Study of six of the most recent and outstanding dramatisations (1999-2015) of Cervantes’s Don Quijote, such as Aventuras de Don Quijote, DQ. Don Quijote en Barcelona, El caballero de la triste ...figura, En un lugar de Manhattan, Elogio de la locura and En un lugar del Quijote. The analysis covers the main features of such adaptations: metanarration, metadrama, doubling of the narrative structure using other artistic languages (music, plastic arts, dance, etc.), new technologies, genre hybridisation, transmediality, etc. The original text message, actualised and re-expressed by these modernisations, stands out as an atemporal one: the plays examined demonstrate its effectiveness in contemporary society and, according to the perspective of social theater, stimulate the reflection on them.
Wywiad z Massimo Schusterem Głusiec, Karolina. Rozm; Ląkocy-Sulej, Agnieszka. Nagr; Raczkowski, Aleksander. Montaż
06/2017
Video Recording
Provider: - Institution: Grodzka Gate – NN Theatre - Data provided by Europeana Collections- Wywiad z Massimo Schusterem został zarejestrowany 23 czerwca 2017 r. w ramach Festiwalu Małych Opowieści.- ...All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Study of six of the most recent and outstanding dramatisations (1999-2015) of Cervantes’s Don Quijote, such as Aventuras de Don Quijote, DQ. Don Quijote en Barcelona, El caballero de la triste ...figura, En un lugar de Manhattan, Elogio de la locura and En un lugar del Quijote. The analysis covers the main features of such adaptations: metanarration, metadrama, doubling of the narrative structure using other artistic languages (music, plastic arts, dance, etc.), new technologies, genre hybridisation, transmediality, etc. The original text message, actualised and re-expressed by these modernisations, stands out as an atemporal one: the plays examined demonstrate its effectiveness in contemporary society and, according to the perspective of social theater, stimulate the reflection on them.
Different terms can be use for puppet theatre: figure theatre, object theatre and animation theatre. Contemporary performances including puppets are nowadays often referred to as multimedia ...performances, crossover theatre and visual theatre. Some artists avoid the word "puppet" because of negative associations: close association with children and low status amongst the arts. Professional puppetry in many Western countries has evolved into a wide-ranging theatre form. Puppets traditionally used to be seen in isolation in performance and a distinct line could be drawn between puppet theatre and other forms of theatre, but the bonding with other art forms has diminished this segregation. As an artistic label, "puppet theatre" is perhaps not always appropriate as it does not acknowledge the artistic scope and complexity of an art work in which multiple visual and acoustic elements are applied, and this bonding raises questions about genre as a classification system.
Abstrak Bagaimana merawat aset-aset organisasi seni pertunjukan? Sebagai organisasi yang memberdayakan “jasa”, pengelolaan organisasi selau mengacu pada kehadiran penonton dukungan sponsor (funding), ...sehingga sangat membutuhkan hadirnya kepercayaan penonton kepada organisasi yang berkelanjutan. Organisasi seni pertunjukan cenderung tidak memperhatikan aspek pemeliharaan, karena lebih fokus pada aspek karya. Oleh sebab itu, penelitian ini mengajukan klasifikasi investasi aset terlihat (tangible asset)dan aset tidak terlihat (intangible asset)pada pengelolaan organisasi Papermon Puppet Theatre (PPT). Sembilan orang narasumber diwawancarai untuk mendapatkan informasi terkait topik penelitian tersebut. Hasilnya menunjukkan pada era digital dewasa ini, sosial media sudah menjadi gaya hidup. Bahkan hampir sejajar dengan kebutuhan primer, sehingga setiap orang tidak bisa terlepas dari keberadaan sosial media. PPT berkewajiban selalu memberikan informasi-informasi kepada stakeholder terkait kegiatan PPT. Abstract How to take care of the assets of a performing arts organization? As an organization that empowers "services", the management of the organization always refers to the presence of audience sponsorship (funding), so it really requires the presence of audience trust in sustainable organizations. Performing arts organizations tend not to pay attention to maintenance aspects, because they are more focused on aspects of the work. Therefore, this study proposes the classification of tangible assets and intangible assets in the management of the Papermon Puppet Theater organization. Nine interviewees were interviewed to obtain information related to the research topic. The results show that in today's digital era, social media has become a lifestyle. In fact, it is almost equal to the primary needs, so that everyone cannot be separated from the existence of social media. PPT is obliged to always provide information to stakeholders regarding PPT activities.
