Postdramatic Theater

Міністерство освіти і науки України Волинський національний університет імені Лесі Українки (факультет історії, політології та національної безпеки) Полонійна академія в Ченстохові Видавничий дім «Гельветика» Центр українсько-європейського наукового співробітництва VІІ Міжнародна науково-практична конференція ТРЕТІЙ РІВЕНЬ ОСВІТИ В УКРАЇНІ: СТАНОВЛЕННЯ ТА ТЕНДЕНЦІЇ 17-19 листопада 2023 року с. Світязь Шацького району Волинської області Львів-Торунь Liha-Pres 2023 УДК 378.046(477)(062.552) Т 66 Організаційний комітет: Головко Олег Павлович-кандидат економічних наук, засновник та директор Видавничого дому «Гельветика»; Віхляєв Михайло Юрійович-доктор юридичних наук, професор, директор Центру українсько-європейського наукового співробітництва; Філіпович Мирослава Богданівна-кандидат історичних наук, доцент, професор кафедри всесвітньої історії Волинського національного університету імені Лесі Українки; Бука Станіслав-доктор економічних наук, професор, ректор Балтійської міжнародної академії; Дьякон Роман-доктор технічних наук, професор, академік, президент Вищої школи менеджменту інформаційних систем (ISMA); Кринський Анджей-доктор філософії, доктор богослов"я, професор, гоноріс кауза, ректор Полонійної академії в Ченстохові; Ярош Ярослав Богданович-доктор політичних наук, професор, декан факультету історії, політології та національної безпеки Волинського національного університету імені Лесі Українки.

This article proposes a philosophical reflection about the underlying bonds between the Greek Classical Drama and Contemporary Theatre, with special attention to its concomitants in the treatment of the personal identity, the periplus towards revealed self-conscious and the selfestrangement in an alienated environment. It presents the context of Valencian Contemporary Theatre at that effect, and observes, from the point of the complex questions raised to the individual by the immigration, the possible existing parallelisms between the author's preoccupations and some of the universal and atemporal themes in the Classic Greek Drama. It concludes pointing out the cost of autonomy implicated by the modern civic identity and suggesting its dissolution like a prosperous journey to the rediscovery of liberty and consciousness.

Wie weit kann man den Rahmen eines kulturwissenschaftlichen Museums dehnen, damit es noch ein Museum bleibt? Wie weit muss ich den Rahmen eines kulturwissenschaftlichen Museums dehnen, damit es ein Museum der Zukunft wird?

Im Jahr 2024 wurde das Volkskundemuseum Wien leergeräumt, um die anstehende Sanierung möglich zu machen. Dieser leere Raum/Ort bot sich für eine Zwischennutzung und Interimsbespielung an. Angesichts der notwendig anstehenden Schließung des Museums wollten wir uns nicht zurückziehen, sondern uns radikal öffnen. Das spontane Zwischennutzungsprogramm eignete sich ideal für einen Testlauf. Was ist im Museum der Zukunft möglich? Die Strategie war, unter dem Titel „before it gehts better … Abschied und Aufbruch aus einer bröckelnden Gegenwart“ ein funkelndes Programm zum temporären Abschied aus dem Palais in der Laudongasse zu entwerfen. Es ging darum verschiedenste Formate auszuprobieren, beginnend mit der Idee, die Räume der ehemaligen Schausammlung - die sich über das gesamte Erdgeschoß des historischen Palais Schönborn erstrecken - als sogenannte Open Spaces & Galleries nicht etablierten oder aufstrebenden KünstlerInnen, sondern diversen migrantischen Aktivist*innen als Arbeits- und Präsentationsräume zu übergeben. In weiterer Folge gab es als einen Höhepunkt eine performative Großinstallation im Weltkriegsbunker (toxic dreams), aber auch ganz anders geartet zurückgenommene performative Installationen die sich dann als intime Räume offenen Sprechens darstellten (Alix Eynaudi, Sabina Holzer), Dann kam der nächste Schritt: Die Wiener Festwochen bespielten und bewohnten das Palais, und gleichzeitig entstand ein Aktivismuscamp von Klimaaktivist*innen. Zusammen mit unterschiedlichsten anderen Formaten und Themensträngen zogen sie über neun Monate einen experimentellen Parcours durch die Institution.
Was in einem ständigen Ausprobieren und Ausdehnen der Grenzen des Museums entstand, war ein Mehrspartenprogramm – eine Präfiguration (Vorform) dessen, was das Volkskundemuseum als neuer institutioneller Typus eines Gesellschafts- und Kulturmuseums und als radikal relationaler Ort zur Museums- und Kulturlandschaft einer Großstadt wie Wien im 21. Jahrhundert beitragen kann.
Aber ist das noch ein Museum? Oder ist das ein temporäres Kulturzentrum in einem leerstehenden Palais? Wir sind der Meinung, dass das Museum sich selbst ausprobiert hat, bevor es renoviert und neu positioniert wurde. Wir möchten so viel wie möglich von diesem festivalartigen Programm in das neue Museum hineintragen, das Ausprobierte in die bisherigen Programme des Museums einschreiben.

From University of Michigan Press:

https://press.umich.edu/Books/E/Enveloping-Worlds3

Enveloping Worlds is a collection of essays that analyzes the phenomenon of immersive, participatory performance as it has developed in the US. As this collection demonstrates, immersive performance offers three-dimensional multisensory experiences, inviting audience members to be participants in the unfolding of the story, and challenging pre-existing ideas about the function of performance and entertainment. Enveloping Worlds questions audience agency and choice, the space and boundaries of performance, modes of immersion, empathy and engagement, and ethical considerations through fifteen essays.

Case studies in the volume include the Choctaw Cultural Center in Oklahoma and Choctaw sovereignty; a Black artist’s autoethnographic performance challenging White audiences’ entitlement to full inclusion; Immersive Van Gogh experiences and their scenographers; telephone performance during the COVID-19 lockdowns; Diane Paulus’s The Donkey Show; the Battle of Atlanta panorama; an antebellum-themed department store display from the 1920s; escape rooms at Disney Parks; remotely staged plays about aging and dementia; tiki bars; anachronistic costuming at Renaissance Festivals; the technologies that shape the boundaries of immersive worlds; and tabletop role-playing games. Taken together, these essays contribute a rich discussion of immersive performance across radically different contexts, offering analytical models and terminology with which to clarify and advance this emergent discourse.

