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The meeting with Patrice Pavis provided the occasion for a complex reflection on the need to include into a totalizing vision of theory and practice, the need to revisit certain notions perceived as a synthesis of knowledge and a guide for a praxis. The article also mentions a series of other aspects, regarded as particularly important for working with actors, such as the literary analysis of the text, the quality of a play's translation, which should favor its sonorous and actantial dimension, but also the notion of "verbo-corps”, which captures the essence of the actor's presence and performance on stage and which can also be a guide for the translator.
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This article addresses the question of the consistent presence of “postdramatic” performative elements in contemporary theatre staging. It considers artistic production and everyday behaviour as two related processes supported by individual creative capacity inherent to every human being. Both an individual self in its day-to-day exchanges, and a theatre character within a play are maintained by this capacity to process the unknown and function in the presence of the unpredictable. In the “postmodern” interrelated and multifaceted world this ability becomes crucial for an individual as well as for the society. It is made possible by a relational network created by continuous performative actions and relies on a cultural space relatively free of codified behaviour that can be defined as liminal. Contemporary theatre in its staging practices and in its active involvement of the spectator can arguably function as this liminal space indispensable for culture as a whole.
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The research workshop on new performative forms led by Patrice Pavis in November 2019 and organized by the Institute of Theatrical and Multimedia Research of the University of Arts in Târgu-Mureș gave rise to a number of theoretical questionings. The objective was to offer the participants/actors an opportunity for systematized reflections taking as object this type of artistic forms and practices. The sponsorship of this eminent researcher in the performing arts, a specialist in the question of staging and its analysis, brought rigor and methodology to the whole thanks to the use of his reading grids and other conceptual tools. If certain epistemological ruptures and proposed illuminations could be seized on the moment in all clarity, it is afterwards that influences on my own field of research appeared and unquestionably an enrichment in the apprehension of the complexity of the phenomenon could emerge.
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I am well versed in translating poetry – especially that of Yves Bonnefoy – as well as the theatrical essays of the contemporary playwright and director Valère Novarina. What the two authors have in common is that they make the work of the Hungarian poet János Pilinszky resonate in Hungarian without having known him. When one translates a text, its reception is often facilitated by another work of the target culture through which the work to be translated is transmitted. Patrice Pavis' expression "verbo-corps" seems very relevant when it comes to translating for the stage. As for the translation of plays, in general, there is one version to be published and read, and another to be performed. In the latter case, it is important to see in front of us the stage and the actors (if possible already designated) to choose the rhythm of the lines, as well as to keep or reject the puns, or substitute some for others. I give some examples from our Hungarian translation of Valère Novarina.In order to shed light on the terms of adaptation and remediation from the point of view of theatre as a meeting place par excellence for various media, and not from the point of view of translation itself, I finally take as examples some shows I saw at the Festival d'Automne in Paris in 2019.
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This article, born of a reflection initiated at the research seminar conducted by Patrice Pavis, questions the forms of multidisciplinary plays. How can dancing seize painting and enrich the picture with currents meanings? Dancers, like Joseph Nadj or Trisha Brown, used to draw during the show. Sometimes, choreographers draw their inspiration from a canvas of the past that echoes the present. This is the case of Gaëlle Bourges whose play we are going to discuss here: "Conjurer la peur", which evokes a fresco by Ambrogio Lorenzetti.
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In this paper I aim to analyse the strategies of creation of the poetical experience in the hybrid works “Poésie sur place” by Christian Prigent and “L’Enregistré” by Christophe Tarkos. As part of my PhD research, this article deals with the problem of defining the poetical phenomenon in the works of these authors. From a comparative and poetical point of view and taking into account a context of theoretical and philosophical challenges of the contemporaneity, I will interrogate how the poetry is an experience of making and it is dominated by its experimental nature. Though, by refusing the definition of the poetical as a literary category or as a textual object of analysis, as well as the domination of the significant from the poetical experience, these authors are returning to an active dimension which is inherent to the idea of ποίησις (poïesis). Thereby, the poetical performance of Prigent and Tarkos reveals the poetry as an ongoing and opened process of making.
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The hotly debated performance of Thomas Ostermeier’s stage version of Edouard Louis’s History of Violence points to a confusion concerning the role of the author, the status of the text, of its performance and of the role played by the theatre in today’s society. It raises a threefold question: what is the relationship between literature and reality, what defines an author (whether writer or stage director) and what does it mean that contemporary literature should be so intent on self-writing? E. Louis is particularly clear about using fiction to write about truth, but then truth all too often is construed as fact, and therefore as antithetic to fiction. He claims to explore a form of confrontational literature. In T. Ostermeier’s staging he becomes the actor of his own text which only compounds the text’s powerful ambiguities. Together, Louis and Ostermeier create a dynamic recomposition of the political and the intimate.
