Collective Creation or an Interpretation of Democracy in the 20th Century’s Music If in the 1960s the practice of collective creation appeared in British theater, it can be said that music in the ...twentieth century was overwhelmed by such related procedures. It should not only be examined whether time-shifts are shown or this kind of manifestations concur in the two arts, but also in how many ways and proportions is this principle expressed in the music literature of the century. Of course, this should be supported by specific musical works, by pointing out the composers who promulgate or apply the principle. In the field of theatre and music beside the parallels discovered in this subject, the phenomenon called ‘instrumental theatre’ as well can be regarded as a direct hit, a kind of synthesis genre.
This proposition presents a design and artistic research focused on the soil and aimed at generating active and poetic forms of reflection around the fragile interdependence of human and non-human ...lives in an increasingly precarious urban environment, emphasised by the current ecological crisis. In order to engage in such reflections, this practice-oriented research —led by designers, architects, artists and educators— explored and expected to make visible the transformation of peripheral urban areas of the Region of Valparaíso, in Chile. To do so, we focused on following the uses of the soil, identifying conflicts and values that emerge around these extraction sites through immersive sensitive experiences. These collective experiences titled ‘Going to the Clay’ had the objective of searching for clay pits in different sites as the means to establish sensitive connections with the soil and its matter. Thus, the sum of collective and creative explorations performed in the veins and clay pits of Valparaíso served to trace other relational ways of inhabiting, valuing, and working with the soil. We envisage this practice-oriented research project as a poetic alternative to critically question the modern technocratic logics of urbanisation that operate in the region through the commodification and overexploitation of the land.
The text discusses the performance Kalevala The Unwritten Fragments of the Węgajty Theatre / Field Project, which in 2000/2001 opened a new phase in the theatre’s activity. The performance continued ...the thematic, aesthetic, and method choices of the Węgajty Village Theatre, while also opening new paths of exploration. The group’s work was particularly transformed, and a new quality was brought into its accompanying reflection, by the presence of the actor and anthropologist Trevor Hill. The analysis of Hill’s autoethnographic description of their work on Kalevala allows us to distinguish three dimensions of autoethnography: as an innovative technique of obtaining information, as a research method (analytical autoethnography), and as an indicator of a new paradigm of producing knowledge about social life and its participants (evocative autoethnography).The use of the autoethnographic method in research on the Węgajty Theatre made it possible to access information that is otherwise difficult to obtain, including the actor’s experiences and internal processes.
As the fin-de-siècle New Leftist champions of revolution, Zhang Guangtian, Huang Jisu and Shen Lin struck a melancholic note with their collaborative play Che Guevara (Qie Gewala) (2000-1) on the ...postrevolutionary, depoliticized Chinese stage. Why do these Chinese theatre-makers still carry on 'left melancholy' amid the worldwide postrevolutionary arena that has bid 'farewell to revolution'? Whose memories and histories do these artists attempt to reclaim and retrieve through this melancholy? How do affective and Marxist theories of 'left melancholy' expand the perceptions of recurrent revolutionary pathos in post-revolutionary Chinese leftist theatre? How does the play's radical recuperation of leftist theatrical techniques, in turn, reinterpret 'left melancholy' and resist the marketized, depoliticized trends? This article attempts to depart from and expand the current academic focus on 'left melancholy', which has been largely confined to Western leftist theorists such as Walter Benjamin, Wendy Brown and Enzo Traverso, to the postrevolutionary Chinese context. Integrating Western theories with Chinese interpretations of the concept by New Left scholars such as Wang Hui, along with Judith Butler's theory of subjection (1997), I argue that Che Guevara extends the connotation of left melancholy as a 'performative paradox' between an existential, passive despair and a radical, active aesthetic agency of hope to counteract the depoliticized trend of commercial theatre, through an exploration of its affective, theatrical and ideological significance.
