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From the outset, the APGRD was sited at the interface between scholarship and practice. Like most modern archives, it is a real space, a room, with books, objects and documents. But it is also a virtual space with online events, databases, and digitised collections and digital connections with other collections. In many ways, the archive needs to function very much like an engine room of an organisation, where its ‘mechanical’ parts and its fuel are stored and where there is a regular interchange of ideas. It is a ‘reopened’ theatre archive that aims to promote research, pedagogy and creativity and demonstrates that they not only need to co-exist, but that their co-dependence is necessary to underpin the study of dramatic scripts, ancient and modern., FuturoClassico FCl, N. 7 (2021)

Le 1er juillet 1944, dans le cadre des « Entretiens de la Compagnie des Sept » organisés par Jean Vilar, Albert Camus a prononcé une conférence sur « La mise en scène vue par les auteurs ». Cette allocution a laissé peu de traces parce que Camus n’a pas rédigé un texte. Mais ses notes conservées dans le Fonds Camus de la Bibliothèque Méjanes à Aix indiquent entre autres choses que l’auteur avait l’intention de présenter une sorte de manifeste pour le théâtre d’après-guerre., On 1 July 1944, in the context of discussions organised by Jean Vilar and the “Compagnie des Sept”, Albert Camus gave a lecture on “Staging as viewed by authors”. This talk has left few traces because Camus did not write up a text. But his notes conserved in the Fonds Camus of the Bibliothèque Méjanes in Aix indicate that he intended to present, among other things, a manifesto for the post-war theatre.

At the convergence of performance studies and Shavian studies, this thesis explores the staging of Shaw’s play-texts for contemporary audiences through Practice as Research (PaR). This document charts and analyses three PaR projects conducted: the creation and staging of a site-specific production of O’Flaherty V.C. (1915); the creation and staging of an epic theatre production of Pygmalion (1912); the creation and staging of an intermedial theatre production of The Millionairess (1935). A praxis of theory imbricated within practice was employed during the projects, in accordance with Robin Nelson’s PaR model and Richard Schechner’s performance process model. Applying specific performance styles to Shaw’s plays through intensive studio work, the projects sought to highlight the current socio-political relevance of the works; re-establishing them as pieces of vital political theatre. Each project included the public staging of the created performance-text, from which audience feedback was collected. By investigating Shaw’s plays through practice, the projects open-up a new field of research within Shavian studies and build upon the existing scholarship of Stanley Weintraub; Anthony Roche; Lauren Arrington; Lisa Wilde; Bernard Dukore; Derek McGovern; Peter Gahan; Richard Nickson; Nicholas Williams; Vicki Kennel. Experimenting with the theatre theories of Mike Pearson, Fiona Wilkie, Bertolt Brecht, Elin Diamond, David Barnett, Eric Wiez, Chiel Kattenbelt, Andy Lavender, and Robin Nelson, the projects contribute to performance studies scholarship in the areas of directing, performance processes, site-specific theatre, epic theatre and intermedial theatre. Furthermore, providing a substantial contribution to Irish studies, this thesis seeks to re-establish Shaw as a playwright of immense social importance within the Irish theatrical canon. 2022-10-08

