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This Is Not a Theatre Company’s Readymade Cabaret 2.0 combines classic Dada dramaturgy with a Covid-era virtual theatre of short vignettes, much like the original Dada performances at the Cabaret Voltaire. Character-based dialogue strikes at the same existential questions explored by the Dada collaborators, especially prescient in the context of a global pandemic that has drastically altered our daily lives.

En el teatro contemporáneo la videoescena se ha consolidado en la plástica escénica como la integración de audiovisuales en escena con múltiples objetivos. Agrupación Señor Serrano es una compañía española que incorpora el vídeo a sus escenificaciones bajo la premisa de la intermedialidad, es decir, la puesta en escena se articula por medio de la hibridación entre teatro y audiovisual. Utiliza recursos de la cultura popular sumados a un ácido sentido crítico, que desarrolla a través de la simultaneidad, la yuxtaposición, la alternancia y los múltiples puntos de vista mostrados por la videoescena. Este artículo presenta un análisis de la intermedialidad de su espectáculo The Mountain (2020). Para ello se discriminan las funciones dramatúrgicas del vídeo, a fin de exponer cómo la inserción del audiovisual en la dramaturgia espectacular ensancha la teatralidad al crear una forma teatral a partir del permanente diálogo entre escena y videoescena.

Dentro de la producción dramática de Mauricio Kartun, se analiza Juan Darién (2015), dramaturgia de adaptación del cuento homónimo de Horacio Quiroga incluido en su libro El desierto (1924). Se ubica este texto dramático en la obra de Kartun y se caracterizan las principales operaciones de reescritura, con el objetivo de precisar una política de la diferencia. Finalmente, se focaliza en el desarrollo de la antropomorfización del personaje de la serpiente y en su transformación en narrador-presentador (a la manera del teatro épico brechtiano) y personaje-delegado.

The study of the life and professional activity of Hryhorii Maksymovych Borakovskyi (1846–?), zemstvo doctor, doctor of medicine, forensic expert, public figure, writer, extraordinary personality, has been carried out. He made a significant contribution to the development of zemstvo medicine in Katerynoslav-Dnipropetrovsk region. Hryhorii Borakovskyi headed the district and zemstvo hospital in Novomoskovsk for 27 years, performed a large number of surgeries. As an expert, he was invited to participate in complicated forensic cases. His reports about visits to hospitals in Moscow, Odesa, Palestine, Prague are of educational importance. Doctor H.M. Borakovskyi also occupies an honorable place in Ukrainian dramaturgy. He is an author of many vaudevilles, comedies, and dramas (the most famous one is «Marusya Churai»).

Contemporary Irish playwright Marina Carr integrates eleven-dimension theory into her post dramatic art creation, forming a unique eleven-dimensional dramaturgy. This unique eleven-dimensional dramaturgy runs through Carr's whole drama creation career, and has different focuses in different periods: in her early drama, Carr concentrated on the expression of the concept of “non-linear time”. In the mid-land drama, she focuses on the creation of “high dimensional space”, while in the later drama of death and fantasy, she focuses on the presentation of “multidimensional worlds”. Finally, with the connection of the eleven-dimensional dramaturgy, Carr created a “non-linear”, “high dimensional” and “multi-dimensional” dynamic post-dramatic theater, and conveyed the eleven-dimensional philosophy of life beyond time and space.

The article discusses some aspects of the reception of Oscar Wilde’s fairy tale The Selfish Giant by the Russian symbolist poet and translator Ellis (L.L. Kobylinsky; 1879–1947) as reflected in archival sources and memoirs of his contemporaries. Particularly, Ellis’ participation in theatre performances for children and his interest in the forms of juvenile literature are considered within the framework of his overall poetical activities. Among these plays, a piece entitled The Garden of the Giant which is based on Wilde’s tale The Selfish Giant is to be mentioned first and foremost, since Ellis himself attributed great importance to this work making several attempts to publish it separately and even trying to convince a Moscow modernist publishing house Musaget to implement his rather extraordinary plans. The article also attempts to demonstrate that Ellis’ passion for Wilde’s literary heritage can be traced in his own subsequent work as his second collection of verse Argo (1914) proves it. As, I argue, its first section entitled Snuffbox with Music has been developed under the influence of Ellis’ previous work on juvenile performances, which manifests itself in dedications, the texts of the section borrowed from the juvenile plays as well as through the motivic structure of this cycle.

