Among the many problems raised by political ecology is one of language. The distribution between what is inert object and what is made of talking subjects does not do justice to science nor to ...literature—nor, of course, to politics. Hence, an effort to describe a relation with agency that focuses not on their characters (humans or nonhumans, animated or deanimated) but rather on their common source. This source is recognized here—both semiotically and then ontologically—as a “metaphorphic zone.” It is just such a common articulation that could allow speaking with and about former “facts of nature” in a different way, a way better adjusted to the new political situation.
Ecosystem collapse occurs when individuals fail to recognize how they themselves are a part of the ecosystem. This article discusses how singing can aid in narrowing a sense of disconnect between ...environment and human, drawing on the Kodalyian principle of prioritizing music of the "mother tongue" and positioned within existing eco-musicological and eco-pedagogical scholarship. Suggested singing practices point toward an ecoliterate music learning approach that connects and considers human, inhuman, and more-than-human voices as equal collaborators within a pedagogy that decenters anthropocentric (human-centered) musical contributions to our sonic environments and learning spaces. Resume: L'effondrement d'un ecosysteme se produit quand les individus echouent a reconnaitre qu'ils en font eux-memes partie. Cet article, qui s'inscrit dans les recherches en ecomusicologie et en ecopedagogie, se fonde sur le principe kodalyen priorisant la musique de la << langue maternelle >> pour expliquer en quoi le chant peut aider a reduire l'impression de deconnexion entre l'environnement et l'humain. Les pratiques de chant suggerees s'appuient sur une approche d'apprentissage ecolettree de la musique qui relie les voix humaines, inhumaines et plus qu'humaines, et les met sur un pied d'egalite au sein d'une pedagogie qui decentre les contributions musicales anthropocentriques (centrees sur l'homme) dans nos environnements sonores et nos espaces d'apprentissage.
The theatres of Estonia celebrated the centenary of Estonian Republic by staging performances depicting different decades of the country’s history. The article dis - cus ses one of these performances ...“BB at Night” that staged the 1940s. The per formance is based on a novel of the same title that tells the story of Berthold Brecht’s journey to Finland during the Second World War. The aim of the article is to show – by describing three particular scenes from the performance and using the theories of Jacques Rancière, more precisely his notion of dissensus to analyse these scenes – how a performance that is not political per se could be received as political. By inviting audience members to participate in certain scenes, the bodies of theatre visitors are politicized, and the performance becomes aesthetically political and politically aesthetical.
A study on the concept of Jens Bjorneboes version of epic drama is presented. This phenomenon is explained with the help of a "border"-criterium, showing how the Norwegian author established, defined ...and crossed borders on many different levels in his dramatic works and their adaptations on stage. Bjorneboe is presented as an author who not only consciously uses the border-criterium to manipulate space and reality in his play Til lykke med dagen, but also expands or even crosses borders of theatrical theories and conventions, mainly Bertolt Brecht's concepts. His "epic plays" are hybrid in their forms, joining different European traditions and expanding beyond what was common and accepted in the peripheral (both geographically and culturally) Norwegian theatre world of the 1960 s. Jens Bjorneboe is presented as an author of transgression, one of the first "to cast off the Ibsenite leg-irons".
This essay examines some senses in which we might think of Brecht's Marxism as vulgar, placing particular emphasis on his interest in the vulgar as vulgate: the teaching of practical knowledge in the ...common tongue. The essay then contrasts Brecht's vulgar Marxism with his concept of crude thinking, arguing against Walter Benjamin's influential interpretation of the concept to claim instead that if we examine how Brecht presents crude thinking in his 1934 Threepenny Novel, we see that for him, crude thinking is not something to be emulated and learned; it is ultimately fascist thinking. Yet precisely because it is an anomalous moment in his work, diametrically opposed to his vulgar Marxism, crude thinking also gives a glimpse of a different Brecht who would have recognized how European fascism has recapitulated European colonialism and reckoned more adequately with the psycho-political mechanisms and force of racialized identification and projection.
O artigo versa sobre o período de 1933-1939 quando o poeta, dramaturgo e crítico teatral Bertolt Brecht exilou-se na Dinarmaca, a partir da ascensão do Partido Nacional Socialista ao poder na ...Alemanha (1933). Aborda o exílio como um tema historiográfico e sociológico e como fenômeno histórico no século XX. Caracteriza o período da República de Weimar como favorável às vanguardas artísticas, ao pensamento liberal, quando Brecht estabeleceu os princípios do seu teatro épico. Todo o intenso desenvolvimento teatral foi interrompido pela política de “alinhamento” que determinou a emigração dos maiores nomes da intelectualidade alemã. No exílio desde 1933, Brecht caracterizou a condição do exilado político e realizou a crítica ao nazifascismo através da poesia e da dramaturgia, em cartas, poemas, diários de trabalho. Através da abordagem da história intelectual é possível depreender a evolução de seu pensamento, assim como relações de amizade e solidariedade entre emigrados que consistiam em uma forma fundamental de sobrevivência, no sentido de atenuar o isolamento e permitir a continuidade dos trabalhos literários. Para Brecht, uma tarefa fundamental era mobilizar os emigrados, romper o conformismo, aproveitar-se de sua projeção literária para combater o regime nazista de fora do país.
