Search

The text discusses the performance Kalevala The Unwritten Fragments of the Węgajty Theatre / Field Project, which in 2000/2001 opened a new phase in the theatre’s activity. The performance continued the thematic, aesthetic, and method choices of the Węgajty Village Theatre, while also opening new paths of exploration. The group’s work was particularly transformed, and a new quality was brought into its accompanying reflection, by the presence of the actor and anthropologist Trevor Hill. The analysis of Hill’s autoethnographic description of their work on Kalevala allows us to distinguish three dimensions of autoethnography: as an innovative technique of obtaining information, as a research method (analytical autoethnography), and as an indicator of a new paradigm of producing knowledge about social life and its participants (evocative autoethnography).The use of the autoethnographic method in research on the Węgajty Theatre made it possible to access information that is otherwise difficult to obtain, including the actor’s experiences and internal processes.

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Signa is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Asparkía. Investigació Feminista is the property of Instituto Universitario de Estudios Feministas y de Genero Purificacion Escribano and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As the fin-de-siècle New Leftist champions of revolution, Zhang Guangtian, Huang Jisu and Shen Lin struck a melancholic note with their collaborative play Che Guevara (Qie Gewala) (2000-1) on the postrevolutionary, depoliticized Chinese stage. Why do these Chinese theatre-makers still carry on 'left melancholy' amid the worldwide postrevolutionary arena that has bid 'farewell to revolution'? Whose memories and histories do these artists attempt to reclaim and retrieve through this melancholy? How do affective and Marxist theories of 'left melancholy' expand the perceptions of recurrent revolutionary pathos in post-revolutionary Chinese leftist theatre? How does the play's radical recuperation of leftist theatrical techniques, in turn, reinterpret 'left melancholy' and resist the marketized, depoliticized trends? This article attempts to depart from and expand the current academic focus on 'left melancholy', which has been largely confined to Western leftist theorists such as Walter Benjamin, Wendy Brown and Enzo Traverso, to the postrevolutionary Chinese context. Integrating Western theories with Chinese interpretations of the concept by New Left scholars such as Wang Hui, along with Judith Butler's theory of subjection (1997), I argue that Che Guevara extends the connotation of left melancholy as a 'performative paradox' between an existential, passive despair and a radical, active aesthetic agency of hope to counteract the depoliticized trend of commercial theatre, through an exploration of its affective, theatrical and ideological significance. [ABSTRACT FROM AUTHOR]

Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bellas Artes is the property of Universidad de La Laguna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The 20th century marked a before and after in the Art. Fundamentally, the emergence of the avant-garde brought new ideals that allow the open work approach. Therefore, from the current context of the 21st century, we ask ourselves: How does the Art express this idea of open work? And how does the Art of today manage to expand towards social and communicative pretensions that involve the viewer in new forms of participation? It is because we show different examples, which tell us how the situation of the author and the viewer in front of the work has developed. [ABSTRACT FROM AUTHOR]

In the first part of the article, the author analyses the appearance of the director and the changes in his position in Slovenian theatre from the second half of the 19th century to the present day. In this context, he is particularly interested in the changes in theatre directing that took place in the second half of the 20th century with the emergence of collective theatre. The author methodologically combines historical and comparative analysis, as these processes still take place today, when devised theatre and other forms of theatrical creation are increasingly spoken and written about, moving away from the conventional process by which a playwright writes a dramatic text as a literary work of art and the director then transforms it into a theatrical work of art. There are more and more performances in contemporary Slovenian theatre in which a pre-written dramatic text is not crucial for the final product of the creative process. The two most commonly used terms for this type of performance are po motivih (based on the motifs) and avtorski projekt (auteur performance). Although the terms are not synonymous, both terms imply a devised type of theatre. The author compares group creation with the devised way of creating and points out that although these are practices that can take place in parallel, they cannot be equated. The author concludes that for collective theatre, the specific relationship between the creative group and the director’s position is constitutive. In contrast, for devised theatre, the relationship between the creative group and the playwright’s position is crucial. Finally, the author also touches on the connections between postdramatic and post-directors’ theatre and the emergence of the creative group as a collective subjectivity.

The article is a reflection on the times and styles of Colombian theater in the 20th century. It is not so much a historical account, neither exhaustive, nor descriptive about the facts,but a theoretical proposal, a vision, a hypothesis about the whole of a process, in which some coordinates are established and certain cultural and artistic factors that have marked the evolution of this theater are systematized. Consequently, we postulate the existence of four paradigms: The Spanish theater, the modern theater, the theater of collective creation and the post-modern theater. In each of them, certain formal patterns can be identified, a poetic imaginary and a social conception. The idea is to draw an overall panorama, the thick lines of the path that the national theater and its times have followed.