Every architect has a different view and thought about something in designing a building. The basis of ideas design to a building is gained from experience, imagination, creativity, education, etc. Every professional architect also owns cognitive to express how the architecture works implemented through the design of a building. In architecture, there is a theory that connects drama and architecture in everyday life, dramaturgy. This article aims to see the concepts of dramaturgy in the works of the architectural consulting bureau responsible for, Omah Boto building, Aceh Tsunami Museum, and Phinisi Unm Tower. This study uses a qualitative method with data collection carried out using literature studies. Furthermore, the analyzed data is then presenting in descriptive for a more informative series. Data analysis aims to explore the relevance of the dramaturgy application in architecture to the thinking of architects in Indonesia. The results of the study show dramaturgy in architecture is used as a match between contemporary theater art and architecture. All three architectural consultants have used elements of dramaturgy in the design process. The three architectural consultants have used aspects of dramaturgy in their design process. The application of the basic concepts of dramaturgy used is an exterior setting of the building, Goals or ideas, building layout settings, visual instructions, and motion direction.

Occidental theater is born through intermediality. Starting from literary structures to develop itself as a language, for many centuries the theater has been understood as an enunciator of the dramatic text. Furthermore, in its evolution, theater will embrace, from an early age, other artistic languages. However, all these possibilities of entanglement will be intentionally articulated and will expand in the experiments of contemporary theater, reducing the limits and creating problematic and new concepts about art fields, unexplored until then. That being said, we will analyze the construction proposal of the spectacle 'When I die, I'll tell God everything' (2019), by the collective 'O Bonde', which links the work of the actors with music, storytelling, dance and proposes a unique visuality through several scenic elements. In addition, the dramaturgy of the spectacle is conceived from newspaper news and real stories, which tenses the relationship between the real and the fictional, bringing new dimensions to the spectator. Therefore, the spectacle proposes a hybrid narrative, which is updated through the interaction between these different media and supports in the dialogue with spectators in the ephemeral time of the theatrical scene. Our objective is, therefore, to investigate questions about the spectacle and respective subjectivities in the delimitation of an intermediate bias for the construction of the scene. To delimit the scope of analysis, the concepts of Patrice Pavis, Chiel Kattenbelt and Silvia Fernandes are used as a theoretical basis.

François de Curel, mistakenly regarded as an author of the “problem play”, enjoyed a reputation of an innovator in dramaturgy during his lifetime. By rejecting the canonical form of the drama, he proposes works in which psychological analysis prevails over the dramatic progression of the action. In fact, in La Figurante, the French writer paints a portrait of the characters who resemble “marionettes” operated by unknown forces. In order to survive in bourgeois society, they assume the “masks” that social conventions demand of them and conscientiously play the comedy. However, under the facade and the artifices, the protagonists keep their existential anxieties which express their inner sincerity. In this context, the analysis of this play will lead us to seek affinities with the grotesque dimension of the Pirandello theater.

Este artigo pretende apresentar a dramaturgia de resistência de Miguel Jorge, especificamente os textos O Visitante e Os Angélicos, ambos publicados em conjunto no ano de 1973 e censurado pela ditadura militar antes que pudesse ser encenado. Nossas considerações caminham primeiramente numa breve incursão sobre a vida e obra do escritor, apresentando sua dramaturgia e o contexto de engajamento político na época da estreia destes textos dramatúrgicos. Por fim, analisamos os aspectos de vanguarda presentes nas obras O Visitante e Os Angélicos, bem como a expressividade da estética surrealista capaz de engendrar uma obra carregada de fortes marcas de abstração, ao mesmo tempo em que, – por meio dessa operação artística – imagina e metaforiza as experiências de opressão e violência vivenciadas pelo regime de exceção que vigorava no país na época de sua criação e montagem cênica. Palavras-chave: Teatro de Miguel Jorge. Resistência. Surrealismo.