Le théâtre des 20e et 21e siècles semble marqué par le diagnostic généralisé de la crise : crise de la forme, crise du drame, le choc de la Seconde guerre mondiale et des bouleversements du siècle ...affectent durablement la production littéraire et artistique, et il semble impossible d’écrire du théâtre selon les anciens modèles. Cependant le théâtre brechtien semblait offrir dès les années 1940 une perspective à cette crise en se proposant de ramener l’épique dans le dramatique, le récit dans l’action pure. Qu’en est-il de cet héritage dans les dramaturgies contemporaines comme celles de Durif et Handke ? Subsiste-t-il un besoin fondamental de récit dans ces drames éclatés, et quelles formes celui-ci prend-il ? A travers l’utilisation des chansons, quelque chose du narrateur épique brechtien semble toujours présent.
A response to the digital recording of Theatre Aug's production of "Is She Mad of Does She Joke?" written and directed by Dr. Melanie Kitchens O'Meara.
O presente artigo tem por sustentação a reflexão acerca de elementos políticos presentes no texto dramático Bodas de café, produzido pela autora londrinense Nitis Jacon, em 1984. O ponto de partida ...para a reflexão sobre a peça é a teoria do teatro épico do dramaturgo alemão Bertolt Brecht, o qual se opõe ao teatro dramático, propondo a reflexão crítica por parte do espectador. Dessa forma o objetivo primário da pesquisa é promover uma reflexão das relações humanas com seu meio social no texto dramático, a trajetória do homem e suas transformações. E os objetivos secundários são destacar o trabalho de dramaturgia londrinense, que ainda é pouco pesquisado, e por fim, também contribuir para novas pesquisas acerca do tema dramaturgia londrinense. A pesquisa resgata uma grande época do teatro londrinense, em que se produzia e encenava textos teatrais com uma linguagem própria. Tanto o grupo PROTEU quanto a autora Nitis Jacon fizeram história e abriram caminhos para que Londrina se tornasse esse grande polo cultural e que ainda é pouco conhecido. E nela também enfatizamos a importância da liberdade com príncípio fundamental dos direitos humanos e educacionais.
This article is based on a reflection on the political elements present in the dramatic text Bodas de café, produced by the London-based author Nitis Jacon, in 1984. The starting point for the reflection on the play is the playwright's theory of epic theater German Bertolt Brecht, who opposes dramatic theater, proposing critical reflection on the part of the spectator. Thus, the primary objective of the research is to promote a reflection on human relations with their social environment in the dramatic text, the trajectory of man and his transformations. And the secondary objectives are to highlight the work of London dramaturgy, which is still little researched, and finally, also contribute to new research on the topic of London dramaturgy. The research rescues a great era of London theater, in which theatrical texts were produced and staged with their own language. Both the PROTEU group and the author Nitis Jacon made history and paved the way for Londrina to become this great cultural center, which is still little known. And in it we also emphasize the importance of freedom as the fundamental principle of human rights and educational.
Este artículo parte de una reflexión sobre los elementos políticos presentes en el texto dramático Bodas de café, producido por la autora radicada en Londres Nitis Jacon, en 1984. El punto de partida para la reflexión sobre la obra es la teoría de la epopeya del dramaturgo teatro alemán Bertolt Brecht, que se opone al teatro dramático, proponiendo una reflexión crítica por parte del espectador. Así, el objetivo primordial de la investigación es promover una reflexión sobre las relaciones humanas con su entorno social en el texto dramático, la trayectoria del hombre y sus transformaciones. Y los objetivos secundarios son resaltar el trabajo de la dramaturgia londinense, que aún está poco investigado, y finalmente, también contribuir a nuevas investigaciones sobre el tema de la dramaturgia londinense. La investigación rescata una gran época del teatro londinense, en la que se producían y escenificaban textos teatrales con un lenguaje propio. Tanto el grupo PROTEU como la autora Nitis Jacon hicieron historia y allanaron el camino para que Londrina se convirtiera en este gran centro cultural, aún poco conocido. Y en él también destacamos la importancia de la libertad como principio fundamental de los derechos humanos y educativo.
Taking its point of departure from Jullien’s primary claim in The Silent Transformations that ancient Greek ontology propels European thought into ‘the vertigo of the event,’ the article turns toward ...a European thinker whom Jullien does not mention in this context, namely Walter Benjamin, and asks whether his work, too, succumbs to this vertigo. The choice of Benjamin as a ‘test case’ is governed by two factors: while his work is widely associated with notions of the event, there is little recognition of the degree to which he was engaged with the Daodejing (in translation) from the early 1910s to the late 1930s. Divided into four chronologically ordered sections, each of which is prefaced by a claim advanced in The Silent Transformations, the article shows how Benjamin’s concepts of transition, effective non-action (under the term ‘proletarian general strike’), mimesis, ‘the second technology,’ and Jetztzeit (‘now-time’) are all traversed by a mediated conception of the Dao. The primary question around this re-evaluation of his work, guided by the idea of ‘the silent transformations’ that Jullien adopts from Wang Fuzhi, is whether the theory of revolution Benjamin developed in the 1930s can be characterized as Daoist or, better yet, Marxist-Daoist.
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