Many of the theatre performances written and directed by playwright Valère Novarina feature songs performed by actors who are not singers. It is not a question for these actors of “singing well” nor ...of “singing in tune” but of “just singing” and thus working on orality. An orality that seems constitutive of the game of the Novarinian actor, when his singular way of singing joins the accuracy of the sharing of his song and the possibility, for those who listen, to reconnect with their own voice. The voice of the actor then becomes voice-poem, to use Henri Meschonnic here, his oralization makes subject and language, memory. The song, at Novarina, would open on the memory of the subject in the process of saying itself, memory which mixes with history while reintroducing in a burlesque way, within the enclosure of the theater, words from below and popular songs.
New-Illusion (review) Kim, Kyueun
Theatre Journal,
12/2023, Volume:
75, Issue:
4
Journal Article, Book Review
Peer reviewed
At SOTA Studio Theatre in Singapore, the audience witnessed a life-sized, prerecorded performance projected onto two large vertical screens at center stage. The concept of EIZO-Theater debuted with ...the exhibition Beach, Eyelids, and Curtains (2018), where six theatrical Image omitted: See PDF video pieces were displayed at the Contemporary Art Museum in Kumamoto, Japan.
This conversation, between artist-scholars Fiona Davies and Joanne “Bob” Whalley, starts in corners and wanders through corridors to find small but significant examples of violent medicine. It ...explores the gap between clinical and patient practices, and rather than offering a series of “answers”, it hopes to outline an approach that allows space for multiplicity, fragmentation and, where appropriate, change. It asks: what if binary discourses of clinician-patient exchange were interrogated from within artistic fields? What might these hierarchy-resistant strategies look like? Drawing on their experience as patients, “being with” patients and artists, they are working from a widespread recognition that the patient is sometimes a forgotten yet fundamental element in clinical exchange, where this conversation foregrounds a concept position of “patienting”. This term draws upon John Fiske’s idea of “audiencing”, an approach used by cultural and performance studies scholars, which understands audience engagement as sensorial, self-determined and potentially resistant. For this conversation, the embodied responses of the patient are given equal value to the critical/analytical, affording space for the body to know and to speak. Patient practices might involve knowledges that range from procedural and implicit/tacit understandings, to declarative and explicit knowledges that place experience in a grounded context. Between these two is the “gap”, where the patient exists on a daily, moment-to-moment basis, negotiating between these dynamic processes. This conversation strives to appreciate the relationship between the micro- and the macrocosm, and between the human body and its environment. It is an intersection, a change of direction, a place to gather dust.
Neste sentido, a palhaçaria no contexto hospitalar constitui a colaboraçao de Daiani Cezimbra Severo Rossini Brum, da Universidade Federal de Santa Maria (UFSM), que reflete sobre o necessário ...encontro a se estabelecer justamente num espaço de passagem, que é o hospital, onde o espectador está internado e ali se encontra a espera do que virá. A seçao 2 intitula-se Epistemologia da Cena, em que a colaboraçao de Alex Beigui, da Universidade Federal de Ouro Preto (UFOP), póe em discussao o entendimento para o termo plagio inventivo no ámbito das artes da cena, em que cabe o enfoque para a originalidade considerada a partir do ato de representaçao e performance, mesmo em se tratando de algo já criado e apresentado anteriormente. A colaboraçao de Elen de Medeiros, da Universidade Federal de Minas Gerais (UFMG), pontua o uso da memória na constituiçao de obras de tres dramaturgos brasileiros:
This article aims to critically engage with Odin Teatret’s most recent addition to the repertoire, The Tree (2016), in order to investigate the ways in which Barba’s dramaturgical decision-making ...processes create a performance field that metaphorically comments on the status of the group today whilst critiquing contemporary geo-politics. Importantly, we argue that notions of interculturalism – which have often been employed by scholars to critique the Odin’s work – do not address the full complexity of the embodied concatenation of the group’s practice, and we employ the term interstitial to more effectively articulate the complex space produced by the group’s training and performances.
Then and now. Other appearances- Same essences Same venue, same hour. But is it the same spectator? Same actor? The forms may have changed, but society isn’t looking anymore for a clear definition ...and image for the same myriad of concepts, and doesn’t suffer from the same lack of understanding its path? Starting from this premise of a society dressed in contemporary clothing but divided by the same questions and sick of the same customs, we will make an analysis of the playwriting that has been left as a legacy by the one who affirmed that he “saw ideas”, Camil Petrescu, and by the one who created a world sickened but still fascinating, Ion Luca Caragiale, trying to follow how modern are his masterpieces through which, mainly, brings to life a painting in which we are treated with contemporary nuances. On the other hand, we will follow in comparison how Caragiale’s play was directed in 1948 and 2016, finding of the individual in the universe created by Caragiale. Furthermore, we will try to form an image of the actor from the XX century and the actor from our time, following how and what remained alive and valuable today. I wonder, aren’t we discussing actually a different century but still, we manage to find the same problematic nature that manifested on so many different plains of the individual and society as a whole?
This paper deals with the protagonist of Oscar Wilde’s Salome. Throughout the whole play, Salome is a dominant figure, and her soft power ends up annihilating any other form of power – that of ...Narraboth, that of Herodias, that of Herod, and ultimately even that of Iokanaan. The paper analyses Salome’s power instance by means of a close reading of her rhetorical strategies: by refusing dialogue as a form of interpersonal and dramatic development, Salome halts the dramatic time of the play.
The first half of the 1990s brought the phenomenon of private radio stations into the Czech environment. These were prevalently focused on foreign music. While the existing academic reflections on ...this topic focused especially on the legislative and institutional contexts, the present study primarily addresses the music dramaturgy and its development. The topic is presented through a case study concerning the Radio Faktor from České Budějovice – one of the oldest and also most successful private radio stations in the Czech Republic. Based on archive documents, interviews with witnesses, and analysis of periodicals, the study documents the links to specific phenomena of previous decades (“discotheque”, the educational function of the radio), as well as the process of adaptation to the new market conditions of the post-communist era (the format of radio broadcasting, investigation concerning the audience). The study analyses the chart Hitparáda Radia Faktor to point out the particular contemporary trends in music dramaturgy and listener preferences.
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