E.B. Hunter is Assistant Professor of Drama at Washington University in St. Louis.

Scott Magelssen is Professor of Theatre History and Performance Studies at the University of Washington. He is the author of Performing Flight: From The Barnstormers to Space Tourism, Simming: Participatory Performance and the Making of Meaning, and co-editor of Theater Historiography: Critical Interventions.

Estamos en el siglo XXI y asistimos a complejos cambios de paradigma sobre el cuerpo y sobre la formacion artistica: La ciencia avanza hacia una cosmovision integradora cuerpo-mente a la vez que la cotidianeidad nos impulsa a una vida mas sedentaria, virtual y de comunicacion mediatizada a traves de la distancia y los objetos electronicos. Los saberes artisticos se transmiten no solo en la tradicion de una experiencia directa maestro o profesor y estudiante-artista; sino que las escuelas de pensamiento y critica hicieron pie en la formacion artistica academica. Generando, de este modo, una sobrevaloracion de los juicios de valor transmitidos acerca del deber ser del artista y relegando los espacios de transmision tecnica para abordar el arte y el oficio. ?Como dialogar e interactuar con estos aspectos de la realidad en la formacion corporal del actor encuadrada en las gimnasias conscientes? Palabras clave: Tecnica corporal – Actuacion – Presencia escenica- Formacion artistica

ADVERTISING COSPLAY IN THE DRAMATURGY OF MODERN CINEMA. The purpose of the research is to identify and understand the functions of advertising cosplay in the dramaturgy of modern cinema. The main research methods are methods of analysis and synthesis, comparative analysis, and art criticism. The scientific novelty of the work lies in the fact that costume advertising practices and episodes with such advertising in movies are considered from the standpoint of the concept of theatricality of socio-communicative manifestations of culture. The analysis of the discovered filmstrips, which contain scenes with characters in advertising costumes, showed that in this context the functions of such costumes differ from their functions in real commercial advertising. In real marketing, advertising costumes allow you to promote products through visual and verbal communication of the advertising carrier with potential buyers or customers. But in film plots, such costumes become part of the general drama with various functions: from the creation of minor but bright scenes to the formation of the key meanings of the work. And here it doesn't matter what product the character is advertising, the main thing is that the costume should look as funny as possible. More precisely, so that the funny costume contrasts as much as possible with the character and image of the character, or the situation in which he got into. This technique is especially popular in films of mixed genres, where there is a need to increase the contrast between funny and dangerous, creating a shaky balance between cynicism and tragicomism. Sometimes bringing elements of a costume game into the story of the filmmaker helps to visually mark the turning point in the drama. After all, the suit can be not only put on, but also taken off. Taking off the costume itself can become a symbolic act that indicates a change in the character's consciousness, about his readiness for changes in his life. In general, episodes with characters in advertising costumes allow modern cinema to be theatrical, enhancing the drama with various nuances of costume play.
Keywords: theatricality of socio-communicative manifestations of culture, marketing communication, film art, costume play, “performance within a performance”, cultural context.

Мета дослідження – виявлення й осмислення функцій рекламного косплею в драматургії сучасного кіно. Основними методами дослідження є методи аналізу та синтезу, порівняльний аналіз, а також художня критика. Наукова новизна роботи полягає в тому, що практики костюмованої реклами та епізоди з такою рекламою у кінофільмах розглядаються з позиції концепції театральності соціокомунікативних проявів культури. Аналіз виявлених кінострічок, які містять сцени з персонажами в рекламних костюмах, показав, що в даному контексті функції таких костюмів відрізняються від їх функцій в реальній комерційній рекламі. В реальному маркетингу рекламні костюми дозволяють просувати товари завдяки візуальній та вербальній комунікації носія реклами з потенційними покупцями або клієнтами. А в сюжетах кінострічок такі костюми стають частиною загальної драматургії з різними функціями: від створення незначних, але яскравих сценок, до формування ключових смислів твору. І тут неважливо, який саме товар рекламує персонаж, головне – щоб костюм мав максимально кумедний вигляд. Точніше, щоб смішний костюм максимально контрастував із характером та образом персонажу, або ситуацією, в яку він потрапив. Особливо затребуваним цей прийом є у кінострічках змішаних жанрів, де є необхідність посилити контраст між смішним та небезпечним, створюючи хиткий баланс між цинізмом та трагікомізмом. Інколи привнесення в сюжет кінотвору елементів костюмованої гри допомагає візуально означити переламний момент в драматургії. Адже костюм можна не лише вдягти, а й зняти. Саме зняття костюму може стати символічним актом, що свідчить про зміну у свідомості персонажу, про його готовність до змін у своєму житті. Загалом, епізоди з персонажами у рекламних костюмах дозволяють надавати сучасному кіно рис театральності, посилюючи драматургію різними нюансами костюмованої гри.
Ключові слова: театральність соціокомунікативних проявів культури, маркетингова комунікація, кіномистецтво, костюмована гра, «спектакль у спектаклі», культурний контекст.

Μέσα από την ανατομία της παράστασης, τις άγνωστες πτυχές της καθώς και της διαδικασίας δημιουργίας της θα ερευνηθεί όχι μόνο ο "σημειολογικός ανταρτοπόλεμος" του μεταμοντέρνου θεάτρου (post dramatic), αλλά και η υπόστασή του ως πολιτισμική δήλωση, πολιτική υπαγωγή και κοινωνική εμπειρία.
Η μελέτη θα εστιάσει σε μία ιστορική επισκόπηση της περιόδου μέσα στην οποία γεννιέται το έργο μέσω μιας έρευνας για την κοινωνική και θεατρική πραγματικότητα της εποχής. Το μεταδραματικό θέατρο ως “νέος τόπος” και ως “δυναμικός τρόπος” θα αποτελέσει βασικό στοιχείο μελέτης καθώς με έναν τρόπο ορίζει την ταυτότητα και του «Εθνικού Ύμνου».
Τέλος η ίδια η παράσταση, τα κείμενα της, οι αφηγήσεις εμπλεκομένων για αυτή θα μας οδηγήσουν στην πλήρη κατανόηση της καθώς και της σημασίας της ως -κατα κάποιο τρόπο- κοινωνικής αφήγησης.