Researchers have recently shown increasing interest in how leaders of agencies respond to external threats. This article extends Katharine Dommett and Chris Skelcher’s strategic-relational analysis of agency leaders’ responses to exogenous threats. It focuses on the role of dramatic performances and impression management in agencies’ strategic responses. Interviews with senior officials in statistical agencies in Britain and Canada were used to assess the strategic-performative model. Agencies are better able to defend their functions and autonomy when they undertake effective dramatic performances to shape external stakeholders’ impressions. These findings further our understanding of the mechanisms that influence the legitimacy and autonomy of public agencies.

A dramaturgia da peça em um ato In our Profession, de Tennessee Williams, coteja a figuração dramatúrgica estereotipada das coristas, identificada em diversas obras de sua fase inicial. Com essa identificação, este trabalho revelou a mulher retratada de forma satírica, em contraponto com o papel social de gênero. Denotou, também, o emprego das formas expressionista e épica não brechtiana para dar conta do conteúdo crítico social no retrato destas showgirls. A abordagem contemplou a análise de expedientes estéticos e históricos da conjuntura da peça. Por fim, apresentou o dramaturgo como um crítico sociopolítico que utiliza diálogos líricos inspirados em roteiros cinematográficos da década de 1930.

O presente artigo se propõe a compreender a utilização da heterodoxia da escrita do roteiro, na construção do dispositivo narrativo do episódio The Entire History of You, da série Black Mirror. A partir da perspectiva de Picado e Souza (2018), analisamos como a dimensão da dramaturgia constrói um campo próprio, dentro dos estudos de autoria e estilo. Observamos que a heterodoxia da escrita do roteiro pode propor: 1) soluções estilísticas para a subjetivação dos personagens em cena; 2) que a autoria do Showrunner se imiscui ao desenvolvimento do roteiro em processos colaborativos, impactando nos elementos sensíveis da linguagem audiovisual.

espanolFelipe Angeles de Elena Garro y El dia mas violento de Barbara Colio son dos obras que abordan personajes un tanto oscuros en la historia de la Revolucion mexicana. Ambas piezas versan sobre personajes que no han figurado en la cosmovision del aparato nacionalista revolucionario, quiza por ser mujeres, como en el caso de la pieza de Colio, o por atreverse a poner en tela de juicio los triunfos de dicha gesta, como la pieza sobre el mitico general hidalguense. Aunque haya una separacion de mas de 40 anos, la escritura de Garro y la de Colio teje puentes, tanto en la vision femenina de la dramaturgia mexicana, como en la de los heroes historicos y que, a pesar de ser personajes rechazados, olvidados o marginados, el teatro poco a poco les ha ofrecido un poco de justicia poetica. EnglishFelipe Angeles by Elena Garro and Barbara Colio’s El dia mas violento are two works that address somewhat dark characters in the history of the Mexican Revolution. Both pieces are about characters that have not been included in the worldview of the revolutionary nationalist apparatus, perhaps because they are women, as in the case of Colio's piece, or for daring to question the triumphs of that gesture, such as the piece on the hidalguense mythical General. Although there is a separation of more than 40 years, the writing of Garro and that of Colio weaves bridges, both in the feminine vision of mexican dramaturgy, and that of the historical heroes and who, despite being rejected, forgotten or marginalized characters, the theater has gradually offered them a little poetic justice.