Detta är en kvalitativ studie med ett hermeneutiskt anslag skrivet ur en dramalärares synvinkel om praktisk kunskap inom estetiska ämnen på gymnasiet. Metoden kallas ”Södertörns-modellen”, en professionell induktiv metod baserad på en fenomenologisk introspektion som hänvisas till som handlingssituationen. De öppna frågorna gäller didaktik och frågor om skillnaden mellan estetisk och konstnärlig i ett pedagogiskt sammanhang. Inlärningen undersöks utifrån en verklig situation med hänvisning till Viola Spolins improvisationsmetoder och särskilt koncentrationspunkten (POC), där studenten är sido-coachad. Tekniken är alienation som beskrivs uti-från ett teaterperspektiv. Genom stöd av teaterpraxis och filosofer som John Dewey, Hans-Georg Gadamer och Susanne Langer, kunskapsteori, metodik för teori och praktik, vägs samman för att beskriva och analysera hur lärandet sker. Ett kritiskt tolkningsutrymme med hänvisning till Platon och Sokrates blir logiken av en hermeneutisk öppenhet. Metoden som sådan bygger på ett dialektiskt förhållande, vilken var grunden för hur både lärandet i handlingssituationen och forskningens framskridande. För att ge svar på vilken kunskap som beskrivs i den svenska sko-lans styrdokument har begreppen för kunskap granskats genom en innehållsanalys. Det finns en dialog mellan teori och praktik för att ta reda på om det finns någon skillnad mellan estetisk och konstnärlig kunskap, där Aristoteles spelar en roll, när ett nytt förslag med estetiska ämnen som åter obligatoriska i gymnasieskolan inom kort introduceras. This is a qualitative study with a hermeneutical approach written from a drama teacher's point of view on practical knowledge in aesthetic subjects in a secondary school. The method is referred to as “the model of Södertörn”, a professional inductive method based on a phenomenological introspective referred to as the situation of action. The open questions concern didactics and questions about the difference between aesthetic and artistic in a pedagogical context. The learning is examined based on an actual situation with reference to Viola Spolin’s methods of improvisation and point of concentration (POC), where the student is side–coached. The technique is alienation as described from a theatre perspective. Through the support of the theatre practice and philosophers such as John Dewey, Hans-Georg Gadamer and Susanne Langer, knowledge theory, methodology of the theory of practice are weighed together to describe and analyse how the learning occurs. A critical interpretation space with reference to Plato and Socrates becomes the logic of hermeneutic openness. The method as such is built on a dialectic relationship were the basis for how both learning and the research took place. In order to provide answers to what knowledge is, described as in the Swedish schools governing documents, the concepts of knowledge has been reviewed through a content analysis. There is a dialogue between theory and practice to find out, if there is any difference between aesthetic and artistic knowledge, where Aristotle play a role, when a new proposal for introducing aesthetic subjects as mandatory in secondary school makes a new entrance.

This thesis investigates a set of theoretical principles concerning the imagination as cognitive function, based on scientific readings in neuroscience, cognitive science, and neurobiology, as well as experiential observations of creative practice pedagogy drawn from theatre training methods employed to develop the practice of creating original work for the theatre. Key to my investigation is acknowledging that the imagination is a function of the brain. Imaginative brain function is defined as an autonomous systemic, interconnected brain system capable of activating to produce specific outcomes enabling the human organism’s fitness for purpose. I contend that there are two interconnecting facets of imaginative functioning referred to as the biological imagination and the existential imagination, both active on a conscious and non-conscious level. From the first facet I focus on one aspect of biological imagining, which I refer to as the tactile imagination. The tactile imagination is that aspect of imaginative brain function associated with the sense of touch, at all levels of experience, here employed to stimulate the generation of original material for a style of performance known as physical theatre. In addition, I argue that creating, as an outcome, is trainable. While each creation engages in its own specific processes, I contend that there are practices common to creating in general. In this thesis I demonstrate that, at its source in the imagination as brain function, there may be certain processes common to most creative endeavors. This embodied analysis posits three imaginative processes – the provision of possibilities, the development of associative patterns, and image composition. Specific connections are posited with memory, emotion, and the senses, in support of embodied theatrical composition, involving a three-stage experiential process of identification, transference, and transformation. This embodied creative process, also engages the existential imagination, associated with consciousness and a sense of self. The engagement of the existential imagination in creative practice is initiated by an altered perceptual state, a cognitive reversal in which conscious cognition supports the imaginative process, initiating discovery and invention. I conclude, that there is experiential and scientific evidence to support a dynamic relationship between this three-function imaginative process and my three-stage creative process, opening up opportunities to develop more comprehensive training techniques for creative practice.

