Academic literature on the topic 'Dramaturgic perspective'
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Journal articles on the topic "Dramaturgic perspective"
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Babcock, Mary K. "The dramaturgic perspective: Implications for the study of person perception." European Journal of Social Psychology 19, no. 4 (July 1989): 297–309. http://dx.doi.org/10.1002/ejsp.2420190404.
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Ibarretxe-Antuñano, Iraide. "Basque ideophones from a typological perspective." Canadian Journal of Linguistics/Revue canadienne de linguistique 62, no. 2 (March 15, 2017): 196–220. http://dx.doi.org/10.1017/cnj.2017.8.
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AbstractIdeophones are described as expressive marked linguistic units with a dramaturgic depictive function. Although commonly regarded in traditional general linguistics as rare and marginal, recent research on this topic has shown that these elements are pervasive in all languages and that they might share some linguistic characteristics across languages. This article analyses Basque ideophones from a typological perspective. The main goal is to describe the structure, meaning and function of Basque ideophones and to discuss how the Basque ideophonic system fits into the cross-linguistic characterisation of these linguistic units.
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Hovik, Lise, and Elena Pérez. "Baby Becomings." Nordic Theatre Studies 32, no. 1 (May 31, 2020): 99–120. http://dx.doi.org/10.7146/nts.v32i1.120410.
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The article proposes new concepts of dramaturgical thinking for baby theatre productions. With an arts-based research approach, allowing insiderperspectives of the artmaking process to come forth, the authors, who are the director and dramaturge of the performance Baby Becomings by Teater Fot, discuss different concepts of postdramatic dramaturgical aspects in relation to the work. By adapting Donna Haraway’s theories of sympoiesis and science art worldings as a theoretical framework, the article explores how Haraway’s philosophy serves both as artistic inspiration and provides new concepts for dramaturgical reflection. The authors ask how posthumanist and sympoietic perspectives connect to postdramatic dramaturgy and wish to propose a posthumanist dramaturgy of sympoietic worlding in theatre for babies.
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Rosengren, Calle. "Performing work: The drama of everyday working life." Time & Society 28, no. 2 (December 11, 2015): 613–33. http://dx.doi.org/10.1177/0961463x15620983.
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In this article, a perspective on work time patterns is outlined; a perspective that emphasizes the importance of observing how work time is subject not only to task and contract agreements but also to social norms and individual needs to express identity. The article takes its starting point in Goffman's dramaturgic approach. From this perspective, the workplace is viewed as a stage where a satisfactory work performance is judged not by the actual work performance but by the performance of work; or rather, perhaps, by how a morally good working day is enacted through text, words, and gestures. Depending on social context work, time patterns can be seen as an expression of commitment, dedication, professionalism, and masculinity. The article concludes with a discussion on the potential implications of these issues regarding stress and health, as well as the possibilities of participation in the labor market under equal conditions.
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Molinari, Renata M., Eduardo De Paula, and Maurício Paroni De Castro. "PENTESILÉIA E O PROJETO AMAZONAS." Revista Rascunhos - Caminhos da Pesquisa em Artes Cênicas 6, no. 1 (March 28, 2019): 119–29. http://dx.doi.org/10.14393/rr-v6n1-2019-07.
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Título: Pentesiléia e o Projeto Amazonas: duplo olhar para uma dramaturgia – [com] Um fragmento de diálogo à distância com Thierry Salmon
Resumo: Escrito a partir dos registros observados em seu caderno de anotações, este texto funciona como um memorial lacunar das ações criativas empreendidas durante os processos de criações dramatúrgico e espetacular de “O assalto ao céu”. O texto é acompanhado por um fragmento de diálogo com Thierry Salmon, que deixa alguns rastros sobre as questões norteadoras de seus interesses artísticos.
Palavras-chave: Thierry Salmon, Renata Molinari, Dramaturgia, Encenação, Teatro.
Titolo: Pentesilea e il Progetto Amazzone: doppio sguardo per una drammaturgia – con un frammento di dialogo a distanza con Thierry Salmon
Riassunto: Scritto a partire dalle annotazioni sul proprio taccuino di lavoro, questo testo si presenta come una traccia frammentata delle azioni creative messe in moto durante il percorso di creazione drammaturgica e spettacolare de L’assalto al cielo. Il testo è seguito di un frammento di conversazione con Thierry Salmon, che coglie alcuni spunti sulle questioni di fondo legate alle sue scelte artistiche.
