Manya Frydman Perel (born in 1924) survived eight concentration camps and dedicated almost fifty years of her life to educating thousands of students on the horrors of Nazi crimes against humanity. ...Her death on July 29, 2020, inspired the foundation of “The Manya Project” that pays homage to survivors by keeping their personal narratives about the Holocaust visually and aurally alive through theatrical performance. This study offers strategies for creating scripts and performing Holocaust testimony using the Brechtian idea of Verfremdungseffekt and Gestus to respect and honor the lives of Holocaust survivors Manya Frydman Perel, Itka Frajman Zygmuntowicz (1926–2020) and Rosalie Lebovic Simon whom the author has had the privilege to meet and experience their individual testimonies.
In response to issues with the underrepresentation and misrepresentation of marginalised communities in the texts used for actor training, actor trainers and scholars have theorised and brought to ...the studio race, gender, crip, or class critical theories to evaluate the social representations that the actors create with their body, voice, and imagination. Such interventions narrow their scope for valid reasons, but problematise actor training studios that involve trainees with multiple and intersecting identities, both dominant and marginalised. This essay argues that Pierre Bourdieu's theory of social power can sustain a holistic and comparative exploration of how actors can mobilise the positive representation of communities with multiple and intersecting marginalised identities. The first part of the essay brings Bourdieu's concepts habitus, capital, and field to text-based training thinking and constructs a critical framework to assess actor training practices. The second part of the essay uses the framework to theorise the potential of Bertolt Brecht's Marx-inspired pedagogy of the gestical actor to decolonise and decenter contemporary actor training. The essay finishes with positioning the Bourdieu-inspired framework among contemporary pedagogies that address social inequalities. It invites actor trainers to utilise theoretical models to mobilise social dynamics in training and explore the actors' unconscious biases.
How do we understand what others are trying to say? The answer cannot be found in language alone. Words are linked to hand gestures and other visible phenomena to create unified 'composite ...utterances'. In this book N. J. Enfield presents original case studies of speech-with-gesture based on fieldwork carried out with speakers of Lao (a language of Southeast Asia). He examines pointing gestures (including lip and finger-pointing) and illustrative gestures (examples include depicting fish traps and tracing kinship relations). His detailed analyses focus on the 'semiotic unification' problem, that is, how to make a single interpretation when multiple signs occur together. Enfield's arguments have implications for all branches of science with a stake in meaning and its place in human social life. The book will appeal to all researchers interested in the study of meaning, including linguists, anthropologists, and psychologists.
Retomando a importância do dramaturgo, diretor e ator João das Neves no Grupo Opinião e sua proposta estética. Observando “O último carro” e aspectos brechtianos na obra, assim como a tensão, curvas ...e saltos na sua encenação.
In theatre, effective accent design supports the world of the play, is fully understood by the intended audience in the performance space, and is emancipatory for actors to embody and for the ...linguistic communities it represents. Usually, these aims are accomplished when actors are able to fully embody accent design with consistent mimesis. Bertolt Brecht's play The Resistible Rise of Arturo Ui and reimagined interpretations of his notions of gestus and V-effekt may provide acting educators with new ways of approaching accent design, particularly for student actors with historically marginalized identity locations (race/gender/class/language). Gestus and V-effekt already provide an embodied examination of gender as repressive, which encourages further investigation of whether accent design based on these Brechtian tools may allow actors and audiences to interrogate additional aspects of repressed identity. Through praxical engagement with a university production of this play and a cast which features many multilingual actors of color, this article demonstrates that accent design can be a pedagogical tool that allows students to engage with how this play and its characters converge and diverge with selfhood as a way of feeling more empowered when embodying Brecht's work.
Theatre is seldom considered a major social or theoretical mover today; however, since its inauguration in 2008, the Ballhaus Naunynstraße theatre in Kreuzberg, Berlin, has been hugely instrumental ...in bringing the concept of postmigration into the public realm in Germany and beyond. Shermin Langhoff, the founding artistic director of the Ballhaus, explains that "postmigrant means that we critically question the production and reception of stories about migration and about migrants which have been available up to now and that we view and produce these stories anew, inviting a new reception". As scholars such as Yasemin Yildiz highlight, one dominant "story" produced about migrants in recent years has involved a shift in means of othering from the ethnonational to religious, making for example, "Allah's daughters" out of "Turkish girls". Changing the subject in this way, has also allowed a discourse to emerge which positions Muslim migrants as a threat to "European" sexual and gender rights; a discourse also considered under the heading "sexual nationalism". In this article I explore the narratives and gestures through which the theoretically aware postmigrant theatre as practised at the Ballhaus "views and invites a new reception of" this particular development. I suggest that not only does a broad view of the theatre's repertoire over its first decade reveal a long-standing concern with and intervention into the intersection of discourses on sexuality, gender, and migration, but also that repeated scenarios of both stripping as punishment and more playful striptease emerge as a dominant gesture or even gestus in the theatre's repertoire, even when sexuality or gender may not be central themes. Where might a gestic analytic, and a focus on viewing the theatre's practices as active generator, rather than object, of theory, take academic engagements with sexual nationalism and postmigration?