Detta är en kvalitativ studie med ett hermeneutiskt anslag skrivet ur en dramalärares synvinkel om praktisk kunskap inom estetiska ämnen på gymnasiet. Metoden kallas ”Södertörns-modellen”, en professionell induktiv metod baserad på en fenomenologisk introspektion som hänvisas till som handlingssituationen. De öppna frågorna gäller didaktik och frågor om skillnaden mellan estetisk och konstnärlig i ett pedagogiskt sammanhang. Inlärningen undersöks utifrån en verklig situation med hänvisning till Viola Spolins improvisationsmetoder och särskilt koncentrationspunkten (POC), där studenten är sido-coachad. Tekniken är alienation som beskrivs uti-från ett teaterperspektiv. Genom stöd av teaterpraxis och filosofer som John Dewey, Hans-Georg Gadamer och Susanne Langer, kunskapsteori, metodik för teori och praktik, vägs samman för att beskriva och analysera hur lärandet sker. Ett kritiskt tolkningsutrymme med hänvisning till Platon och Sokrates blir logiken av en hermeneutisk öppenhet. Metoden som sådan bygger på ett dialektiskt förhållande, vilken var grunden för hur både lärandet i handlingssituationen och forskningens framskridande. För att ge svar på vilken kunskap som beskrivs i den svenska sko-lans styrdokument har begreppen för kunskap granskats genom en innehållsanalys. Det finns en dialog mellan teori och praktik för att ta reda på om det finns någon skillnad mellan estetisk och konstnärlig kunskap, där Aristoteles spelar en roll, när ett nytt förslag med estetiska ämnen som åter obligatoriska i gymnasieskolan inom kort introduceras., This is a qualitative study with a hermeneutical approach written from a drama teacher's point of view on practical knowledge in aesthetic subjects in a secondary school. The method is referred to as “the model of Södertörn”, a professional inductive method based on a phenomenological introspective referred to as the situation of action. The open questions concern didactics and questions about the difference between aesthetic and artistic in a pedagogical context. The learning is examined based on an actual situation with reference to Viola Spolin’s methods of improvisation and point of concentration (POC), where the student is side–coached. The technique is alienation as described from a theatre perspective. Through the support of the theatre practice and philosophers such as John Dewey, Hans-Georg Gadamer and Susanne Langer, knowledge theory, methodology of the theory of practice are weighed together to describe and analyse how the learning occurs. A critical interpretation space with reference to Plato and Socrates becomes the logic of hermeneutic openness. The method as such is built on a dialectic relationship were the basis for how both learning and the research took place. In order to provide answers to what knowledge is, described as in the Swedish schools governing documents, the concepts of knowledge has been reviewed through a content analysis. There is a dialogue between theory and practice to find out, if there is any difference between aesthetic and artistic knowledge, where Aristotle play a role, when a new proposal for introducing aesthetic subjects as mandatory in secondary school makes a new entrance.

A partir de nuestra formación y práctica que incluye lo artístico en articulación con la investigación, nos proponemos plantear una sistematización de procesos actorales en función de la noción de subjetividad poética que venimos desarrollando desde hace algunos años. Tomamos como punto de partida para la misma la mirada que construye el artista acerca de su propia práctica para ver cuáles son las herramientas que utiliza éste para pensar y describir su praxis. Para la aplicación de la noción utilizaremos un grupo que es un referente muy singular de la época de Postdictadura inmediata en Argentina, La Organización Negra (1984), grupo caracterizado por sus intervenciones urbanas y sus espectáculos “de choque”, y que se autodescribe a partir de un glosario detallado y profundamente reflexivo. À partir de notre formation et de notre expérience qui articule les composantes artistique et scientifique, nous proposons une étude systématique de processus de jeu d’acteurs en fonction de la notion de subjectivité poétique, qui est notre objet d’étude depuis quelques années. Nous avons pris comme point de départ le regard élaboré par l’artiste sur ses propres pratiques afin de voir quels sont les outils qu’il utilise pour penser et décrire sa praxis. Pour l’application de cette notion, nous utilisons un groupe théâtral qui est un référent singulier de l’époque de l’immédiate post-dictature argentine, La Organización Negra (L’Organisation noire), troupe caractérisée par ses interventions urbaines et ses spectacles de choc, et qui s’auto-décrit à partir d’un glossaire détaillé et profondément réflexif. From my academic training and my experience that combine the artistic and the scientific components, I propose a systematic study of the acting process according to the notion of poetical subjectivity, that has been the object of our investigations for a few years. We took as a starting point the artist’s vision of his own practice in order to see what are the tools he uses to think and describe his praxis. For the application of this notion, I refer to a theatre group that serves as a singular reference of the immediate Argentina post-dictatorship era, La Organización Negra (The Black Organization), a troupe characterised by its urban interventions and its provocative plays, and that describes itself buy using a detailed and deeply reflective glossary.

