Karolina Czerska’s book offers a comparative study in which the theater of Maurice Maeterlinck is confronted with the theatrical work of Tadeusz Kantor. The author has set herself two major ...objectives: on the one hand, she wants to popularize Maeterlinck’s dramaturgy with the Polish public, and on the other, she evokes the works of the Belgian writer in the context of Kantor’s stage productions, which agrees to revisit and reconsider the work of the Polish theater director from a new perspective. By comparing the work of these two theater men, Czerska examines four themes where their artistic concepts seem similar: the conceptions of the “tragique quotidien” (tragedy in everyday life) and the “invisible”, the construction and status of the character as well as the function of the actor.
TINTAGILES MORRE EM ODESSA 1 de Oliveira, Vanessa Teixeira
Moringa,
07/2021, Letnik:
12, Številka:
2
Journal Article
Odprti dostop
The article aims to trace some hypothetical relationships between the sequence of the Odessa stairs, in the film The Battleship Potemkin, by Sergei Eisenstein (1898-1948), and Vsévolod Meyerhold's ...(1874-1940) staging project for the play The Death of Tintagiles, by the Belgian playwright Maurice Maeterlinck (1862-1949), at the Theater-Studio, in 1905. These connections are established from Meyerhold's workbooks, including a catalog of more than one hundred works of art (paintings, sculptures, decorative objects) - a research carried out by the director concerning staging and actors' performance.
The purpose of the article is to show the affinities between Tadeusz Kantor, Michel de Ghelderode and Maurice Maeterlinck's stage and dramatic works, mainly in their representation of death. The ...author focuses on the analysis of scenes chosen from the performance Wielopole-Wielopole by Kantor, plays Sortie de l'acteur and Ecole des bouffons by Ghelderode, as well as Maeterlinck's „first theatre". Czerska refers the way in which the mannequin and the marionnette character, with all their materiality, are being used. It makes the verge between life and death in the above mentioned dramas constantly being crossed.
The intention of this thesis is to design an inclusive experience of immersive theatrical events and study how people respond to various conditions of these events without human actors. Several ...performances in New York City, Buffalo, Chicago, and Toronto were examined to determine potential building typologies for site-specific work, content and formats that attract and entertain diverse populations, and methods for producing immersive theatre. To test theories developed in this study, a production was developed utilizing resources in the Buffalo community, from the site to content creators to pilot audiences. In the Dark is a site-specific, immersive experience set in the Perot Malt House at Silo City, in Buffalo, NY, using silent disco headphones and a prescribed path through the building using recorded verbal directions. The audio content weaves together excerpts from the dramatic script Interior by Maurice Maeterlinck, spoken word poetry by Tom Dreitlan, historical narrative by Jim Watkins, and ambient music, to create a story that can be accessed through multiple modes. The production used space, objects, air, light, and materiality as active components of the event, replacing live performers and challenging the audience to interpret stories in a new way. Dense overlapping of content, time, space, place, meaning, memory, and action, created a dynamic event where each individual experience was simultaneously intimate and communal. An online survey was given to audience members to gauge the success of various inclusive design features and video documentation was analyzed to make observations about the audience’s behaviors. These findings were synthesized into a set of design recommendations for future productions that considers both successful interventions and suggestions for improvements.
This article investigates notions of femininity in light of contemporary debates around anthropogenic climate change in literature. Climate change fiction (cli-fi) specifically considers life in the ...Anthropocene and the consequence of changing climatological realities for human and nonhuman actors in ecosystems. Seemingly straight-forward dichotomies between human and nonhuman, wild and domesticated, useful and harmful subjectivities are being contested, and literary texts increasingly pick up on and reflect the instabilities of previously undisputed dualisms. Mireille Juchau's novel The World Without Us (2015) explores the intertwined relationships between climate, the animal world, and human subjectivity as it slowly uncovers the multifaceted narration around the Müller family's grief at the loss of their child. As the family's life is repeatedly underscored with symbolism of bees, the narration draws parallels between human life and the lives of bees. The text's elaborate play with multiperspectivity is reminiscent of insect eyes' compound nature and undulates between fragmentation and complexity. This article explores how Juchau's novel offers new ways of exploring femininity within notions of grief and suffering on the one hand and the effects of anthropogenic climate change on the other.
Dans ce bref rapport, nous présentons le projet Lecture dramatique et FLE de l'Université Fédérale de Pelotas et les différentes étapes de la création d'une lecture dramatique de La Voix humaine ...(1930) de Jean Cocteau tenue en 2021. Les étudiants et les professeurs de la Licenciatura en portugais et français et de la Licenciatura en Théâtre ont créé une adaptation du monologue de Cocteau et de la mise en scene de sa lecture. L'analyse et l'appropriation des significations possibles du texte théátral ont joué un rôle fondamental dans la recherche d'une expressivité capable de transmettre au public l'atmosphere des scenes, les caractéristiques et les intentions du personnage. Les difficultés causées par la pandémie de Cov'd 19 ont représenté un grand défi puisque toutes les réunions se déroulaient a distance via une plateforme web et que le spectacle a été présenté au public par la chaîne YouTube du projet.
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