Yabancılaşma;
felsefe, sosyoloji ve psikolojinin kullandığı anahtar kavramlardan birisidir. Bu
kavramın sanat alanında estetik öznenin sanat eserine katılımını kontrol etmek
için yabancılaştırma ...etkisi (Verfremdung) kavramına
dönüştüğü bilinmektedir. Sanatçılar ‘özdeşleşme’ olarak tanımlanan estetik
katılımın yarattığı etkinin tam tersini yabancılaştırma ile yaratmak ve estetik
özneye bir fenomenle ilgili kuvvet uygulamak istemektedirler. Sinemada ise bir
fenomene izleyicinin yabancılaştırılması için anlatıların, öykü ve
söylemlerinin, buna göre tasarlandığı gözlemlenmektedir. Eserin tasarım
aşamasında yabancılaştırma etkisi ile ilgili bilinen pek çok stratejiden söz
etmek mümkündür. Ancak bilinen ve özellikle biçimsel olarak ortaya koyulan
stratejiler dışında da sinemada yönetmenlerin yabancılaştırma etkisi
geliştirmek adına yeni stratejiler üretmeleri için potansiyel olarak sınırsız
olanağı bulunmaktadır. Bu çalışma yabancılaşmanın olumsuz kabul edilen
etkilerine karşı estetik öznenin yabancılaştırılmasını amaçlayan ‘Night Crawler’
isimli sinema filmini incelemektedir. Çalışmanın
amacı sinemada da sıkça karşılaşılan estetik özdeşleşmenin dışında
yabancılaştırma kuramı ile ilgili bilinen temel biçimsel unsurların ötesinde
yeni yabancılaştırma stratejilerinin özellikle salt biçemin dışında oluşturulup
oluşturulamayacağının ortaya konulmasıdır. Bu nedenle ele alınan ‘Night Crawler’
isimli film kendi ontolojik bağlamında karakter yaratımı, eylemler ve olaylar
çerçevesinde incelenmiştir. Bu inceleme sonucunda filmin biçimsel unsurların
dışında tinsel bir varlık olarak yabancılaştırma etkisi ürettiği ortaya
konulmaktadır. Bu bağlamda çalışma ‘Night Crawler’ isimli filmi ontolojik
analiz yöntemi ile incelemektedir.
Alienation is one of the key concepts used by philosophy, sociology and psychology. It is known that this term turns into the effect of alienation (Verfremdung) in order to control the participation of the subject to the piece of art. The artists desire to create the opposite of the effect that aesthetical participation creates defined as ‘identification’ and they want to apply force to the aesthetical subject related a phenomenon. It is observed in cinema that the narrations, story and discourses which are told so that the watcher is alienated to a phenomenon. It is possible to mention about numerous strategies related to the effect of the work on alienation in the design phase. Except for the known strategies, however, the cinema directors have the potential of producing new strategies in order to develop the effect of alienation. This study analyzes the example of ‘Night Crawler’ which aims to alienate to aesthetical subject against the effects of alienation, which are regarded as negative. The aim of the study is to reveal whether new alienation strategies can be created in connection with the content especially beyond the basic formal elements about the theory of alienation besides the aesthetic identification which is frequently encountered in cinema. For this reason, the film ‘Night Crawler’ has been examined in the context of character creation, actions and events in its ontological context. As a result of this study, it is revealed that the film produces an alienating effect as a spiritual being outside the formal elements. In this context, the study examines the film called ‘Night Crawler’ by ontological analysis method.
This article troubles the definitive boundaries between text and paratext, and questions the distinctions made between adaptations and transmedial texts. It conceives of a point of view in which it ...is possible to experience texts such as Fun Home as a series of distinct, separate texts and (para)texts, while simultaneously comprehending them as a complete, transmedial whole. This point of view is then used to examine the ways in which Fun Home interrogates and uses concepts of high and low culture, and ultimately its role in the negotiation of dominant culture. It brings together theory from adaptation and transmedia studies with theatre and performance studies to begin to theorise the complexities of intertextual connections made by the reader/viewer/spectator of the transmedial text, particularly those aspects of text made available at least in part via new media.
PDF