El presente texto forma parte del trabajo doctoral “Investigación-acción: la danza-escritura como posibilidad de auto-enuncación”. Para la parte práctica de la investigación se impartió el Taller de danza y escritura a manera de laboratorio. Lo que se presenta en este artículo es una parte del análisis de lo acontecido durante el taller. Se profundiza sobre el funcionamiento de la dramaturgia en el diseño de las sesiones, en la organización de los textos y danzas individuales y colectivos que se produjeron durante el laboratorio, así como en el ensamblaje de los materiales para su presentación ante un público. La dramaturgia es la herramienta articuladora para estudiar el proceso creativo en el que cada participante encontró un espacio para su propia enunciación y las resonancias que tuvo esta en el colectivo. Para abordar el análisis, se toman como punto de partida los planteamientos de André Lepecki sobre dramaturgia y los de Laurence Louppe sobre partitura. Abstract This text is part of the doctoral work "Research-action: dance-writing as a possibility of self-enunciation". For the practical part of the research, the Dance and writing workshop was given as a laboratory. What is presented in this article is a part of the analysis of what happened during the workshop. It delves into the operation of dramaturgy in the design of the sessions, in the organization of the individual and collective texts and dances that occurred during the laboratory, as well as in the assembly of the materials for presentation to an audience. Dramaturgy is the articulating tool to study the creative process in which each participant found a space for their own enunciation and the resonances that this had in the group. To address the analysis, the approaches of André Lepecki on dramaturgy and those of Laurence Louppe on score are taken as a starting point.

The internet and social media have radically transformed grief, mourning and memorialisation. This article addresses how online death announcements (ODAs) (where bereaved people use social media platforms to share news of a loved one’s death) are extending beyond the role of public death notification previously limited to newspaper-published obituaries. We argue that ODAs are social performances embodying a diverse range of grief responses and offer a significant new direction in death scholarship. We draw on semi-structured interview data with nine people who announced the death of a loved one on Facebook, Instagram or Twitter. Using Erving Goffman’s (1959) dramaturgical framework to interrogate this data, we argue that ODAs go beyond purely information-sharing devices and are, instead, complex performances which benefit mourners in a number of ways and are governed by tacit ‘rules’ of permission and content. To make sense of this, we analyse in turn the role of, and collaboration between, the ‘actors’ who post ODAs, the ‘performance’ of the ODA itself, and the ‘audience’ of friends/followers who ‘receive’ the ODA. We reveal that ODAs are social performances possessing multiple modalities and reveal the depth of complexity present in grieving online.

A. Chekhov's drama has long been considered in the context of the problem of the birth of a new theatrical system, important for the twentieth century. While the work of I. Karpenko-Karyi does not evoke direct associations with theatrical reform, remaining, rather, closed in the context of the traditions of the theater of coryphaeus. This article proposes to look at his dramatic heritage as works in which there was a gradual and not as radical as of A. Chekhov, the reform of theatrical rules in force at the time. Chekhov's reform, which became a serious challenge for actors and directors, was based on observations of contemporary for him theatrical life. The origins of the reform of drama by I. Karpenko-Karyi’s can be seen in his own acting and directing practice. When we compare the work of these two authors, we must consider the socio-cultural context in which each of them was formed and worked, but it is obviously that their search in the process of reforming theatrical practice is similar. The dramaturgy of A. Chekhov and I. Karpenko-Karyi can be considered an anachronism in the context of their time. The aesthetic changes that take place in their works seem to be ahead of their time, actualizing the problems of stage practice. In the works of each of them, the results of one theatrical system are summed up and other laws of stage expressiveness are formed. Their works can be considered not only on the scale of the individual creative path of each author, but as an important stage in the development of theatrical art. When considering these two playwrights in the context of the problem of updating drama and stage practice, we can choose not only the ideological and thematic approach, but to emphasize the new principles of organization of dramatic material, then the innovative potential becomes obvious. And this opens the basic aesthetic systems for each of them and is revealed in new trends in theatrical thinking.