Parole chiave: Thierry Salmon, Renata Molinari, Dramaturgia, Regia, Teatro.
Title: Penthesilea and the Amazon Project: dual perspective on a dramaturgy[with] a fragment of a distance dialogue with Thierry Salmon
Abstract: Written from the records observed in his notebook, this text works as ‘lacunar memorial’ of the creative actions undertaken during the dramaturgical and staging processes of “The assault on the sky”. The text is accompanied by a fragment of dialogue with Thierry Salmon, which leaves some clues on questions concerning his artistic interests.
Keywords: Thierry Salmon, Renata Molinari, Dramaturgy, Staging, Theatre.
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Junior, Paulo César Sousa Dos Santos, and Paulo Roberto Santana Furtado. "Afeto: o ciclo do amor em devaneios transversais entre a poética pessoal e a dramaturgia do ator." Arteriais - Revista do Programa de Pós-Gradução em Artes 4, no. 7 (April 23, 2019): 76. http://dx.doi.org/10.18542/arteriais.v4i7.6932.
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ResumoEste artigo é um memorial descritivo do processo de criação da cena “AFETO: amor fervente en(tre) trânsito ordinário” construído como parte da avaliação da disciplina “Dramaturgia do Ator” do curso Licenciatura em Teatro da Universidade Federal do Pará, no ano de 2017. Partimos de atravessamentos sobre os estudos de Gaston Bachelard no livro “A poética do devaneio” e apontamentos do trabalho sobre si presentes na “Dramaturgia Pessoal do Ator” de Wlad Lima, em uma confissão poética, onde o corpo homossexual, do intérprete criador desta cena, expõe suas vivências do ciclo do amor em devaneios transversais entre a poética pessoal e a dramaturgia do ator, desenvolvendo uma escrita autobiográfica narrada da perspectiva das personas criadas durante o processo, entendendo o devaneio poético autobiográfico na criação cênica como um ato necessário de empoderamento de si e resistência.AbstractThis article is a descriptive memorial of the process of creation of the scene “AFETHE: fervent love in (ordinary) transit” constructed as part of the evaluation of the “Dramaturgy of the Actor” course of the Licensed Theater course of the Federal University of Pará, 2017. We start from cross-over on Gaston Bachelard’s studies in the book “The Poetics of Daydreaming” and notes from his work on Wlad Lima’s “Personal Actor’s Dramaturgy” in a poetic confession where the homosexual body of the creative interpreter of this scene, exposes his experiences of the cycle of love in transverse daydreams between the personal poetics and the dramaturgy of the actor, developing an autobiographical writing narrated from the perspective of the people created during the process, understanding the autobiographical poetic reverie in the scenic creation as a necessary act of empowerment and resistance.
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Rodrigues, Eder. "A frente performática de atuação do dramaturgo na cena contemporânea." Pitágoras 500 8, no. 1 (June 22, 2018): 47–58. http://dx.doi.org/10.20396/pita.v8i1.8651374.
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Este artigo analisa a aproximação dos campos da dramaturgia e da performance, mobilizando apontamentos em torno dos territórios e das fronteiras de suas bases epistemológicas e processuais. A discussão teórica parte de Richard Schechner, Erika Fischer-Lichte, Renato Cohen, Denise Pedron e Ana Pais, com foco na investigação sobre como os desdobramentos dos princípios da performance contaminam o pensamento e a práxis da escrita para o palco. Nessa perspectiva, discute-se o redimensionamento do trabalho do dramaturgo e seu papel simbólico na gênese criativa, principalmente quando sua atuação incorpora uma frente performática e a dramaturgia passa a ser entendida como campo expandido.
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Broze, Yuri. "Commentary on Frieler, Pfleiderer, Abeßer, and Zaddach's "Telling a Story"." Empirical Musicology Review 11, no. 1 (July 8, 2016): 83. http://dx.doi.org/10.18061/emr.v11i1.5308.