En el panorama del audiovisual contemporáneo han adquirido notoriedad iniciativas de producción innovadoras a través de la implicación abierta y no formal de colectivos, que se proponen efectuar ...algún tipo de contribución al proyecto en su conjunto. Uno de los exponentes más populares de estas formas de colaboración basadas en la noción de multitud es el crowdsourcing. El objetivo de este artículo es estudiar los límites de dicho concepto en el audiovisual y particularmente la producción cinematográfica digital. Tras una discusión teórica sobre la evolución del crowdsourcing y su relación con otros modelos alternativos de creación colectiva como la co-creación o las comunidades creativas entre pares, realizaremos un análisis de un conjunto de casos relevantes de producción cinematográfica que de una forma u otra han tomado el crowdsourcing como referente. A través del análisis observaremos una serie de particularidades que invitan a proponer la reconsideración y flexibilización de algunos atributos clave presentes de la conceptualización tradicional del crowdsourcing como modelo de producción orientada al trabajo creativo de las multitudes.
Este artículo aborda la creación colectiva desde una triple relación: Ludificación, juego y videojuego, en vinculación con las ciencias, particularmente, con la Ciencia Ciudadana. El término Ciencia ...Ciudadana responde a la elaboración de estudios científicos que realizan ciudadanos no especializados, en colaboración con científicos o instituciones científicas. Existen numerosos ejemplos de proyectos de investigación en Ciencia Ciudadana que han sido ludificados o han desarrollado videojuegos completos. Desde este enfoque, los videojuegos y la Ludificación se manifiestan como un engranaje para incorporar nuevos saberes, pero también, para crear y desarrollar investigaciones colectivas.
From January 1955 to April 1956, the Soviet acting teacher Boris Grigorievich Kulnev (1904-1990) conducted an Advanced Actor Training Class at the Central Academy of Drama in Beijing. This programme ...was caught up in a larger agenda, which aimed at diffusing the Stanislavsky System of acting throughout the newly established theatres and dramatic schools in the People's Republic of China. The participants were carefully chosen from all regions of the country and had to take entrance exams for admission. The year-and-half training programme encompassed all classical Stanislavskian exercises from concentration of attention to the method of étude. All in all, the students rehearsed four plays, including an adaptation of the Chinese novel Baofeng zhouyu (The Hurricane). Once the head of the Boris Shchukin Higher Drama School at the Vakhtangov Theatre, Kulnev was steeped in the Vakhtangov school of stage art, a prestigious lineage traceable to Evgeny Vakhtangov, a protégé of Stanislavsky and Leopold Sulerzhitsky who had adopted the étude technique as one of his staple training practices. By analysing the transcripts of the Advanced Class, this article zooms in on the exercises coached by Kulnev at the stage of basic actor-training and the thematic études he used in devising The Hurricane. I argue that by introducing études, Kulnev enabled the actors to adapt to changing conditions onstage, with improvisation erupting into their performance time and again. Unless otherwise noted, all translations in this paper are the author's own.
El 6 de junio de 2006 el Teatro La Candelaria celebró sus 40 años de actividad ininterrumpida. En aquella ocasión realicé un documental de largometraje producido por Señal Colombia. 10 años después, ...el grupo me invitó a dirigir un trabajo similar para su cincuentenario. Como no quería repetir lo ya realizado, les propuse contar la historia desde el año 2007 hasta el 2016. Luego, reedité los dos materiales y los concentré en un solo documental que tiene por título El teatro La Candelaria 50 años: Recreación colectiva. Grabamos muchas horas de entrevistas para la materialización de dicha experiencia inolvidable. A raíz de la muerte de Santiago García a sus 91 años, en el silencio atroz de la pandemia del 2020 decidí buscar las transcripciones realizadas por la directora de teatro Carolina Mejía. En este documento están presentes todas las preguntas que le hice a Santiago para darle cuerpo y forma a nuestro trabajo. Todo, tarde o temprano, aparece. Comparto aquí esa entrevista registrada por las cámaras de Sergio García y Jimmy Bonilla.
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