This proposition presents a design and artistic research focused on the soil and aimed at generating active and poetic forms of reflection around the fragile interdependence of human and non-human lives in an increasingly precarious urban environment, emphasised by the current ecological crisis. In order to engage in such reflections, this practice-oriented research —led by designers, architects, artists and educators— explored and expected to make visible the transformation of peripheral urban areas of the Region of Valparaíso, in Chile. To do so, we focused on following the uses of the soil, identifying conflicts and values that emerge around these extraction sites through immersive sensitive experiences. These collective experiences titled ‘Going to the Clay’ had the objective of searching for clay pits in different sites as the means to establish sensitive connections with the soil and its matter. Thus, the sum of collective and creative explorations performed in the veins and clay pits of Valparaíso served to trace other relational ways of inhabiting, valuing, and working with the soil. We envisage this practice-oriented research project as a poetic alternative to critically question the modern technocratic logics of urbanisation that operate in the region through the commodification and overexploitation of the land.

Copyright of Revista Trabajo Social is the property of Universidad Nacional de Colombia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We propose to discuss the notion of dramaturgy written on stage as an emerging form in the twenty-first century theatre. Also, we emphasize the idea that this form of creating the performance is rooted in a theatrical tradition. Thus, we notice that, in Eugenio Barba’s vision, the dramaturgy of the performance, structured on three levels of organization, respectively the organic or dynamic dramaturgy of the actor, the narrative dramaturgy of the director and the evocative dramaturgy that includes the dramaturgy of the spectator, is representative for the collective creation as the actors are co-authors of the performance, but, at the same time, it is representative of that type of performance that embodies the director’s thought, reminding of the practitioners-playwrights’ way of creating dramaturgy. In the dramaturgy of the performance, instead of a sequence of events, which unfold according to the cause-effect equation, the director opts for a complex web of actions that suggest and not affirm. We, also, note that in this new dramaturgy in which the smallest action is treated as a dramaturgical element, special importance is given to the spectator seen as an individual who, first of all, exists by himself/herself and then as part of a whole/audience. Under the influence of Artaud who visualized the performance as poetry in space, the new dramaturgy opposes textocentrism, proposing a symbolic language meant not only to whip the spectator’s senses putting him/her in a state of play, but also to provoke in him/her a change of state. Thus, the performance no longer addresses the spectator’s understanding, but his/her perception, creating the necessary conditions for the spectator to forge his/her own dramaturgy based on his/her emotional and intellectual reactions. Writing dramaturgy on stage is specific to those theatre companies that, alike the Troupe de Monsieur and the Globe Theatre, create the performance in the stage laboratory. [ABSTRACT FROM AUTHOR]

Copyright of Educación y Ciudad is the property of Instituto para la Investigacion Educativa y Desarrollo Pedagogico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Poligramas is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Plurentes is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The interactive documentary field has a collaborative dimension since its beginning. This research proposes a model for the analysis of the participation of online communities within interactive documentary, developed on the basis of the previous scientific literature on this topic. Then, analysed case studies have shown the diversity of forms regarding contribution from online communities. On the basis of the different trends observed, five participative designs with different intensities and purposes have been described. Finally, the model has been applied to each design for its evaluation, allowing us to conclude that a significant participation would have to combine several of these designs considering the articulation of participant communities around documentary as well as its contribution to documentary meaning. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From January 1955 to April 1956, the Soviet acting teacher Boris Grigorievich Kulnev (1904–1990) conducted an Advanced Actor Training Class at the Central Academy of Drama in Beijing. This programme was caught up in a larger agenda, which aimed at diffusing the Stanislavsky System of acting throughout the newly established theatres and dramatic schools in the People's Republic of China. The participants were carefully chosen from all regions of the country and had to take entrance exams for admission. The year-and-half training programme encompassed all classical Stanislavskian exercises from concentration of attention to the method of étude. All in all, the students rehearsed four plays, including an adaptation of the Chinese novel Baofeng zhouyu (The Hurricane). Once the head of the Boris Shchukin Higher Drama School at the Vakhtangov Theatre, Kulnev was steeped in the Vakhtangov school of stage art, a prestigious lineage traceable to Evgeny Vakhtangov, a protégé of Stanislavsky and Leopold Sulerzhitsky who had adopted the étude technique as one of his staple training practices. By analysing the transcripts of the Advanced Class, this article zooms in on the exercises coached by Kulnev at the stage of basic actor-training and the thematic études he used in devising The Hurricane. I argue that by introducing études, Kulnev enabled the actors to adapt to changing conditions onstage, with improvisation erupting into their performance time and again. Unless otherwise noted, all translations in this paper are the author's own. [ABSTRACT FROM AUTHOR]

Copyright of Actualidades Pedagógicas is the property of Revista Actualidades Pedagogicas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Collective Creation or an Interpretation of Democracy in the 20th Century’s Music If in the 1960s the practice of collective creation appeared in British theater, it can be said that music in the twentieth century was overwhelmed by such related procedures. It should not only be examined whether time-shifts are shown or this kind of manifestations concur in the two arts, but also in how many ways and proportions is this principle expressed in the music literature of the century. Of course, this should be supported by specific musical works, by pointing out the composers who promulgate or apply the principle. In the field of theatre and music beside the parallels discovered in this subject, the phenomenon called ‘instrumental theatre’ as well can be regarded as a direct hit, a kind of synthesis genre.