This study aims to reveal the postdramatic theatricalities in Martin Crimp's Whole Blue Sky (2005). Martin Crimp has been one of the most prolific, controversial and satirical playwrights since his plays were first staged in British theatres in the late 1980s. While his early plays evoke the absurdist tradition, his later plays emphasize innovative theatrical elements labelled in-yer-face, postdramatic and New Writing. Considering Crimp's wide-ranging body of work, his distinctive theatrical style is clearly recognizable. Although postdramatic theater is usually associated with theater movements that emerged after the 1990s, it dates back to the theater of Bertold Brecht. For this reason, postdramatic debates are briefly discussed in the Introduction. Whole Blue Sky (2005), which is the field of application of this study, is a short play in the collection of Fewer Emergencies (2005) and Face to the Wall (2005). Moreover, the text in question is completely anonymous and consists of three characters numbered 1, 2 and 3. It is known that character 1 is the only female character in the text. In addition, it is seen that the plot and other traditional principles of theatre evaporate in the play. This study presents an evaluation of Crimp's Whole Blue Sky (2005) in terms of postdramatic theatrical features.

Vprašanje ekološke katastrofe, v katero drvi globalna družba, je izredno pereče in se mu sodobno gledališče ne more izogniti. Obenem gre za vprašanje, ki je na videz tako kompleksno, da ga ne moremo do konca razumeti, še manj pa zanj obstajajo jasne rešitve. Razprava raziskuje dva pristopa, ki sledita splošnemu občutku tragičnega oz. resnega in komičnega. Prvi primer je uprizoritev Vročina (premieri 12. 10. 2021 [Ljubljana] in 24. 9. 2021 [Gradec], koprodukcija Slovensko mladinsko gledališče, steirischer herbst '21' Maska Ljubljana, režija Žiga Divjak), pri kateri gre za postdramsko gledališče, ki se teme loteva z obširnim dokumentarnim gradivom. Drugi primer je drama Te igre bo konec Matjaža Zupančiča, ki jo je avtor podnaslovil Učni komad. Zemlji se približuje ogromen meteor, ki bo uničil življenje na planetu. Dramske osebe se različno odzivajo na bližajočo se nevarnost in s tem kažejo svoje značajske lastnosti, predvsem pa celota deluje izrazito komično, saj v tem skrajnem položaju padejo siceršnje družbene maske. Razprava pokaže, da oba primera aktivirata bralca/gledalca, a Zupančičev tekst s svojo komičnostjo prinaša komično katarzo, kar sprosti občutek brezizhodnosti položaja, v katerem smo se znašli.

Abstract. Introduction: This article explores the crisis or adaptation, as the case may be, of some dramatic terms and concepts through 21st century stage and dramaturgy in the culture of postmodernity. Among them are fable, which denotes plot and compositional organization, and mimesis, also called mimetic illusion. Methodology: the analytical-synthetic method is applied: to begin with, a decomposition of the plays into their constituent parts is carried out, and then the common features are synthesized in order to draw relevant conclusions. Results and Conclusions: The results and conclusions validate the non-formal performative model, proposed in the theoretical framework, in their comparison and analysis with the theatrical plays of the most representative authors of the European continent. Discussion: Within the event, the crisis of fable and mimesis induces dissonances due to a new logic of meaning. It is a question of seeing to what extent the reality of these plays meets the proposed model made up as a result of personal philosophical and dramatic research or of one's own and others' experience in the field of dramaturgical management and other signs of the stage.

The English theatre, its inception, and progressive evolution has been an exciting field of study in English literature. It has effectively caught the attention and imagination of readers and scholars alike. It represents an arena where various issues, historical events, and motifs collide and merge. Its long tradition has evolved from and traversed through the medieval miracle, mystery, and morality plays to the most experimental theatrical forms of the 20th century. As the experimentation grew more vigorously in the later years of the 20th century, many dramatic theatres appeared, including the Epic Theatre, the Theatre of Cruelty, and the Theatre of Oppressed, etc. All these theatres discarded conventional dramatic representation, and the playwrights began to write plays that dealt more with the actual circumstances of society, which frequently startled the audience and readers. The performance of these plays forced the audience to reflect critically and objectively on the challenges facing society. It brought in a distancing effect and put a kibosh on the audience's emotional attachment to the characters. Another such theatre to hammer the supposed passivity of the audience developed in 1990s London, namely, the In-yer-face Theatre, which was established through the plays of Sarah Kane, Mark Ravenhill, and Anthony Nielson, etc. Plays in this theatre portrayed taboo subjects such as frightening situations, unfathomable brutality, blatant sexual misconduct, drug addiction, mental health issues, misogyny, explicit language, etc. In this context, this article aims to evaluate one of the plays written by Sarah Kane, Blasted, to illustrate how she presented violence and how, in general, the techniques of In-yer-face Theater are put into practice.

En este breve ensayo se señala la composición de dos figuras retóricas en la puesta en escena de Pequeña Pamela (Mariana Chaud, 2022) a partir de una articulación de procedimientos teatrales posdramáticos que se nutren de una mirada cargada de barroquismo. Distinguimos, así, que en escena el lenguaje llega a figurarse como una paradoja, mientras que el cuerpo lo hace a modo de un quiasmo.

Se evidenciará la pluralidad del texto teatral en tono posdramático a partir de la comparación de una selección de textos de Rodrigo García y Sergio Blanco siguiendo el método inductivo incompleto. Debido a la variada relación con la escena del texto en lo posdramático, una descripción excluyente que no admita las múltiples ramificaciones o expresiones puede afectar coercitivamente tanto a su tratamiento investigador como creador. Por ello, ampliando los conceptos de Hans-Thies Lehmann sobre el texto posdramático y aplicando la denominación de la estética en tono posdramático de Fernanda del Monte Martínez, se analizan textos teatrales de dos autores con diferencias notables tanto en su escritura como en sus puestas en escena, con el fin de demostrar su aspecto liminal por la falta de uniformidad entre sus propuestas y, de este modo, la amplitud del adjetivo que a los dos dramaturgos aúna.
Palabras clave: Teatro posdramático. Texto teatral. Teatro en lengua española.