Comprender a las organizaciones es esencial para entender la construcción de la dinámica social contemporánea. Con la superposición cada vez más evidente entre comunicación, sociedad y cultura, es necesario develar las complejas relaciones que las organizaciones establecen en la sociedad mediatizada. El presente artículo pretende explorar la teoría de la dramaturgia social de Erving Goffman y su aplicación en el contexto organizacional mediatizado, articulando algunos aspectos centrales de las organizaciones contemporáneas: comunicación organizacional y estratégica, mediatización y cultura de innovación. Para esto, realizamos una revisión de la bibliografía académica referida a estos conceptos, relacionándolos con la teoría de la dramaturgia social, para luego reflexionar sobre la metáfora del escenario en el entorno contemporáneo. En las escenas de interacción en la sociedad mediatizada se revisan los roles de los actores organizacionales y se reconfiguran los escenarios, creando nuevas posibilidades para las organizaciones, así como desafíos y oportunidades para la comunicación organizacional.

Dans cet article, Jessica Riley part de recherches qu’elle a menées dans les archives pour explorer l’effet complexe que peuvent avoir le genre, le pouvoir et le privilège sur les négociations entre dramaturges et conseillers ou conseillères dramaturgiques. S’appuyant dans son analyse sur des documents qui portent sur le travail dramaturgique sur la pièce White Biting Dog de Judith Thompson, Riley souligne des révisions importantes apportées par la dramaturge en réponse aux commentaires et aux questions de son conseiller dramaturgique, Urjo Kareda. En mettant au jour les dynamiques de pouvoir et de résistance axées sur le genre dans ces négociations, Riley montre la résilience et la capacité d’agir de Thompson tout en reconnaissant que tous les dramaturges ne sont pas en mesure de réagir au contrôle dramaturgique comme Thompson l’a fait, au bénéfice de sa pièce et de sa carrière.

This paper analyses the impact of the intensification of work-related conditionality on the lived experience of jobseekers in Ireland. Post-crisis Ireland has witnessed the emergence of a definitive policy trajectory which seeks to enable a lifelong attachment to the labour force through work-related conditionality buttressed by sanctions. This mode of governing unemployment attempts a restructuring of the caseworker–claimant relationship through increased engagement, claimant adherence to mandatory conditions, and surveillance underpinned by potential reduction, suspension or loss of benefit. The paper provides a qualitative investigation of the lived experience of this impact through a thematic analysis of forty-two interviews with jobseekers in a county in the east of Ireland. The focus on the agency of jobseekers illustrates a system based on superficial engagement in which conditionality primarily operates as bureaucratic formality. This is reflective of a systemic indifference to claimants’ needs and circumstances, producing a performance of feigned compliance in response.

As descontinuidades entre erudição acadêmica e processos criativos interartísticos têm possibilitado espaços para proposição e revisão de conceitos e experiências que partem da cultura performativa grega antiga (mousiké). Neste artigo, apresento algumas investigações híbridas entre filologia e performance, as quais foram referências para pesquisas e realizações estéticas no Laboratório de Dramaturgia da Universidade de Brasília. A partir disso, discorro modos de aproximação e tensão entre Estudos Clássicos, Musicologia e Dramaturgia.

O ponto de partida se dá pelo diálogo entre um alargamento do conceito de ‘dramaturgia’ exercitado em experimentações cênicas contemporâneas, colocado em relação a espetáculos que têm como mote a investigação da memória do ator/performer em uma perspectiva autoficcional. O trabalho sobre o “eu” e a evocação das memórias é evidenciado como procedimento de criação de um teatro performativo. Com base nestes pressupostos e, tomando como objeto um trabalho artístico de relevância nesta temática e referência nas artes da cena, o objetivo é compreender como a dramaturgia da memória se constrói no processo de criação do espetáculo Kintsugi: 100 (sem) memórias (2019) do Lume Teatro. Para tanto, os seguintes questionamentos são levantados: Sob quais perspectivas a memória é configurada nesta obra? Como os limites entre o “real” e o ficcional são definidos nos processos de criação neste trabalho cênico? A metodologia empregada é a da literatura comparada, na análise texto/cena/performatividade com vistas ao processo de composição. A base teórica se delimita principalmente nos seguintes autores: Eco, Borriaud, Lopes e nos relatos da atriz Ana Cristina Colla em entrevista nesta pesquisa elaborada, entre outros. Como resultado, constatamos que a 'memória criadora' aliada à performatividade fricciona as fronteiras real/ficcional, redimensionando a cena e a dramaturgia contemporâneas.