This document seeks to give an account on the significance of the event called CompArte por la humanidad (‘CompArte for Humanity’), as organised by the Ejército Zapatista de Liberación Nacional (the EZLN, i.e. the Zapatista Army of National Liberation) in 2016 (and extended to 2018). The event CompArte entailed, as its name suggests, the sharing of creative practices, inviting “artists” to transform the world by means of doing. Thus, the Zapatistas took it upon themselves to conceive and make artworks that were mostly collective, between the mountain and the jungle, to take part in this international event. One of the main objectives was based on the direct opposition between creation and destruction, to show that a different world and different kinds of social relationships, among the actors of history, are possible. The words of Subcomandante Moisés, on the 3rd August 2016, in the statement titled “El arte que no se ve ni se escucha” (‘Art that is neither seen nor heard’), speak of the art made by the Zapatistas, in the creation of indigenous cultures and in the act of doing from below. Where the ability to create can transform us as people and collectivities and where the act of making art is no longer a commodity, but rather a materiality with body and soul, with a voice that is painted, embroidered, sung and danced, becoming thus the boundary-crossing voice of those “without a voice”, those who are neither seen nor heard.

Free improvisation is often presented as a form of musical creation where preliminary decisions or preexisting plans are kept to a strict minimum. However, long-standing groups and collaborations that span over many years are not uncommon in the free improvisation scene. One might wonder, then, how do these musicians work together? How do they manage to balance the openness, spontaneity, and unpredictability of free improvisation with the unstoppable normalizing force of familiarity? In order to answer these questions, we need to understand what is at stake during rehearsals of free improvisers. What do these improvisers do when they work and practice together, since they literally have nothing pre-established to rehearse, or at least no pre-composed material, such as standards, arrangements, chord charts, and themes? This paper presents the results of an ethnographic study conducted with three Paris-based improvisation ensembles: the Orchestre des Nouvelles Créations, Expérimentations et Improvisations ("Orchestra of new creations, experimentations, and improvisations"); a duo comprising pianist Ève Risser and clarinetist Joris Rühl; and a quintet made up of the five founding members of the "Umlaut"collective. This data is used to show the different functions rehearsals have for these improvisers. [ABSTRACT FROM AUTHOR]

In 1981, journalists have hailed Carte de Séjour (Residence permit) a highly topical name – formed in Lyon’s suburbs a few years earlier – as the first example of « arab rock » band. This group, which incorporates electric guitar, bass and drums established a core rock sound that was “orientalised” by the use of the oud, and North African percussions. The lead singer, Rachid Taha, chose to sing in a mixed langage between Algerian dialect, known as darja, and French slang. This article aims at studying the conditions leading to the emergence of dissenting artistic creativity in Lyon’s rock background, closely linked with the struggles for recognition fought by the young French of North African descent. The analysis and contextualization of this musical work help us to understand parts of the mechanisms that favoured the passage from their stigmatization to a spectacular performance of stereotypical representations of “Arabness”. Indeed, the adventure of Carte de Séjour during the 1980’s gave voice to a new form of musical creation that entailed resistance to ethnic reductionism.

This paper’s based on the 21st century’s collectives in theatre and on the heritage of the 1960-70’s paradigmatics’experiences. Setted up in the 2000s, the young collectives are mainly pragmatics. Intermittents, flexibles, working in subsidized theatre, without concrete program for the “new man” to propose, they focused their resistance in their creation processus, political because collective, and realized an “open work”—as defying Umberto Eco—in the heart of the representation itself. Tied in reality, polyphonic, perpetually moving, this work induces a democratic conception of activity of the audience and reactivates some of the discoveries of the collective creations’ in the sixties—especially the emancipations’ theory. Paradoxycally, the 21s collectives revive with History and redraw a broken filiation thanks to an aesthetic of mayfly.

Este trabajo es un acercamiento a la red social web 2.0 Tumblr para el estudio y análisis de su arquitectura de la información que sirve como base de argumento general de nuestra investigación, que es reconocer la plataforma como un escenario de creación a partir de la actividad colectiva que en ella se lleva a cabo y el uso de material compartido, y también cómo esto la diferencia de otras redes sociales y forma la correspondiente personalidad de sus usuarios. Hemos pretendido relacionar la forma y la estructura que caracterizan la herramienta digital Tumblr como la clave del éxito de las acciones de los usuarios y el manejo del contenido que se alberga y se comparte, un estudio sobre la cibercultura que está en actual crecimiento y expansión. La forma en la que se ha dispuesto al público la herramienta es el eje para entender el comportamiento social que llega a abarcar, por qué los usuarios de Tumblr se identifican con un tipo de acciones relacionadas con los archivos de la plataforma y el uso que hacen de éstos.