najchętniej przywoływany jest przez historyków literatury i teatru w kontekście dramaturgii Stanisława Wyspiańskiego. Niewątpliwie, autor Atlantydy był pod dużym urokiem jego wyobraźni twórczej. A ponieważ Wyspiański pozostawał pod wpływem dramatu symbolicznego Maurice'a Maeterlincka, warto skonfrontować utwory Leszczyńskiego bezpośrednio z dziełami belgijskiego pisarza. Już wstępny ogląd dorobku scenicznego obydwu twórców (Leszczyńskiego i Maeterlincka) poświadcza, że polski dramaturg zaadaptował najbardziej charakterystyczne dla autora Wnętrza mechanizmy kreacji elementów świata przedstawionego.

najchętniej przywoływany jest przez historyków literatury i teatru w kontekście dramaturgii Stanisława Wyspiańskiego. Niewątpliwie, autor Atlantydy był pod dużym urokiem jego wyobraźni twórczej. A ponieważ Wyspiański pozostawał pod wpływem dramatu symbolicznego Maurice'a Maeterlincka, warto skonfrontować utwory Leszczyńskiego bezpośrednio z dziełami belgijskiego pisarza. Już wstępny ogląd dorobku scenicznego obydwu twórców (Leszczyńskiego i Maeterlincka) poświadcza, że polski dramaturg zaadaptował najbardziej charakterystyczne dla autora Wnętrza mechanizmy kreacji elementów świata przedstawionego.

Analisis teater postdramatik dalam Pertunjukkan Colectivo JAT yang berjudul "Bulldog," merupakan pertunjukan teater tanpa kata yang mengandalkan gerak, gestur, dan bahasa tubuh sebagai ekspresi utama. Pertunjukan ini menampilkan simbolisasi melalui gerak dan gestur para tokohnya, dengan menggunakan metode kualitatif. Teori pendekatan yang digunakan adalah Hans-Thies Lehmann,dinamakan sebagai 'teater postdramatik' ini memiliki beberapa modus, yakni: (1) tanpa teks lakon sama sekali; (2) mengambil teks lakon sekadar sebagai inspirasi; (3) mengambil teks lakon sebagai 'kutipan,' yang digabungkan dengan 'kutipan' yang lain; dan (4) menjadikan teks lakon sebagai tesis yang diantitesiskan.

In questo studio ci proponiamo di esplorare la definizione di "politico" nel teatro, applicandola all'intero percorso della compagnia italiana di teatro sperimentale Motus. L'ipotesi e rinvenire nell'opera del gruppo la "politicita" insita in vari livelli della sua produzione: in primis quello organizzativo, esplorato sin dal debutto nella scena contemporanea, in cui la definiamo insieme ad altri gruppi delle sua generazione come "isole nella rete", fino alla recente occupazione di spazi come il teatro Valle a Roma e Macao a Milano. Nel primo segmento d'analisi esploreremo le opere degli esordi (1995-2002), caratterizzati da una forte ricerca sul linguaggio e dal rifiuto della dimensione mimetica: questa messa in discussione della poetica aristotelica rappresenta la cifra politica della prima fase indagata. La seconda e caratterizzata da istanze dove il discorso politico si fa piu esplicito: dal progetto Pasolini alla rilettura del mito ...

While the emergence of new forms of performance writing in the 1960s and 1970s did not eliminate traditional forms of drama, they radically transformed the role of textuality in the theatre. This article argues that when liberated from the rules of dramatic writing and even syntax and grammar, performance writing brings an illocationary logic into textual production. The article concludes with a preliminary consideration of differences between experimental writing strategies and the latest text-generating AI.

The present paper tends to analyze the procedure of intersemiotic translation of ancient myth of Phaedra, in its written version by Euripides (Hippolytus), into the contemporary stage production of Phaedra by Maja Kleczewska. The analysis of the performance is preceded by the extended introduction regarding reception of myth in general, and reception of Phaedra myth in particular. In this context, theories of Hans Blumenberg and Gilbert Durand are recalled in order to establish the understanding of myth's transformation. Myth of Phaedra is scrutinized diachronically and synchronically within the background of Maurice Merleau-Ponty's idea of body and sexuality. The theatre production is explored with reference to its textual basis (Euripides, Seneca, Tasnádi, Enquist) on the one hand, and in relation to the contemporary theories of actor's body (Erika Fischer-Lichte, Hans-Thies Lehmann). The overarching goal of the paper is to analyze the procedure of intersemiotic translation of the mythical core of Phaedra myth (defined in terms of body) into actor's body on stage (defined in its phenomenology).

The French Theatre of Horror ein faszinierendes Werk über das Pariser Theater in der Rue Chaptal-mittlerweile in dritter Auflage. Nun haben die Autoren dem Ableger des französischen Grand Guignol in England eine Studie gewidmet und damit eine weitere Lücke in der Theatergeschichte geschlossen. Grand Guignol, das französische Theater des Schreckens, existierte in Paris als Theaterhaus von 1897 bis 1962. Wie Hand und Wilson in ihrem ersten Band zeigen, handelt es sich um eine Form des Gesamtkunstwerks aus Theaterraum, Inszenierung des Theatererlebnisses, den verschiedenen Stücken, Einaktern, und ihrer Abfolge, der Leistung des Schauspielerensembles wie auch des technischen Personals, die für die Spezialeffekte sorgten. Daneben bezeichnet ‚Grand Guignol' auch ein Genre: Der Inhalt der Stücke greift neue psychologische Erkenntnisse in Kriminologie, Studien anormalen Verhaltens und kollektive Phobien auf; es werden geheime Sehnsüchte und Ängste auf die Bühne gebracht, unterdrückte Impulse kommen an die Oberfläche. Darstellungen von Sexualität und Gewalt machen das Hauptfaszinosum des Genres aus. Gezeigt werden extreme Formen menschlichen Verhaltens und die Bestrafung derjenigen, die die Tabus der Gesellschaft-Ehebruch, Inzest, Mord-brechen. Das Grand Guignol in Paris war kommerziell sehr erfolgreich, zwischen 1905 und 1940 wurde es sogar in Reiseführern als internationale Touristenattraktion aufgeführt. Trotz des Einflusses, den es auf andere Medien, insbesondere auf den Film (Horrorfilm und psychologischer Thriller) ausgeübt hat, ist es heute selbst in der Theaterwissenschaft nahezu vergessen. Wie die Autoren anhand mehrerer Beispiele illustrieren, bestand ein typischer Grand Guignol-Abend aus einem Programm mehrerer Einakter. Die Stücke stünden deutlich in der Tradition des Naturalismus, dargestellt würden häufig Szenen aus dem Leben der Unterklasse, moralische Konflikte und groteske Zufälle, durch Humor und Ironie weiter zugespitzt. Die Abfolge der Stücke kreiere ein emotionales Wechselbad aus schlüpfrigen Komödien und Dramen, wodurch der Effekt des letzten Stückes gesteigert werde: Den Höhepunkt des Abends bilde ein besonders schockierendes oder blutrünstiges Drama. ‚Grand Guignol' stehe für die Darstellung extremer Gewalt auf der Bühne, so gesteigert, dass sie nahezu ins Komische kippe. Unverzichtbare Elemente dabei seien neben der Schauspielerleistung ausgefeilte Tricks und Bühnentech-brought to you by CORE View metadata, citation and similar papers at core.ac.uk