espanolInvestigar la dramaturgia contemporanea implica abordar la complejidad de escribir en/para la escena. La dramaturgia es una practica especificamente teatral en la que la palabra esta involucrada con las materialidades y temporalidades de la escena. En este marco, el estudio puntual de las practicas reescriturales anade otras complejidades: el gesto de volver a escribir lo que ya ha sido escrito es de apropiacion y recontextualizacion, lo que lleva a cuestionarse que es la escritura, que es la autoria, que es el tiempo. A la vez, las practicas artisticas del presente asumen su caracter politico en la preocupacion por los modos de crear, lo que trae para la investigacion la necesidad metodologica de atender a los procesos creativos y no solo a las obras como productos o resultados. En este trabajo nos proponemos aproximarnos al proceso creativo de Edipo R. —obra teatral de Organizacion Q, estrenada en Cordoba en 2008 y dirigida por Luciano Delprato— y nos interesa entender esta reescritura de Edipo Rey, de Sofocles, como un devenir‒menor, en terminos de Deleuze y Guattari. EnglishThe study of contemporary dramaturgy involves the complexity of write in/for the scene. Considering dramaturgy as a specific theatral practice -it means it is involved with scene’s materialness and temporalities-, research’s challenges have to look over some concepts and methods. The study of re-writing practice in dramaturgy adds another complexity: writing what was already written is a way of appropriation and recontextualization. Therefore, we ought to ask what writing is, what authority is and what time is. At the same time, actual arts are political because of their ways of creation; as a consequence, to research actual arts we have to attend the creative process, not only the product or the result. In the present work, we want to approximate to Edipo R.’s creative process Organizacion Q’s theater play, showed at the first time in Cordoba in 2008 and directed by Luciano Delprato - and we are interested in think about this re-writing of Oedipus the King, by Sophocles, as a becoming-minor, in the words of Deleuze & Guattari.

In June 2018, a group of around one-hundred people gathered in Bialik Square in Tel-Aviv and reenacted the funeral procession of the Zionist politician Dr Haim Arlosoroff, an event that took place ...

O que pode, nesse momento, as artes da cena? A imagem é a de um barco à deriva no oceano, no qual os tripulantes festejam a própria sorte (ou será a morte?), em um pacto coletivo no contrafluxo da vida. Com essa imagem, reflexo do momento político brasileiro, analiso Caranguejo Overdrive, dirigido por Marco André Nunes, com dramaturgia de Pedro Kosovski. Interessa investigar os motivos pelos quais foi censurado em 2019 e a relevância do debate sobre arte e memória histórica. Para isso, retomo o conceito de entrelugar do discurso latino-americano, desenvolvido por Silviano Santiago, em artigo dos anos 70, e sua revisitação quarenta anos depois, apontando para uma espiral do tempo, na qual o espetáculo nos convoca a retornar ao nosso mangue, a revolver nossos rastros e a reinventar o tempo que chega.

Why Are Hungarian Films Bad? This oft-quoted question was the title of a film, released in 1964, thematizing the unsolved and confused conditions in Hungarian cinema. This study analyzes the discou...

It is historically known that many dramatists were sort of adaptors. Playwrights have often used myths, poems, historical events or even earlier stories as their source material but with literary verbatim theatre (the most text-based of all verbatim subcategories), the audience deals with facts found in the original words of a real figure who wrote privately and not for publication. Consequently, some have accused verbatim theatre growing in popularity of lacking creativity claiming that it is not even produced by a playwright while others have disagreed since it undergoes a selective editing process indicating that it is ultimately a creative process. This way the play is filtered by a playwright who goes by the name of an “editor”. Selecting the archives and arranging the given material, is a very subjective process that owes as much to an artist's predilections as to any rule of dramaturgy. Alan Rickman and Katherine Viner's My Name is Rachel Corrie (2005) was developed from one hundred eighty-four pages of a young American activist's unpublished writings, including diaries and e-mails, that were given with her parent's permission. The twenty-three year old American was killed in the Gaza Strip by an Israeli defense bulldozer as she attempted to prevent destruction of a Palestinian family's home. The play with its unresolved conflict over Palestine in addition to its cancelled production in the United States a number of times has made it a true controversial literary verbatim play. My paper aims at expounding the abovementioned points of view shedding the light over where they meet leading to the understanding of what John Grierson defined as “the creative treatment of actuality”.