This latest issue of Irish Theatre International bridges the discourses of theatre practice and research with that of performance studies, and also with the ways in which social, economic, political and cultural activities perform their needs and demands. Recent decades honed these links through the ‘turn to performance’ markedly explored in the US since the 1960s, as ideas of play, ritual, and performativity flowered and cross-pollinated the humanities and indeed, scientific disciplines, crossing shores and attracting a global reach. This bridge specifically locates these interdisciplinary enquiries in the context of neoliberal economic cultures pervading the western world and further afield, produced and managed under the costume of ‘freedom’. Neoliberal engineers and advocates argue for the economic and social benefits such policies offer, foregrounding their argument around the notion of ‘freedom’. Freedom is a human right, a moral imperative, and a symbol of progress in civilization. As David Harvey summarizes, ‘The founding figures of neoliberal thought took political ideals of human dignity and individual freedom as fundamental, as “the central values of civilization” […] These values, they held, were threatened not only by fascism, dictatorships, and communism, but by all forms of state intervention that substituted collective judgements for those of individuals free to choose’ (A Brief History of Neoliberalism [Oxford: Oxford University Press, 2005], p. 5). peer-reviewed

"Teksty zebrane" Jerzego Grotowskiego, które właśnie trafiają do księgarń, to pierwsza próba zebrania w jednej książce tekstów legendarnego reżysera. Tom gromadzi 138 tekstów, w tym 37 niepublikowanych dotąd po polsku i 17 światowych pierwodruków. -"Teksty zebrane" Grotowskiego to zapisana jego własnymi słowami twórcza autobiografia - powiedziała na poniedziałkowym spotkaniu w Warszawie jedna z redaktorek tomu Agata Adamiecka-Sitek. Pomysłodawcami opublikowania po polsku dzieł Grotowskiego byli Mario Biagini i Thomas Richards z ośrodka Workcenter of Jerzy Grotowski w Pontederze. Biaginiemu i Richardsowi zależało, by wieloletniemu opracowywaniu dorobku reżysera towarzyszył proces poszerzania kręgu osób spotykających się z jego myślą i praktyką, by włączyć Grotowskiego do obiegu współczesnej dyskusji artystycznej i społecznej, ożywić jego obecność w polskim dyskursie o teatrze, sztuce i o życiu zbiorowym - mówił Igor Stokfiszewski z zespołu redakcyjnego "Tekstów zebranych". Konsekwencją takiego podejścia jest charakter "Tekstów zebranych" - nie jest to opracowanie krytyczne, ale zbiór tekstów, które Grotowski sam zaakceptował jako gotowe do publikacji. Książka liczy niemal tysiąc stron i gromadzi łącznie 138 tekstów: artykuły, eseje, autoryzowane transkrypcje wystąpień publicznych i wykładów, rozmowy i wywiady. Wśród nich 37 pozycji nie było dotychczas publikowanych po polsku (m.in. "Wokół powstawania Apocalypsis", "Reżyser jako widz zawodowy" i "Montaż w pracy reżysera"), zaś 17 to światowe pierwodruki (m.in. prace dyplomowe pisane na zakończenie studiów aktorskich i reżyserskich oraz teksty przygotowane przez Leszka Kolankiewicza na podstawie przemówień i spotkań Grotowskiego z lat 70.). Oprócz tekstów należących do kanonu wypowiedzi artysty, tom przynosi także publikacje dotychczas trudno dostępne i prawie nieznane (np. wystąpienia polityczne z czasów zaangażowania Grotowskiego w komunistycznych organizacjach młodzieżowych w 1957 roku). Jak mówili redaktorzy, do "Tekstów zebranych" nie włączono dokumentów prywatnych, listów, tekstów nieautoryzowanych, wierszy Grotowskiego ani też jego wykładów z Paryża i Rzymu, które spadkobiercy reżysera zamierzają opublikować w oddzielnym tomie. Grotowski to artysta, który poświęcił swoją drogę poszukiwaniom w obszarze ludzkiej wolności, w kontrapunkcie do romantyczno-patriotycznej dominanty, która wyznaczała kierunki kształtowania się polskiej nowoczesności. Za Grotowskim wciąż podąża legenda artysty, który niemal podległ ekskomunice, gdy Prymas Tysiąclecia - kardynał Stefan Wyszyński - podczas kazania wygłoszonego w 1976 r. w krakowskim kościele na Skałce wykrzyczał sprzeciw wobec twórcy Teatru Laboratorium, stwierdzając, że spektakl"Apocalypsis cum figuris" demoralizuje naród. - powiedział w poniedziałek Igor Stokfiszewski. Teatr Laboratorium, kierowany przez Grotowskiego i Flaszena, nie był teatrem w tradycyjnym sensie, lecz instytutem ukierunkowanym na badanie sztuki teatralnej, a zwłaszcza sztuki aktora. Jego działalność skupiała się na wielkich tekstach klasycznych (zarówno polskich pisarzy romantycznych: Mickiewicza, Słowackiego i Wyspiańskiego, jak Marlowe'a i Calderona). Pod koniec lat 70. Grotowski badał techniki rytualne wywodzące się z różnych tradycji. Od 1986 r. do śmierci Grotowski pracował głównie w Pontederze (Włochy), gdzie założył Workcenter of Jerzy Grotowski. Uznawany jest za jednego z najważniejszych współczesnych reformatorów teatru. Był jednym z trzech Polaków - obokAdama Mickiewicza i Bronisława Geremka - którzy zostali profesorami College de France. Specjalnie dla niego utworzono tam katedrę Antropologii Teatru.