Neste artigo, apresentamos os resultados de uma pesquisa-ação participativa realizada no espaço do Grupo de Pesquisa e Estudos em Educação Ambiental / Sala Verde Pororoca: espaço socioambiental Paulo ...Freire (GPEEA/Sala Verde), na UFPA. O objetivo foi investigar as contribuições do teatro de fantoches como proposta pedagógica na formação continuada de professores em educação ambiental. Os sujeitos da pesquisa foram seis professoras do ensino básico, as quais são aqui identificadas pelos seguintes pseudônimos: Lucia, Michelle, Izabel, Eloísa, Marta e Ana. Utilizamos quatro fontes para a coleta das informações: 1) um questionário sobre dados pessoais e com as perguntas a) Que motivos levaram você a se inscrever na oficina? e b) Qual é o entendimento de educação ambiental predominante?; 2) uma oficina; 3) um diário de bordo; e 4) entrevistas para complementar as informações fornecidas pelas professoras. Para analisar os dados, utilizamos a técnica da triangulação metodológica. Constatamos que o teatro de fantoches, como estratégia de ensino-aprendizagem de conhecimentos ambientais, foi importante em todas as etapas. A utilização do teatro de fantoches como metodologia foi entusiasticamente reconhecida pelas professoras como viável na prática docente em todas as disciplinas. E o mais importante: elas perceberam que, para a elaboração de qualquer atividade alternativa, há a necessidade de um planejamento, pois é preciso ter uma finalidade pedagógica, com conotação diferente do lúdico pelo lúdico.In this article we present the results of a participative action-research conducted at the space of the Group of Research and Studies in Environmental Education/Green Room Pororoca: socio-environmental space Paulo Freire (GPEEA/Sala Verde) at the UPFA. The objective here was to investigate the contributions of puppet theatre as a pedagogical proposal in the continued environmental education of teachers. The subjects of the research were six teachers of basic education, which are here identified by the following pseudonyms: Lucia, Michelle, Izabel, Eloísa, Marta and Ana. We have used four sources to collect information: 1) a questionnaire of personal data, containing also the following questions: a) What motives led you to enroll for this workshop? and b) what is the predominant understanding of environmental education?; 2) a workshop; 3) a journey log; and 4) interviews to complement the information supplied by the teachers. To analyze the data, we used a technique of methodological triangulation. We observed that the puppet theatre, as a strategy of teaching-learning of environmental knowledges, was important in all stages. The use of puppet theatre as a methodology was enthusiastically recognized by the teachers as viable in teacher practice for all disciplines. Most importantly, they recognized that, in order to develop any alternative activity, there must be planning, since it is necessary to have a pedagogical objective with a meaning beyond the ludic by itself.
Geleneksel Halk Tiyatrosunun sevilen bir kolu olan Karagöz, seyirci gözünde, geçmişteki büyüsünü kaybetmiştir. Araştırmacılarsa, Karagöz'e bugün de aynı ilhamla yaklaşmakta; hayal önemli bir inceleme ...konusu olarak görülmektedir. Fakat Türk gölge oyunu, tehlikeli bir mevzudur. Çünkü meydanın muzip oyuncusu Karagöz'e duyulan sevgi, kimi zaman bilimsel görüşlere de nüfuz etmekte; zaman zaman nesnellik ortadan kalkabilmektedir. Nitekim bazı araştırmacılar, Karagöz'ün Türk'ü ve Türklüğü temsil ettiğini; tüm davranışlarıyla olduğu gibi diliyle de örnek bir tip olduğunu savunmuşlardır. Onlara göre; bu sevimli gölge, Hacivat'ın; onun şahsında da aydının yabancı ifadelerle dolu dilini sistemli bir şekilde eleştirmektedir. Bu taraftarlık, doğal olarak karşıt görüşü de beraberinde getirmiştir. Neticede kimileri de, Hacivat'ın safında yer almış ve onu örnek karakter olarak göstermiştir. Bu çalışmada eldeki veriler değerlendirilerek hem Karagöz'ün hem de Hacivat'ın tek yönlü (yalnızca iyi veya yalnızca kötü) tipler olmadığı ve Karagöz üzerinden Hacivat'a yönelik bilinçli bir dil yergisi bulunmadığı gösterilmeye çalışılmıştır.
Karagöz, the most favorite branch of traditional Turkish folk theatre, has lost its long-lasting charm in the eye of the audience. Researchers, however, are still attracted to Karagöz with the same sense of inspiration, and the shadow puppet theatre continues to be a significant area of research. However, Turkish shadow puppet theatre is a complex subject. Sympathy towards the Karagöz character - who is the teaser of the arena - sometimes influences scientific views, hence causing the disappearance of objectivity. Some researchers claim that the Karagöz character represents Turks and Turkishness and that he is a model in terms of behavior and language use. According to them, this charming shadow systematically criticizes Hacivat and on his behalf the intellectuals whose language is full of foreign expressions. Such a dedication to Karagöz has naturally invited opposite views too. Some researchers have preferred to be on Hacivat's side and chosen Hacivat as a model character. This study examines all the information at hand and demonstrates that neither Hacivat nor Karagöz represents a onesided character (either good or bad) and that Karagöz does not systematically criticize the language of Hacivat.
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