Shakespeare’s Othello has been staged overwhelmingly through the racial relationship between the two protagonists, Othello and Iago, at the expense of another protagonist, Desdemona, partly because of the prominence of racial and military perspectives in European modernity, and partly because of the relatively scarce textual presence of Desdemona. Despite the tremendous efforts and contributions of feminist criticism to rectify the imbalance, this female protagonist has been enclosed in the realm of a patriarchal framework that divides women between ‘chaste wife’ and ‘villainous whore’. Miyagi Satoshi’s adaptation and staging of Miyagi-Noh Othello, presented at Shizuoka Arts Theatre in 2018, was a remarkable attempt to address this issue, by transforming the whole play into a memory recollected and enacted by the Ghost of Desdemona, through utilising the Japanese ‘Mugen-Noh’ format. Through his mimetic dramaturgy employing the ‘division of speech and movement’ method, Miyagi succeeded in recovering not only Desdemona’s testimonies regarding her affectionate and passionate relationship with Othello but also multiple women’s ‘her-stories’ hidden and disregarded by male-centred histories authorised by the Venetian ruling class. The detailed analysis of Miyagi’s unique and innovative production will unravel the complicated relationship between actors’ words and their bodies in theatrical productions, as well as offer a fresh insight into the hitherto underrated aspect of Othello as an alternative story of inducing everyone’s suffering into spiritual atonement by reviving the love which has always already been present even in a society torn by racism, genderism and militarism.

Ovaj rad posvećen je procesu transponovanja scenskog djela iz jedne forme u drugu, u pokušaju da zadržim atmosferu i poruku koje djelo nosi u svojoj originalnoj formi. Prostornom instalacijom i dramaturgijom prostora izložbe želim da prenesem doživljaj dvije pozorišne scenografije koje se razlikuju po konceptu, temi i porukama koje nose. Scenografije koje predstavljam instalacijom jesu „Žak i njegov gospodar“ u režiji Davida Alića, i „Tartif“ u režiji Igora Vuka Torbice. Bavim se procesom analize načinа na koje je moguće predstaviti cjelokupno scensko djelo, sa posebnim naglaskom na istraživanje potencijalnih medijskih sredstava. U okviru paralelne analize drama, prostora i viđenja istih od strane reditelja, pa na kraju i mog samog, ishod rada jeste instalacija pod nazivom Transformacija, prikazan putem skica, tehničkih priloga, trodimenzio­nalnog prikaza instalacije i fotografijama izvedenog rada.

The goal of this research is to reveal the peculiarities of reception of the novel “What is to be Done?” by N. G. Chernyshevsky in the Soviet dramaturgy of the 1920s – 1930s. These texts fully reflect the concept of state order, the pursuance of “socialist realist” normatization, and thus, most vividly demonstrate the specificity of functionality of the fundamental mythological concepts in semantic field of the Soviet literature. Particular attention is given to the plays by V. N. Bill-Belocerkovskij and A. Glebov. The article also employs the works of A. Neverov, V. Vishnevsky, A. Afinogenov, who largely determined the dramaturgical image of their time. The work is conducted within the framework of the mythopoetic approach, using structural-semiotic and intertextual methods. The relevance is substantiated by the need for a more comprehensive examination of the literary discourse of the 1920s – 1930s. The scientific novelty consists in attraction of an array of little studied texts of the “official” Soviet dramaturgy for identification of the cultural and literary sources of the image of “new people”, which determined the functionality of this mythologem in the literary discourse of the 1920s – 1930s. The conducted research demonstrated that in the period of post-revolutionary culture, the novel “What is to be Done?” by N. G. Chernyshevsky acquires the status of a sacred text, becomes the focus of intertextual overlap of dramaturgical texts, as well as one of the foundations for the formation of the Communist myth of the “new people” common to literature of that time. The works of the official Soviet playwrights are characterized by the declaration of continuity with regards to the novel, which in their works is demonstrated on the level of plot, themes, ideas, particular images, and separated details.

