On Philippe Quesne’s stage, human hierarchies and linearity of action are destructured: anthropocentrism no longer reigns and the scenic world exists for itself. Things and bodies can release ...ecstasies, to form what Böhme called aesthetic atmospheres. Neither objective nor subjective, they blur the boundaries between subjects and objects, actors and acted, and open up a new materialism that resolutely takes the side of matter against economical and anthropocentric materialism in the context of the ecological crisis. In this reconfigured ontology, the utterly Rossetian, idiotic characters that populate the Vivarium Studio take on an airy (Philippe Quesne’s favourite element) cheerfulness that allows them to get as close as possible to reality and its tragic truth: reality is all that exists and nothing more. An author of science-fiction sets the tone: “The future that awaits us is the one we create. You’d better believe it.”. The paradoxical compromise between a metaphysical and a materialist approach to the real, which we refer to as the metaphysics of the sensible, is the symptom of an art that has renounced transcendence and must now attune to the twilight of a fight against the gentle ending of the world.
Nostalgia Sebuah Kota adalah sebuah pertunjukan teatrikal yang dibangun dari unsur-unsur ekspresi tubuh simbolik dan berbagai dialog puitis. Hal ini membedakan pertunjukan dengan pertunjukan teater, ...yang umumnya secara konvensional menghadirkan tubuh sehari-hari dan dialog prosaik, dekat dengan realitas kehidupan sehari-hari. Artikel ini dimaksudkan untuk menyelidiki pertunjukan untuk menemukan konsep di balik pilihan idiom dan ekspresi khusus ini. Pertunjukan didekati dengan teori teater pasca-dramatis Hans-Thies Lehmann, di mana deskripsi teater tidak lagi ditujukan untuk menjelaskan karakter, tema, dan plot, tetapi konstruksi lima komponen baru, yaitu: teks; ruang; waktu; tubuh; dan media. Menerapkan metode analisis deskriptif, dengan data yang diperoleh dari studi teks, wawancara naratif, dan studi dokumentasi, hasil penelitian menunjukkan bahwa Nostalgia Sebuah Kota adalah sebuah pertunjukan yang dipicu dari penggalan-penggalan puisi. Iswadi Pratama memilih daya puitis sebagai sutradara yang juga penyair, untuk memperluas ekspresi puisi yang ditulisnya. Berdasarkan proses eksplorasi puisi tersebut, Nostalgia Sebuah Kota kemudian menghasilkan tiga produk sekaligus, yaitu teks pertunjukan, teks drama, dan teks puisi baru.
...with the Elizabethan spectacle, we discover the theater again. ...the dramatic conception in its Greek origin influences the theatrical tradition in Spanish language, but the decidedly ...anti-classical vision of the latter comes from the techniques we might call narratives of medieval theater. ...the theater and its organizational conception was not born only in Greece, although this root is certainly decisive, but both of them (theatre and its conception) reinvent themselves in a surprising way through the texts that come from the Middle Ages. ...the Western Dramatic Space counts with the canonical aspects that concern what we call the dramatic organization. The characteristics of medieval Spanish theater are proposed, especially its narrative intensity, as an identity element of the strongest Spanish culture in front of the Greco-Latin theater of classical trend. ...the last section of this work has been devoted to the analysis of the similarities and differences between the theater in Spanish language currently in Europe, Gólgota Picnic, and the resident in Ecuador with its characteristics and influence on the Indigenous culture, Patricio Vallejo Aristizábal, La flor de la Chukirawa.
Theatre is an image producer that is embedded with cultural practices of looking and critically involved in modes of looking. This case study offers an analysis of Out of a Doll's House, a ...post-dramatic feminist performance. It demonstrates the manner in which visual dramaturgy exposes spectators to the process of performing an image as an action, and to the mechanism of constructing a theatrical image as a reflexive event. The analysis explores how visual post-dramatic dramaturgy allows participants to observe and experiment with gender as performance and with the visual as an event.
