального искусства Востока и Запада.

Maciej Szatkowski

This article discusses Rossella Ferrari’s book Transnational Chinese Theatres: Inter­cultural Performance Networks in East Asia. This research monograph by a scholar of Chinese theaters focuses on characterizing transnational artist networks in East Asia. Investigating theater collaborations of artists from China, Taiwan, and Hong Kong, Ferrari proposes a transnational and rhizomatic model for analyzing Sino­phone culture. The book makes use of multiple sources not referenced in previous research, unpublished materials, and interviews. Ferrari explicitly dissociates herself from the orientalization of Eastern theaters; as her main method in researching them, she chooses Asia itself, following the Taiwanese cultural sociologist Chen Kuan-hsing (Asia as method) and listening carefully to the voice of Chinese theaters.

Oleksii Rudenko

Spartacus became one of the key figures of Soviet dramaturgy in the 1920s. He was presented as the only ancient predecessor of the Bolsheviks and his theatrical image significantly shaped the later icon of the gladiator as a brave leader of the oppressed masses and a hero acting in the name of the proletariat. This article explores the image of Spartacus in early Soviet theater and mass performance and outlines the correlation between the template of Spartacus’ portrayal, Raffaello Giovagnoli’s novel Spartaco (1874), and the first dramatic adaptations by Vladimir Mazurkevich (1920) and Vladimir Volkenstein (1921). The article examines the use of the ancient hero in Bolshevik propaganda and traces the ways in which Spartacus’ image morphs and maps onto wider shifts of Soviet political and cultural policy in the early decades of the USSR.

Carolina Felice Bonfim

Este artigo busca compartilhar os métodos e as estratégias do projeto de pesquisa baseado na prática artística Ninety movements on a Technogym G6508D. Nessa pesquisa me concentro no ato de correr a fim de levá-lo ao extremo: fragmentá-lo, arquivá-lo, incorporá-lo e destacar o que há de único e pessoal em cada gesto e em cada forma de movimento. Ninety movements on a Technogym G6508D é a continuação de uma linha de trabalho que venho desenvolvendo ao longo dos últimos anos que, desde uma perspectiva pautada nas artes visuais e na performance, tem como tema central o corpo como arquivo.   Palavras-chave Arquivo. Corpo. Incorporação. Metodologia. Pesquisa Baseada na Prática.

Crystian Danny da Silva Castro, Mônica Corrêa de Borba Barboza, Odailso Sinvaldo Berté

Este trabalho apresenta reflexões acerca das possibilidades artístico-pedagógicas no campo das artes da cena, em específico a dança, voltadas para a formação de professoras(es). Tais discussões emergem do Projeto de Extensão “De terra seus corpos”, iniciado no ano de 2018 e vinculado ao Curso de Dança – Licenciatura da UFSM. Por meio de diferentes processos criativos, deu-se a remontagem do espetáculo Som e Luz em Corpos, que consiste na coreografia/encenação do tradicional espetáculo de Som e Luz, do Sítio Histórico de São Miguel Arcanjo. Essa obra tem sido apresentada por um elenco composto de estudantes indígenas da Aldeia Guarani Tekoá Koenjú e acadêmicas(os) Universidade Federal de Santa Maria. À luz das compreensões da Ecologia de Saberes (SANTOS, 2010), Epistemologias do Sul (SANTOS, 2019) e Pedagogia da Autonomia (FREIRE, 2015), buscou-se articular um fazer-pensar dança que promova diálogos horizontais entre as epistemologias que operam dentro das universidades e os diversos saberes que são produzidos pelos Mbya-Guarani. Com esse trabalho, percebe-se um enriquecimento na formação das(os) licenciandas(os), sobretudo no que tange à docência em Arte e a elaboração de práticas artístico-pedagógicas contemporâneas, alicerçadas em uma perspectiva de valorização da diversidade e reconhecimento da cultura Guarani na sua história e potencial criativo.   Palavras-chave Processos Artístico-Pedagógicos em Dança. Comunidade Tekoá Koenjú. Ecologia de Saberes. Epistemologias do Sul. Pedagogia da Autonomia.

Gheraldi Waskito Ajiprabowo, Handriyotopo Handriyotopo

Reog Ponorogo art is an Indonesian cultural heritage that must be preserved in the mid of current cultural competition nowadays. One of the ways to preserve Reog art is by introducing it to the wider community, especially the younger generation. The purpose of this design is to produce motion graphic media to introduce Reog Ponorogo traditional art. This design uses the 5W+1H approach, with the following stages: 1) reviewing the problems; 2) developing with the relevant questions; 3) developing the answers of those questions; 4) making the right solution. The result of this study shows that the design of Reog Ponorogo motion graphics can be the right media to provide information about Reog art to the public, especially millennial youth. This motion graphic media is quite comprehensive, because it is completed with supporting media such as posters, print ads, merchandise, and Instagram.

Jaiung Jun, Alex Sistko

We study the category $\textrm{Rep}(Q,\mathbb{F}_1)$ of representations of a quiver $Q$ over "the field with one element", denoted by $\mathbb{F}_1$, and the Hall algebra of $\textrm{Rep}(Q,\mathbb{F}_1)$. Representations of $Q$ over $\mathbb{F}_1$ often reflect combinatorics of those over $\mathbb{F}_q$, but show some subtleties - for example, we prove that a connected quiver $Q$ is of finite representation type over $\mathbb{F}_1$ if and only if $Q$ is a tree. Then, to each representation $\mathbb{V}$ of $Q$ over $\mathbb{F}_1$ we associate a coefficient quiver $Γ_\mathbb{V}$ possessing the same information as $\mathbb{V}$. This allows us to translate representations over $\mathbb{F}_1$ purely in terms of combinatorics of associated coefficient quivers. We also explore the growth of indecomposable representations of $Q$ over $\mathbb{F}_1$ - there are also similarities to representations over a field, but with some subtle differences. Finally, we link the Hall algebra of the category of nilpotent representations of an $n$-loop quiver over $\mathbb{F}_1$ with the Hopf algebra of skew shapes introduced by Szczesny.

Nilgün Firidinoğlu

This study analyzes the reasons why representations of non-Muslim Ottomans are so scarce in the works of playwrights who tried to imbue literature with a “national” character, despite the fact that non-Muslims were pioneers in the adoption of Western-style theater in the Ottoman Empire. This paper discusses the representation of non-Muslim Ottomans within the context of the economic and political changes in the Ottoman Empire, focusing on plays that were not adapted from Western literary works and plays written in Turkish by the Ottoman writers. It is argued that the sense of “us” and “them” originated from a nationalist sentiment which intensified during the 19th century in the Ottoman Empire and economic changes which benefited non-Muslims. These factors are what determined the representation of non-Muslim Ottoman characters. It is maintained that an idea of “us” is dominant in the plays written in this period, as non-Muslim elements which mark either the religious or ethnic identity of characters are not included at all, or are conditionally included.