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<p>Theoretical and methodological perspectives are offered. Perceived personal involvement, variety of improvisational tools, and dramaturgy might be attributed to multimodal signals and cues of emotion, implicit learning of motor routines and musical tendency, and deliberate planning on the part of the musician. I give a personal perspective on my experience as an improvising musician, and suggest a sketch of how I imagine improvisation often works. Dramaturgical models meant for iteratively constructed artworks such as plays are likely to be deficient for improvisational artworks in general. Finally, the authors' methodological choices are considered. Both exploratory research and model selection are also driven by implicit hypotheses, so care must be taken to minimize false discovery.</p>
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Rebollo Calzada, Mar. ""Los ojos de la noche" de Paloma Pedrero = "Los ojos de la noche", by Paloma Pedrero." Estudios Humanísticos. Filología, no. 38 (December 20, 2016): 105. http://dx.doi.org/10.18002/ehf.v0i38.3929.
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<em><em></em></em><p>Paloma Pedrero ha sido reconocida como la dramaturga más representada en lo que llevamos de siglo. Los orígenes de su escritura se remontan al último cuarto del siglo XX, cuando aparece en España una nueva generación de dramaturgos que empiezan a escribir en la Democracia. Este artículo aborda un análisis de <em>Los ojos de la noche</em>, pieza emblemática de teatro breve de la dramaturga donde conecta con la sociedad de su tiempo desde una mirada femenina. Se abordan los temas recurrentes de la autora como la soledad, el amor, la ceguera y el triunfo. Y es que la pieza se centra en una mujer madura que supuestamente ha triunfado en el ámbito familiar y profesional como no podría haber soñado ninguna de las dramaturgas del s. XIX, a las que recordamos al principio, pero que evidencia los conflictos y contradicciones entre los valores tradicionales y los nuevos tiempos.</p><p>Paloma Pedrero has been recognized as the playwright more represented in so far this century. The origins of his writing can be traced back to the last quarter of the twentieth century, when displayed in Spain a new generation of playwrights who begin to write in democracy.<br />This article discusses an analysis of Los ojos de la noche emblematic site in teatro breve of the playwright where it connects with the society of his time from a female perspective. Addresses the recurrent themes of the author as the loneliness, the love, the blind nessand the triumph.<br />And that is that the piece focuses on a mature woman who supposedly has triumphed in the family and professional as could not have dreamed of none of the dramaturgas of s. XIX, which we recall at the beginning, but that evidence the conflicts and contradictions between traditional values and the new times.</p>
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Hagström-Ståhl, Kristina. "“almost invisible until now”." Nordic Theatre Studies 31, no. 1 (March 14, 2019): 141–54. http://dx.doi.org/10.7146/nts.v31i1.113013.
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This essay discusses Sophocles’ Antigone in relation to its Hegelian legacy, engaging with the play from a directorial perspective. Drawing on the work of Judith Butler, Anne Carson , Bonnie Honig, Peggy Phelan and Cecilia Sjöholm, I attempt to envision a contemporary mise en scène that repositions feminine subjectivity within the dramaturgy of tragedy. Centering on the relationship between Antigone and Ismene, as well as on the possibility of revaluing Ismene’s position in terms of political and dramaturgical agency, I hope to challenge dramaturgical conventions that assume binary, heteronormative relations as the primary framework of interpretation for female characters, and death and destruction as the only possible outcome for what is positioned as feminine. This resituated reading of the drama examines the function of embodied performance in processes of meaning-making, and offers dramaturgical structure as a site for strategies of resistance.
Dissertations / Theses on the topic "Dramaturgic perspective"
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Arlinder, Robert, and Strandberg Andreas Bundesen. "Elevers roller i det sociala samspelet under mellanmålet : Ett möjligt rum för lärandesituationer." Thesis, Södertörns högskola, Lärarutbildningen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32475.
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The after-school centresdevelopment has shifted from being a workplace to today's after-school centre as part of elementary school curriculum with a central content and purpose. Research in the field is in terms of conversational styles and roles but is not so much linked to the after-school centre'ssnack time. The present study has been intended to distinguish and exemplify the social interaction that is taking place in the after-school centre's snack time. Focus off interest has been how pupils talk and listen to each other and whether it is possible to discover in the conversation whether the conversation can be linked to school skills. Based on Sociocultural perspective on learning as well as Goffman's dramaturgical perspective as a frame, four recorded and observed conversations at two different after-school centres have been analysedwith an abductive approach. The purpose of this work is to identify the learning situations that occur during the after-school centre's snack, as well as describe how the students talk to each other. The roles that emerged in the result were categorized into five qualitatively distinct roles called; the conversation leader, listener, co-driver, clown and expert. The conversation leader is dependent on both the listener and the co-driver while the other roles are more independent of each other. The learning situations that can be linked to school skills are described in a separate section and are highly dependent on the role of the expert. All results are exemplified by direct quotes from the transcribed material.