Mity stale ewoluują i podlegają transferowi, w ten sposób przekraczają linię podziału między epokami, obszarami geokulturowymi i gatunkami sztuki. Ten dynamiczny system symboli, archetypów, obrazów i schematów został zintegrowany przez kulturę i stymuluje twórczość artystyczną w XXI wieku. Ma to miejsce także w przypadku dramatopisarzy i realizatorów scenicznych aktywnych w krajach byłej Jugosławii. Na uwagę zasługują przykłady szczególnego przetworzenia mitów autorstwa Ivany Sajko (Chorwacja), Ljubomira Ðurkovicia (Czarnogóra) i Jetona Neziraja (Kosowo). W wyniku strategii takich jak m.in. prefiguracja, transpozycja i reinterpretacja dochodzi do konfrontacji treści antycznych i nowoczesnych oraz do wytworzenia się nowej jakości. Spektakle teatralne, które powstają na podstawie tych tekstów są kolejnym przykładem transferu i transformacji w zależności od okoliczności performatywnej ekspozycji. Ponadto, realizacje te mają charakter transgresyjny i wymiar transkulturowy.

was a Polish artist and theater director who directly influenced the conceptual understanding of theater, especially in Argentina following two visits to Buenos Aires with his troupe Cricot 2 in the 1980s. He exerted a particularly strong influence on the Periférico de Objetos [The Periphery of Objects], a troupe founded in Buenos Aires in 1989 by Daniel Veronese, Ana Alvarado and Emilio García Wehbi, labelled by critics as "the Argentine theatre of the image". Despite radically different socio-cultural contexts, elements arising from Kantor's theater practices (especially his idea of the "poor object" and his concept of "reality of the lowest rank") acquired distinctly different meanings in Latin America from those coined by Kantor. A nuanced examination of the Periférico de Objetos indicates that Kantor's concepts, which in their original context resisted politicization, played an important role in the creation of a socially and politically engaged theatre. His concepts, adapted to local realities by the Periférico de Objetos, were reflected in debates surrounding the recent Argentinian past, most notably, the post-dictatorship period.

While the science of anthropology, which was defined as the "study" of the "undeveloped" by the Westerner until the 21st century, today gain a new meaning and it is accepted as the effort of different cultures to understand / agree with each other. Although this change of anthropological approach is based on the acceptance that Western and non-Western cultures are equal, the situation has not changed in many other areas that study with anthropology. During a long time this pre-acceptance has concretely manifested itself in every field related to anthropology. The art of theater, which was associated with anthropology through contemporary researchers and innovative practitioners in the 20th century, has also been involved in discussions by experiencing these processes. Theater researchers such as Artaud, Grotowski, Barba and Peter Brook, while carrying out their search in the art of theater through the science of anthropology, could not escape from this trap. When representation crisis occurs it can be said that the tendency of returning to its source for become stronger is focus of anthropological studies. This study aims to debate the relationship between theater and anthropology, from representation to experience, in this way, to rethink the relationship between social sciences and art. This study aims to reach a conclusion about today's theater by not interpreting Eugenio Barba's theatrical anthropology studies through the idea of contemporary theater through the concepts of interculturalism and the barter. As a result, the desire to keep warm the connection between act and life has urged the art of theater to confront its roots in every period. The relationship of the truth and the act, was knitting up in some eras, has also started to break off in some eras. The art of theater has preferred to use the return to essence as a functional tool in its struggle for existence against technocultural developments.

have interviewed 16 agents involved in designing inclusive artistic communities, festivals, empowering art, cultural critique, and innovation of creative interdisciplinary arts practices. Out of the 16 agents, at least six has their own artistic careers besides their curatorial functions. The agents are moreover from nine different countries spread across the continents to present a diversified global perspective. In their short introductory essay, Eckersall and Ferdman presents the central observation of how contemporary art look for possible new intersections in arrangement and dissemination between visual art, performance and theatre. The past 30 years have seen visuality and theatricality in mutual and fruitful collaboration creating new poetics. The next step in this development includes the programming of festivals, museums, art galleries, and performing art spaces where contemporary art is presented to an audience. The need for museums to rethink their exhibition strategies for visual art and for the performance art to consider new dramaturgical forms that includes audiences in participation or immersion is seen as possibility for extraordinary exchanges between the two fields of a "performative turn in museums and galleries" and a manifest "interest in visuality in contemporary arts practices" (p.5). The interviews are all conducted prior to the Covid-19 pandemic. The book is one amongst many contributing to the expanding concept of curating. A survey of articles and books from the last ten years show us how curation has been adopted by e.g. music, opera, art, dance, performance, and theatre. This tendency may be seen as a reaction towards the diminishing social importance of art in the broad sense in contemporary societies. As part of their introduction, Eckersall and Ferdman have chosen to select and present a set of 26 keywords derived from the interviews as a generative way of thinking. When Raymond Williams in 1976 published his 'keywords' they were built upon a lifelong work on cultural theory. Thus the book functioned partly as an index to his thinking, but it also provided the reader with an almost rhizomatic experience, where words were nodes connected to a multitude of supplementary words. Whenever a selection is made, a structure appears (unless randomness is strived for). Therefore, one might look for the structures that emerges in the selected keywords. I suggest that one of the structures may be visible by showing how four of the chosen keywords (in the following marked by cursiv/bold) refer to a trope common to many contemporary art poetics and to the thoughts of Chantal Mouffe. Let me try to illustrate this by referring to two of the finest interviews one with Gurur Ertem and one with Florian Malzacher.