This article focuses on A. Obidjon, who played a special role in the development of children's poetry and prose. At the same time, the artist, who thinks about the development of Uzbek children's drama, has created a dramatic epic, a play. Anvar Obidjan is an artist who has enriched not only children's prose and poetry, but also dramaturgy, as a children’s poet, known as a prose writer, he won the admiration of his fans with his dramatic works

Este artículo da cuenta del proceso de investigación personal que buscó identificar los factores del entrenamiento corporal, asociados a la creación teatral, que incidieron en el desarrollo de la creatividad motricia para la dramaturgia de la puesta en escena del monólogo inédito Marranadas (2007), del dramaturgo caleño Víctor Hugo Enríquez. La investigación se desarrolló desde el enfoque cualitativo con diseño MCC (Método Comparativo Constante). Para la revisión documental de las bitácoras y los trabajos escritos se utilizaron como instrumentos fichas de lectura, fichas audiovisuales y de correlatos, los cuales permitieron identificar que los factores del entrenamiento corporal asociados a la creación teatral que incidieron en el desarrollo de la creatividad motricia son: el cuerpo como bitácora y la corpodramaturgia compartida. La investigación fue realizada en el Instituto Departamental de Bellas Artes2, Cali durante el 2006 y el 2012.

Fernando Pessoa’s plays or just a few fragments of these have been staged in Portugal over the past sixty years, alongside the author’s poetry. In this essay we take as an example the experience, in the first person, of dramaturgical creation and staging based on texts from Fernando Pessoa’s static drama, in order to demonstrate that these plays give contemporary creation a theatrical aesthetic that is not defined by the literary form or category but by the characteristics that come from a meticulous choice of words by the author. STATIC DRAMA / INTERIORITY / DRAMATURGY / SILENCE / THEATRICAL AESTHETICS

PurposeThe Forest Stewardship Council (FSC) intends to promote responsible forestry through its certification scheme. The primary engine that drives this promotion is auditing. Audits serve a dual purpose: they make forest managers accountable for their claim of meeting the FSC standard, and they make the actions of auditors and auditee account-able, or able to be put into an account. The latter of these is rarely investigated, despite it being crucial to understanding how FSC audits are done.Design/methodology/approachThis article examines FSC forest certification audits as practices where the FSC standards gain meaning. In-depth analysis of these practices enables insight into how different values related to forest certification and auditing are articulated and negotiated in practice, characterizing particular modes of auditing. In this paper, the authors examine the practices of FSC forest management auditors in multi-day audits in Africa and in Spain. Their materials were analyzed and coded using Goffman’s elements of dramaturgy.FindingsThe authors’ findings show that auditing practices entail a series of nested performances in which the auditors and auditees interact together and in which front stage and back stage performances constantly alternate as auditors and auditees perform for each other and simultaneously for an absent audience.Originality/valueThe authors’ analysis demonstrates how in these performances, professional values related to following auditing rules and ensuring that audits are rendered account-able in a particular way take a prominent position. This risks overshadowing the accountability of the FSC system which is ultimately grounded in its ambition to improve forest conservation and management.

The article reflects on the connections between the Polish drama of the interwar period with such stage performances as a nativity play, farce, cabaret, and circus. The text attempts to point to the possible inquiries into this important problem of the dramaturgy of the 1920s and 1930s. The author concentrates on Adam Polewka himself and his political farse plays, especially the record of Igrce w Barbakanie, a performance prepared for the Cracow Days in 1938. She reads critically the introduction to the post-war edition of this text. In her opinion, this authorial commentary includes precious information about such stage forms of the interwar period as a farse play and circus.