Atravessada pela criaqao de engajamentos critico-afetivos, por meio das estrategias metodoldgicas Estimulo Composto, de John Somers (2011), Pre-texto e Professor-personagem, de Beatriz Cabral (2006), ...fez-se possivel aflorar nas crianqas novas percepqoes poeticas, marcadas pela tecnologia. Abstract: This article addresses the dramaturgy of the spectator emerging from the contact between audience and work at the time of online theatrical mediation with children, from a poetic-machine-body. Crossed by the creation of critical-affective engagements, through the methodological strategies Composite Stimulus by John Somers (2011), Pre-text and Teacher-in-role by Beatriz Cabral (2006), it was possible to bring out new poetic perceptions in children, marked by the technology. Teatralidades a partir de palavras, gestos e imagens vindas do espectador sao formas de dramaturgias que emergem do encontro entre corpos Espectadores-artistas. Sendo a dramaturgia do corpo uma nova perspectiva dentro do campo do teatro, a mediaqao teatral abre espaqo para a agao do corpo-espectador a partir das aqoes-convites que sao realizadas no encontro entre publico, obra e mediadores, ou no presente estudo, artistas-mediadores. Convidar o espectador a ocupar o lugar de participante da mediaqao, antes, durante e depois da fruiqao da obra arti'stica, fez com que ele se tornasse cocriador da obra, na medida em que uma nova dramaturgia emergia durante o ato da mediaqao - no encontro do corpo dos artistas-mediadores com os artistas-espectadores, ou artistas-fazedores-de-arte, neste caso, atraves da tela. 'Arte nao e pra mim", "eu nao sirvo pra essas coisas", "eu nao sou criativo e nem tenho capacidade pra isso", "arte e pra quem pode", entre outras crenqas construidas ao longo de anos, advindas, muitas vezes, da falta de acesso, incentives publicos, difusao e ate de abordagens e metodologias falhas no ensino da arte, pode resultar em escassez de publico de arte, no que diz respeito a quantidade e qualidade (estar disponivel para a experiencia). A mediaqao artistica e um campo em expansao, em permanente transformaqao, cuja amplitude abarca diversas esferas do lugar do publico na obra de arte.
COREOGRAFIA E DRAMATURGIA Caldas de Almeida, Paulo Sérgio
Moringa,
06/2021, Volume:
12, Issue:
1
Journal Article
Open access
Este breve ensaio tematiza uma aproximação, na dança, entre coreografia e dramaturgia. Trata de reconhecer – sobretudo em contextos em que a figura do dramaturgista é incomum – a fundamentalidade de ...uma concepção de dramaturgia como um fazer compartilhado e distributivo. Ligadas a um mesmo esforço de produção de sentido, coreografia e dramaturgia são afirmadas como instâncias virtuais que ganham atualidade na matéria performativa dos corpos.
Dramaturg and Dramaturgie in Collective Creation – Definitions and Exemples The present paper aims to define the dramaturg’s functions in the collective creation and devising context starting from ...the distinction between dramaturg and dramaturgy, where the term of dramaturgy refers to the compositional formula applied to a text corroborated with an ensemble of images and sensations that compose a message, in relationship with the reception forms and the production of meaning in a specific environment, connected to a reality. The playwright must have analytical qualities in relation to the show on the one hand and the surrounding world on the other hand. He/She has the skills that can be used in all aspects of the creation of the show precisely because of the ability to translate things into meaning. We will try to define the attention points that a dramaturg must have inside a creative team and to identify the best way to put him/her to work, giving also examples from personal experience and from the collective works nationwide.
This article offers a response to the question, “How can we think about cities within the frame of a dramaturgy of sound?” Drawing on our scholarly interest in cities, we, the authors, consider how ...city meanings are produced and transmitted through music cultures. We tentatively explored this question previously, in a “Salon” discussion, recorded and available as part of the Aural/Oral Dramaturgies project, curated by the editors of this special issue at the website www.auralia.space. We recommend you listen to that discussion, here, before reading this article. Here, we reflect further on the relationship between sound and cities, offering a mixtape of tracks and parsing our personal experiences in relation to them to make sense of the ways music has shaped cities in our experience. The reflections below blend personal and critical perspectives to offer city stories, and stories of ourselves in the city. We have drawn upon notions of urban dramaturgy (Donehower; Ferdman) to find a style of writing which, “plays with the structure rhythm and flow of the city” in order to begin untangling questions of “what our cities are and for whom” (Dramaturgs’ Network, 2015).
Richardson Jackson assembled a remarkable cast of veterans and newcomers to the New York stage—including her husband of more than four decades, celebrated film star Samuel L. Jackson—who revealed new ...layers of meaning and humor in Wilson's language and his singular dramaturgy. A respected family elder who has spent much of his adult life working for the railroad system, Doaker lives with his niece Berniece and her daughter Maretha in the Pittsburgh home that becomes the source and site of many of the tensions animating the domestic drama. Byers managed to surface the lyricism in Avery's preacherly dialogue, which endowed the character with a magnetism that made clear why, despite her ambivalence about marrying again after the brutal murder of her husband Crawley, Berniece did not completely rebuff his romantic overtures.
In addition to the Stratford Festival's first production of Death and the King's Horseman—which also served as the first production of an African play in the festival's history—Soyinka's modern ...classic received a parallel premiere in Biyi Bandele's posthumously released feature-length Netflix adaptation, The King's Horseman. Loosely based on a historical event, Death and the King's Horseman unfolds in the British colony of Nigeria in 1943, centering on Elesin Oba (Anthony Santiago in the Stratford production) as he prepares to commit ritual suicide to fulfill his duty as the horseman to the recently departed Yoruba king of Oyo. Kellen Hoxworth University at Buffalo — State University of New York
A Z-generáció tükrözésében András Balási
Symbolon (Targu Mures),
08/2020, Volume:
17, Issue:
1(30)
Journal Article
Open access
In Reflection of the Z-Generation For a long time, I was not paying attention to generation-changes, I did not truly believe that this could be exactly denoted. As a professor, it was impossible not ...to notice, something supervene: three years ago, at the beginning of the school year I entered a history of theatre course and it was undiminished awe-inspiring: all new students (a group of 24) had in front of them a communication adapted set. It seemed to me that I entered a computer science class. The reality is that they are taking notes on tablets with inconceivable promptness while they are corresponding on social media networks. At the airport in Rome, 80 percent of the waiting people are staying-standing in a stoop position, mostly using a smartphone, including myself. According to the statistics in Romania, in the preceding year approximately 3 million smartphones were sold, three times more, than three years ago. In this study, I would like to examine how our everyday occurrence, wises of the previous generations are influenced by the unprecedented spread speed and the technological innovation sequences – with this end in view through the Z-generation users’ trends. In this context occurs a series of questions, significant entities, like: is it possible to teach by time-honored devices and methods, is it possible at all to teach... Is it possible to follow the wants of information receiving among Z-generation university students?
The Hamlet Impasse Ivan Delmanto
Revista Brasileira de Estudos da Presença,
06/2024, Volume:
14, Issue:
3
Journal Article
Open access
This essay analyzes the narrative of the process of creating a Hamlet staging, conducted by the character Wilhelm Meister in Goethe’s novel Wilhelm Meister’s Apprenticeship. The essay is based on the ...concept of self-formation (bildung), present in the book and also in other works by the German author, to trace relations between the theatrical creative process and its historical context. It also seeks to present the creative process described in the novel as a kind of synthesis of multiple concepts developed by German and European theater in the 18th century, showing the dialectical inspiration of the theatrical journey narrated by Goethe.