TR // Konvansiyonel Batı tiyatrosunun merkezinde Aristotelesçi konvansiyona
özgü mevcudiyet (presence) nosyonu bulunur. Çağdaş tiyatro ise metin merkezli Batı tiyatrosunun mevcudiyet nosyonunu tersinleyen bir yönelimle, bir namevcudiyet (absence) estetiği önermektedir. Çağdaş tiyatronun özellikle 1990’lı yıllardan itibaren benimsediği bu estetik model, dijital dramaturjiler ekseninde kurulan güncel yapımlarda da çeşitli biçimleriyle karşımıza çıkar. Alman tiyatro ekibi Rimini Protokoll, çok sayıdaki deneysel dramaturjik yaklaşımıyla namevcudiyete dayalı karşı-teatral bir estetik sunmaktadır. Çalışmada, Rimini Protokoll’ün 2018 tarihli Unheimliches Tal / Uncanny Valley (Tekinsiz Vadi) isimli yapımı, insan-oyuncuyu merkezden kaldırarak yerine animatronik bir robot koyması bakımından incelenmiştir. Dijital tiyatronun en çarpıcı örneklerinden biri olarak öne çıkan bu yapım, insan-oyuncunun sahnedeki varlığını animatronik bir kopyayla silmekte, varlıkla yokluk eşiğinde tekinsiz bir teatrallik önermektedir. Söz konusu bu teatralliğin nasıl bir yerden kurulduğunu anlayabilmek adına, makalenin giriş bölümünde tekinsizlik kavramı, yapıma adını veren “tekinsiz vadi” metaforu üzerinden ele alınmıştır. Akabinde, tiyatro ve tekinsizlik nosyonuna ilişkin akademik literatür, özellikle hayalet metaforuna odaklanarak aktarılmıştır. Bu aşamada, çağdaş tiyatro estetiğini ve dolayısıyla teorisini büyük ölçüde etkileyen isimlerden Jacques Derrida’nın Batı tiyatrosu üzerine görüşleri, düşünürün bulunuş metafiziği, söz-merkezlilik (logocentrism) ve hayalet-bilim (hauntology) kavramlarına odaklanarak serimlenmiştir. Makalede, Unheimliches Tal / Uncanny Valley, çerçevesi çizilen bu nosyonlar bağlamında değerlendirilmiştir. Makale, söz konusu bu tartışma ekseninde, genelde çağdaş tiyatro ve dijital dramaturjiler odaklı yapımların, özelde Unheimliches Tal / Uncanny Valley oyununun nasıl bir teatrallik önerdiği sorusuna odaklanarak noktalanmıştır.

EN // Conventional Western theatre is based on the Aristotelian notion of presence. Contemporary theatre, however, proposes an aesthetic of absence. Its orientation differs from the notion of presence found in text-centred Western theatre. This aesthetic model, adopted by contemporary theatre since the 1990s, also appears in various forms in current productions based on digital dramaturgies. Rimini Protokoll, a German theatre company with many experimental approaches, presents an anti-theatrical aesthetic based on absence. This study analyses Rimini Protokoll’s 2018 Unheimliches Tal / Uncanny Valley in terms of removing the human actor from the centre and replacing him with an animatronic robot. This production, which stands out as one of the most striking examples of digital theatre, erases the presence of the human actor on stage with an animatronic copy, proposing an uncanny theatricality that oscillates between presence and absence. To understand how this theatricality is constructed, the concept of the uncanny is analysed in the introductory part of the article through the metaphor of the “uncanny valley.” Subsequently, the academic literature on theatre and the notion of the uncanny is presented, with a particular focus on the metaphor of the ghost. The following section presents Jacques Derrida’s views on Western theatre, focusing on his concepts of the metaphysics of presence, logocentrism, and hauntology. The article examines Unheimliches Tal / Uncanny Valley in the context of those concepts and then concludes with a consideration of the theatricality of this production in relation to contemporary theatre productions and digital dramaturgies.

Alterität auf die Bühne zu bringen ist, gerade im Kontext Dis/ability, ein zweischneidiges Schwert: Einerseits können sog. "andere" Bedürfnisse erst dann gesellschaftlich Relevanz entfalten, wenn diese offenbar sind. Andererseits kann das damit verbundene Label des "Anderen" Teil von Stigmatisierung und Ausgrenzung sein. Der Artikel geht dieser Ambivalenz entlang der Rimini-Protokoll-Produktion Chinchilla Arschloch, waswas nach und skizziert Alterität als hilfreiche Analysekategorie. Wenn Alterität, grob umrissen, eine Erfahrung von Fremdheit und Andersheit meint, 1 lässt sich trefflich fragen, wie eine solche Kategorie, bei der eine Polarität zwischen fremd und eigen, anders und normal stets mitgedacht ist, überhaupt nützlich sein kann für die Thematisierung und Inszenierung von (Post)Inklusion. Dieser Artikel möchte dieser Frage am Beispiel der Performance Chinchilla Arschloch, waswas von Rimini Protokoll 2 nachgehen. Zunächst wird beschrieben, wie einige Formen von Andersheit in der Performance in Szene gesetzt werden und welche Setzungen

Pred nedavnim me je razveselila reprodukcija Fragonardove slike z naslovom Le Chiff re d'amour iz londonske Wallace Collection: ljubek, napol v senco potopljen deklič, ki v drevesno deblo z vso resnobo vrezuje enigmo svojega srca. Glej, tudi to je manu propria, sem si rekla. Še ena Fragonardova alegorija ljubezni. In Fragonard je bil velik mojster takih alegorij, njegove slike so polne skušnjav, zmotijo in zamotijo gledalca, zato je sledilo vprašanje: Ali se ta ljubezenska enigma vsebinsko povezuje s slikarjem, z naročnikom slike, z lastnikom ali kar z zaljubljeno mladenko samo? Na prvi pogled je bilo videti, da je na deblu ostal obris polovice srca, pobližji vpogled pa razkrije, da je na deblu slikarjeva inicialka. Usločena črta, ki vara oko, kot da gre za polovico srca, je v resnici »f«, Fragonard. Zapeljujoča poteza z dvojnim pomenom. Slikar je črki, temu povednemu grafi čnemu znamenju, namenil prav sredino slike in jo postavil na skrivnostno zamegljeno polje, ki je presečišče svetlobnih kontrastov. Hkrati pa je subvertiral individualnost svojega avtorskega podpisa, ko je dejanje umetnikove potrditve, da je naslikana umetnina njegovo delo, prestavil v roko zaljubljene deklice.