In the article I summarize ways of defining theatre and media. I present the diversity in defining and setting the boundaries of the theatre. I briefly discuss the development of media and new ...technologies. Moreover, I combine the effects of media development with changes in theatre. To sum up I prove that the presence of the actor’s and the viewer’s body is not a condition for the production of a performance.
It is intuitive to understand how sensory information gets to the brain and how motor information can travel to the muscles together where these twosystems allow us to detect and respond to the world ...around us but how do we engage with that world, how do we determine what is important, andhow do we fall in the analysis. These higher cortical functions involve the complex interplay between neurotransmitters and hormones throughout theentire nervous system. There are two major anatomical behaviors; the limbic system and hypothalamus. These structures that support much highercortical functions hypothalamus is a very small structure but it is absolutely critical for life and it allows us to respond to both the internal and externalenvironment and to maintain homeostasis. The limbic system is important for learning and memory, and all emotional aspects of behavior importantlylimbic and hypothalamic structures are interconnected with each other. Let’s begin with an anatomical overview of the hypothalamus in the middlesection. You can delineate the hypothalamus from the thalamus through the hypothalamic sulcus anteriorly, the hypothalamus extends to the anteriorcommissure, and the optic chiasm inferiorly and it includes the mammillary bodies and extends to the infundibula stock where it communicateswith the pituitary glands. It is a coronal section through the brain. It is the third ventricle, you can identify the thalamus on either side of the thirdventricle and underneath; the thalamus is the hypothalamus and it extends laterally to these descending fiber bundles which are part of the internalcapsule. The hypothalamus is structurally part of the diencephalon but it functions as part of the limbic system through reciprocal connections. Ithelps to maintain homeostasis in the entire body through influences on the endocrine system and importantly through its primary influence onboth the sympathetic and parasympathetic systems; the limbic system is extremely old from an evolutionary perspective in its connections and it isinterposed between the hypothalamus and the neocortex and providing a bridge between endocrine visceral emotional and voluntary responses tothe environment.
This article employs Practice as Research (PaR) as a paradigm to explicate the specialised research insights produced during the theatre-making process of devising and performing ReTAGS' Antigone ...(not quite/quiet). I revisit Sophocles' original Antigone, reading the circumstances of the titular character alongside the contemporary reality of postapartheid South Africa. I further employ the register of tragedy to develop my earlier conception of mbokodofication and interrogate the transgressive potential of aesthetic distance to mitigate retraumatization in performance and maintain the emotional hygiene of the performer.
Contemplar los cambios “dramáticos” (posdramáticos) en el firmamento de las manifestaciones audiovisuales de ficción que desde hace algún tiempo vienen teniendo lugar en los teleseriales de los ...Estados Unidos, y la magnitud de los mismos, nos hace pensar que solo cada muchos cientos de años asistimos a tales mudanzas en las constelaciones organizativas del drama y, además, de tamañas proporciones; lo que dibuja de forma evidente un panorama investigativo de capital importancia. El propósito de esta comunicación es poner de manifiesto las características del cambio dentro de la naturaleza organizativo “dramática” de los teleseriales citados. El paso desde un modelo esencialmente “dramático” a una composición/parataxis de naturaleza posdramática en las teleseries más conocidas y prestigiosas de estos últimos años en los Estados Unidos nos obliga a analizar en qué situación nos encontramos dentro del entorno del posdrama televisivo de ficción de nuestro tiempo. El análisis se centrará en el perímetro de la organización y desarrollo de carácter (pos)dramático de las teleseries USA y sus principales manifestaciones dispositivas u organizacionales. Los cambios fundamentales de esta nueva constelación son significativos en el segmento de la organización del (pos)drama; el “sentido” de la composición, que se mantiene en un formato de mínimos, cede su preponderancia a la yuxtaposición; y ambos (composición y parataxis) prefiguran y tratan de aventurar el orden del caos. La tensión “dramática” ocupa un papel fundamental y preponderante en la nueva comunicación posdramática. Como prefiguración y antecedente del posdrama televisivo de ficción en los Estados Unidos hacemos un análisis comparativo entre el posdrama norteamericano actual y la cultura “dramática” del barroco español a través de Fuente Ovejuna, de Lope de Vega.
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