A presente dissertação tem por base estabelecer reflexões acerca do trabalho desenvolvido nas práticas de teatro na sala de aula com alunos do Programa EJA - Educação de Jovens e Adultos da Escola Municipal Arthur Ostermann, no Município de São Leopoldo, na região do Vale dos Sinos, Estado do Rio Grande do Sul. Procuro estabelecer conexões dessas práticas com a Pedagogia do Oprimido de Paulo Freire e o conceito de Tempos Líquidos, de Zygmunt Bauman. As atividades foram realizadas através de jogos espontâneos e protagonizados, visando o desenvolvimento dos potenciais criativos dos alunos, e a reflexão sobre os potenciais destrutivos da sociedade. As práticas são divididas em duas ramificações: o Teatro Jornal, de Augusto Boal e o exercício de escrita dramática a partir da contextualização das tragédias gregas. Uma tem ligação com a outra, tendo em vista que a partir das improvisações teatrais surgiram necessidades de discutir os fatos vigentes. Estes fatos, a maioria publicados em jornais, foram considerados pelos alunos como tragédias, o que despertou em alguns a pesquisa a partir dos textos trágicos do teatro grego, que consistiu na leitura em específico das peças Édipo Rei e Antígona, de Sófocles, desencadeando assim uma contextualização de determinadas obras. This thesis is based on established ideas about the work practices of theater in the classroom with students of adult education program - Youth and Adult Education of the School of Arthur Ostermann, in São Leopoldo, in the Vale of Sinos, Rio Grande do Sul. Looking for connections of these practices with the Pedagogy of the Oppressed by Paulo Freire and the concept of Liquid Times of Zygmunt Bauman. The activities were conducted through games and spontaneous protagonists, to develop the creative potential of students, and reflection on the destructive potential of society. The practices are divided into two branches: the Newspaper theater of Augusto Boal and the pursuit of dramatic writing from the background of Greek tragedies. One is linked to another in order that emerged from the improvisational theater needs to discuss current events. These facts, most published in newspapers, were considered by students as tragedy, which sparked some research from the texts tragic of Greek drama, which consisted of reading in specific parts of Édipo Rei and Antigona by Sófocles. Thus triggering a contextualization of certain works.