The article attempts to trace the influence of German drama and theatre on the theatrical thought and practice of the Ukrainian director Les Kurbas. His writings provide much evidence that he was very well versed in contemporary German drama and theatre. Using this knowledge, however, he wanted to transform it into his own stage solutions. Kurbas's artistic independence was shown using the comparative method. The performance of King Oedipus directed by Max Reinhardt and Kurbas is compared. The basic materials come from the extensive edition of Les Kurbas's theatrical writings in Polish. 1

In 2012 he obtained his doctoral degree at Ghent University with a dissertation entitled Verknoopte tijd, verfrommelde geschiedenis (Entangled Time, Crumpled History). Inspired by the philosophy of history of Walter Benjamin, this research dealt with the politics of memory of performative strategies (re-enactment, historical montage, testimony) in historic and contemporary (cultural) performance. He publishes on these themes. Besides his academic research, he has been a theory coach at the dance school P.A.R.T.S. (Brussels, since 2012), a freelance editor and is the content coordinator of the Master in Drama at KASK / School of arts. Edith Cassiers obtained a Bachelor in Dutch-Theater, Film and Literature Studies and a Masters degree in Theater and Film Studies at the University of Antwerp. In 2010, she worked as an assistant-dramaturge for Jan Fabre within the production of Prometheus Landscape II. Since 2011 she has been working as a theater scientist for Laboratorium/Troubleyn, studying artistic methodologies of the performer of the twenty-first century, including the acting method of Jan Fabre. Currently, she is a fellow of the Research Foundation Flanders (FWO) and preparing a PhD within the project 'The Didascalic Imagination' about contemporary theatrical notebooks. Thomas Crombez studied Philosophy at the Vrije Universiteit Brussel and Theatre Studies at the Universiteit Antwerpen. He obtained his doctorate with a dissertation on 'The Antitheatre of Antonin Artaud: An examination of aesthetic transgression, applied to the contemporary theatre' (2006). He is currently teaching at the Koninklijke Academie voor Schone Kunst in Antwerp (Royal Academy of Fine Arts) and at Sint Lucas Antwerpen. Current courses include Philosophy of Art, Theatre History, and Performance and Avant-garde. See: www.zombrec.be. Luk Van den Dries studied Germanic Philology at the University of Brussels and started his academic career in 1980 with a research fellowship at the University of Brussels. In 1991 he obtained his PhD on The Performance History of Heiner Müller in Belgium and was appointed as an assistant Professor at the University of Antwerp. Currently he is Professor of Theatre Studies at the University of Antwerp (Belgium) and head of the department of Literature. His major work on the corpus of the Flemish artist Jan Fabre (Imschoot, 2004), has been translated into seven languages. He is the author of several books and articles investigating the development of theatre in Flanders and the Netherlands. He is the co-supervisor of the FWO-supported research project The Didascalic Imagination.

In questo studio ci proponiamo di esplorare la definizione di “politico” nel teatro, applicandola all'intero percorso della compagnia italiana di teatro sperimentale Motus. L'ipotesi è rinvenire nell'opera del gruppo la “politicità” insita in vari livelli della sua produzione: in primis quello organizzativo, esplorato sin dal debutto nella scena contemporanea, in cui la definiamo insieme ad altri gruppi delle sua generazione come “isole nella rete”, fino alla recente occupazione di spazi come il teatro Valle a Roma e Macao a Milano. Nel primo segmento d'analisi esploreremo le opere degli esordi (1995-2002), caratterizzati da una forte ricerca sul linguaggio e dal rifiuto della dimensione mimetica: questa messa in discussione della poetica aristotelica rappresenta la cifra politica della prima fase indagata. La seconda è caratterizzata da istanze dove il discorso politico si fa più esplicito: dal progetto Pasolini alla rilettura del mito di Antigone, l'elemento ideologico ed il tema della Rivolta emergono con preponderanza, contribuendo a definire la compagnia dentro gli schemi di quello che definiremo come “terrorismo poetico”.

O dossiê História e Literatura abordagens e diálogos que tivemos o prazer de organizar, e a responsabilidade de apresentar aos leitores da Fênix-Revista de História e Estudos Culturais-reúne escritos de pesquisadores que atuam nas regiões norte e sudeste do Brasil e que tem realizado esforços em um campo muito debatido no interior do campo acadêmico, mas, relativamente ainda pouco praticado: a interlocução interdisciplinar. O elemento aglutinador dos trabalhos que ora apresentamos é a relação entre História e Literatura e os artigos revelam uma preocupação dos autores com os elementos estéticos do campo literário enquanto dispositivos mediadores de tal relação, o que, em última instância, revela os intrincados caminhos entre "realidade e ficção". Contemporaneamente, a narrativa histórica como parte de um mundo imaginado não é uma concepção que cause estranheza à maioria dos historiadores. Um diálogo profícuo vem sendo realizado entre historiadores e especialistas em Litera...

This study aims to map out the anatomy of the idea of ‘performance’ which Richard Schechner begins to dwell upon in detail following the 1970s with the linking he makes to anthropology and which he puts forward as a new paradigm. In doing so it utilises the concept of the liminal, borrowed by Schechner from Victor Turner, an anthropologist he spent time working together with. The connection Schechner draws with the social sciences in general and anthropology in particular, not only changes the perception of performance, but ensures a new way of looking at the relationship between ritual and theatre, and concepts such as culture and play. The theatre work Schechner began in the heated social climate of the late 1950s USA shifted largely to performance research studies after the 1980s. Schechner approached the relationship between theatre and anthropology from different perspectives, and instead of reading performance within the frame of theatre, he read theatre within the frame of performance. Performance, which Schechner views as an inclusive paradigm, enables correlations such as nature-culture and art-life to be read from different perspectives. Fundamentally, Schechner’s thought positions itself in opposition to the Western, Anglo-American centred ruling culture and its ideas of restrictions and classifications; a place where ‘intersections, interactions, ambiguity’ is praised alongside liminality.
Keywords: Performance, anthropology, theatre, culture, play, liminal.