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This article shows how Ivo van Hove’s performance Les Damnés, based on Visconti’s film, reuses material from ancient Greek theatre. The stage director introduces the cinematographic idiom with the use of the camera in order to keep the continuity with Visconti’s film. Members of the Von Essenbeck family are characters bearing resemblance to Agamemnon, Clytemnestra, Orestes, Aegisthus and Creusa, Jason’s new wife. Their actions can be understood and magnified by the simultaneous reading of the Greek tragedies (Oresteia, Orestes, Electra, Medea). Thus, we establish the characters’ ancient nature, which gives them an archetypal consistency, while, by the use of the camera, the stage deepens its insight on them, focusing on the details of their faces and the actors’ work.
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The word uttered by the actor on stage can still be considered an enigma today because it still involves difficulties, especially, in decoding and deep understanding. Thus, we intend to clarify the route followed by the word from the text to the stage utterance, insisting on the elucidation of some sources of inner order that can cause transmission difficulties. Even if the word uttered by the actor was treated in different manners with the new theatrical forms, the actor's inner laboratory remains the same.
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Treating the theme of death in such and such a fiction undoubtedly represents an archaic, recurrent subject that has already been addressed in the literature. What about when the narration is entrusted to a dead character? It is by this narratological modality that Nathacha Appanah built her novel entitled "Tropic of violence". The importance of this work is reflected in the fact that the author highlights a new poetics of narratology: "to make a dead man speak". In this context, it is not the words of the deceased which are reported by a living character, but the deceased himself takes charge of the narration while recounting an action specific to him, or events concerning other subjects in fiction. Our problem aims to treat the Autothanatographic Narration in this novel distinguished by the alternation of the narrative voices and the diversity of the perspectives. Our essential objective is to implement a kind of applied narratology since we will try to approach what is called autothanatographic narration, to highlight its different criteria, to demonstrate to what extent it has effects on the other constituents of the diegesis, as well as on the voices telling.
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Review of: Kušnírová, E.: Úvod do štúdia divadelného umenia. Prešov: Prešovská univerzita v Prešove. 2021. 88 s. ISBN 978-80-555-2674-4.
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A lesser-known episode was that of the rediscovery by the cinematographic means of the works of I. L. Caragiale at his first (!) centenary from 1952. The coordinates of this restitution have already historically been described, but our study proposes on that base a new critical „reading” in the key of cultural anthropology. This will highlight the artistic resistance of Caragiale's satires to the cinematographic attempt of „agitprop” to parasite the works of the classic to the Romanian theater, too.
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Today, the concept of dramaturgy refers primarily to the space of theater or, more broadly, to performative arts. But as the concept of drama has passed into the scientific discourse of sociology, anthropology or literary studies, so is it with dramaturgy. The understanding that appears here refers to its meaning as a special tension on the level of sensually experienced and perceived artistic events. The subject of interest here is the dramatic aesthetics of experience in the field of performing and visual arts. The aesthetic categories related to the senses are often of a physical origin and amorphous in nature. The roughness and harshness of the title in their origin are physical categories that can be experienced primarily through the sense of touch. In this intertwining of senses, we are talking about their dramaturgy, because they cannot usually be separated from each other and various works appeal to touch and other senses at the same time. The process of creating a work and its reception is an action, process, meeting, the playwright of which is both the creator / creator and the recipient. The considerations concern changes in the perception of the senses, from the glorification of the sense of sight to the ennoblement of the “lower” senses, the place and function of the classical and interactive museum and haptic art, as well as the polysensory and immersive reception designed in performance and theater.
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Szentes Zágon: In the CONCRETE. Korunk Stúdiógaléria, Kolozsvár, 2021
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The Theatre Concept of Bauhaus continued the main ideas of its founders. It found its shape in Oskar Schlemmer‘s ideas of triadic ballet, demonstrated in various theatrical experiments, which he directed as a leader of the theatre section of Bauhaus. His interest in the canons of movement led him to the concept of Design-in-Motion. The correlation, the color-sound movement of the actor in space is crucial to the comprehension of the overall impact on the senses of the spectator. It determines the concept of anti-mimetic theatre, which is inspired by dance and acrobatics. This theatre of the senses and ideas is based on the picture rather than the drama. It seeks for a holistic impact and metaphysical suggestions on the base of music, mechanics and mathematics. It renounces the drama, its linear narrative and the imitation. The analysis of the Bauhaus Theatre through the concepts of Oskar Schlemmer, shows their impact on contemporary dance, on Bob Wilson‘s theatre and performance.
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Medea theatre project, one of the main focuses in the artistic programme of Plovdiv: 2019 European Capital of Culture, has developed different forms of interaction with participants and audiences. This is one of its main characteristics and the current report describes and analyses the specific approaches to attach to the creative process participants from outside – children, organizations and audience: socio-dramatic and art workshops with children, clipclaptheatre: Campaign for the support of children’s education in theatre in the social medias, „selfie point” at The TERRAIN MEDEA EXHIBITION and scenario for life interaction with theatre audience.
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