L'art se distingue de la science en ce qu'il se cherche une figure à visage humain, à l'échelle d'une temporalité régie par nos sens et nos émotions. D'un côté la science impose un modèle; de l'autre, le «vieil homme» palpite encore, oeuvrant à un «savoir» qui le piège, avançant plus vite que sa propre faculté d'intégrer les concepts qu'il place en avant. de la science et du théâtre comme expériences La démarche scientifique passe le plus souvent par une phase d'intuition ou de conceptualisation théorique qui, déjà, «entre-voie» le tangible d'un effet physique, donc observable. Cet éclair, suivi de ratages et de doutes, raffine par une suite d'improvisations programmées des rencontres d'éléments, des modifications de propriétés, des transmutations d'identités. Il y a du spectaculaire dans l'observation, du theatron, du ce-qui-se-voit, de la crainte et de la tentation. L'observation expérimentale est un work-in-progress agrémenté de hasards heureux et de faillites. La science comme le théâtre confirment, dans les coulisses de leurs laboratoires, une vérité jeune et fragile, une hypothèse, un dire en marche, dont l'expérimentateur et ses assistants tirent en retour quelques nouvelles définitions fragmentaires du réel. Arts et sciences, de nos jours, ont leurs show cases, en attente de l'approbation de censeurs, d'académiciens, de critiques et d'hommes Six Public Acts to Transmute Violence Into Concord Ceremonies and Processions. Introduction to the Legacy Cain. Spectacle du Living Theatre en 1975. Photo : Ron Blanchette.

Wstęp W wyniku "debaty wyobrażeniowej" (zreasumowanej przez Cohena 1996) w badaniach kognitywnych można było zrezygnować z propozycjonalnych (opartych na sądach) modeli obrazowania mentalnego na rzecz znacznie efektywniejszych teorii wyobrażeniowych, postulujących korelację z reprezentacjami obrazowymi. Ten kierunek obrali George Lakoff i Mark Johnson, którzy w 1999 roku największe odkrycia kognitywizmu ujęli w trzech tezach: Umysł jest z natury ucieleśniony. Myślenie jest w przeważającej części nieświadome. Pojęcia abstrakcyjne są najczęściej metaforami [Lakoff, Johnson 1999a: 25]. Ich koncepcja "filozofii w ciele" ustanawia bezpośrednią korespondencję między kognitywizmem a fenomenologią, szczególnie fenomenologią percepcji Maurice'a Merleau-Ponty'ego, w której twierdzeniach rozpoznali korzenie swojej koncepcji "ucieleśnionego umysłu" [Lakoff, Johnson 1999b: xi] 1. Jedną z ważniejszych konsekwencji tej korespondencji jest możliwość zintegrowania percepcji i wyobraźni. Na konieczność takiej integracji wskazywał D.L.C. Maclachlan w swojej "filozofii percepcji". Jego zdaniem: ponieważ jesteśmy w zasadzie aktywnymi istotami, których pierwszoplanową troską nie jest kontemplacja świata, lecz jego zmiana, to główna nasza uwaga nie jest skierowana ani na świat teraźniejszości, ani na świat bezpośredniej przeszłości, lecz na świat bezpośredniej przyszłości [Maclachlan 1989: 101]. * * * Zaproponowana w pracy koncepcja kognitywnej antropologii teatru jest efektem wieloletnich badań, których cząstkowe wyniki były poddawane konferencyjnym dyskusjom i ocenom. Niektóre fragmenty "… za pośrednictwem osób działających" były, z reguły w innej redakcji i w innym kontekście, publikowane, co zostało w stosownych miejscach zaznaczone, a wcześniejsze wersje wprowadzone zostały do bibliografii.

Angleška družba v 18. stoletju doživi korenite strukturne in miselne spremembe, ki privedejo v vse globlji prepad med zasebnim in javnim ter potrebo po novem etičnem sistemu. Sentimentalizem in kultura senzibilnosti se oblikujeta kot odziv na moralno stisko vse bolj individualistične družbe – čustvo razumljeno kot moralno občutje postane potencialna družbena vez, ki bi posameznike povezala v senzibilno skupnost. Pričujoča diplomska naloga se poslužuje literarno-sociološkega pristopa, da bi pojasnila vzpon romana ne le kot literarni, temveč tudi družbeni pojav, pogojen s spremenjenim dojemanjem posameznika, njegovega telesa, duhovnosti, zasebnosti, družabnosti, pa tudi z razširjenim potrošništvom in knjižnim trgom. Sentimentalni roman poskuša razumeti kot del širše družbene in etične prenove, ki poviša čustvo v najvišjo moralno avtoriteto. Roman se v 18. stoletju zavestno izoblikuje kot nov žanr svojega časa, ki bo prek identifikacije s krepostnimi junaki(njami) pomagal vzpostaviti o...

Nonviolence resembles the aporetic structure and ambiguity of many works of art or our conceptualization of them. As a term of engagement in the arts, nonviolence is insightful as an operational and comparative concept: operational insofar as it unfolds performative strategies in the arts and comparative insofar as those strategies often resemble the aesthetics of political gestures, e.g., Mahatma Gandhi’s nonviolent approach to political engagement and change. This essay examines the potential of the term nonviolence in three short case studies—three performances by Akira Takayama (McDonald’s Radio University, 2017), Kandis Williams (Eurydice, Orpheus, and the Maenads, 2019) and Petr Pavlensky (Lightning, 2017).

delatripa 74 / septiembre 2023 / Migración: patria es donde estoy

Editada en Matamoros, Tamaulipas. Revista de Circulación Mensual. Dirigida por: Adán Echeverría.
Editora: Sandra Galarza Chacón // Colaboraciones a [email protected]
Consejo Editorial: Javier Paredes Chi,
Cristina Leirana, Roberto Cardozo, Rocío Prieto Valdivia, Mario Pineda Quintal, Larissa Calderón y J.R. Spinoza.