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Filho, Marcus Borja de Almeida. "Dramaturgies en relation : processus compositionnels d'écriture théâtrale collective. Tendances et perspectives." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA096.
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Cette recherche s’inscrit dans la continuité du travail poursuivi en Master 2 dans cette même université, dont le mémoire, soutenu en 2009, s’intitule « Du théâtre d’après un texte vers le texte d’après un théâtre ; dramaturgie et collectivité ». Son but est de problématiser la dichotomie texte-scène ainsi que la pensée binaire qui persiste encore derrière cette opposition. Pour cela, il s’agira d’interroger l’évolution et les différentes acceptions des concepts de dramaturgie ainsi que les changements qu’ont subi la place et les fonctions du dramaturge au sein de la création théâtrale actuelle. La définition/proposition des termes dramaturgisme et dramaturgiste – aussi bien au sein de l’institution qu’à celui de la création théâtrale – aideront à mieux distinguer ces concepts tout en les relativisant à la lumière des nouvelles manières de concevoir la création dramaturgique et les nouveaux paradigmes relationnels au sein des compagnies depuis une vingtaine d’années. L’idée de composition,tout comme celles de contrepoint et cartographie, nous seront, ici, autant d’outils pour mieux comprendre ces nouveaux territoires dramaturgiques.Il s’agit d’identifier, comparer et analyser les processus structurels et organisationnels de quelques compagnies théâtrales – notamment la création collective et surtout le processus collaboratif, surgi au Brésil dès la seconde moitié des années 1990 – qui,contrairement à la tendance actuelle (vérifiable au cours des vingt dernières années) tournent le dos au texte dramatique préexistant, à savoir le fait d’un auteur dramatique considéré comme tel, et construisent leur propre dramaturgie, issue de l’improvisation, de la recherche immédiate sur le plateau et du travail collectif. La dramaturgie prend ainsi un « troisième sens » qu’il convient de définir et théoriser à l’aide d’exemples concrets et d’un travail de terrain approfondi auprès de metteurs en scène, dramaturges et comédiens qui pratiquent une écriture plurielle et présentielle, sans cesse renouvelée. Quelle place possible pour la création textuelle, affranchie de tout rapport de force ou « dictature de sens » ? À quel point ces nouveaux processus déjouent ou rejouent le binarisme texte-scène ?This research is the continuity of the Master’s work undertaken in this University and moreover of a dissertation defended in 2009 entitled « From Theatre from Text to Text fromTheatre ; dramaturgy and collectivity ». The aim is to question the dichotomy between the text and the stage as well as the generally binary thinking behind it. In order to do so we will inquire into the different pre-established concepts of dramaturgy and their evolution, and the changes in the functions and position of the dramaturge in contemporary theatre. The definition/suggestion of the terms dramaturgism and dramaturgist, in both contexts of theatrical institution and stage creation, will help better distinguish these ideas that we shall place in the perspective of new dramaturgical concepts as well as new paradigms of relationships within theatre companies in the past 20 years. The terms « composition »,« counterpoint » and « cartography » shall help us to understand these new dramaturgical territories.The aim is to identify, analyze and compare the structural and organizational processes (notably collective creation and specifically the collaborative process, as it emerged in Brazil in the second half of the 90’s) of a few theatre companies that (against thecurrent of the last twenty years) have veered away from pre-existing dramaturgical text and the idea of a theatrical author regarded as such, and have constructed their own unique dramaturgy from improvisation, immediate research within the space and the collective work. Dramaturgy is thus given a « third meaning » that needs to be defined and theorized with specific examples and extensive research with directors, dramaturges and actors who practice this present, plural and continuously renewed writing. What space is this where « the invention of writing » can exist free from binary thinking or « dictatorship of meaning » ? To what extent can these new processes redo or undo the dichotomous pair : text and stage ?
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Corradini, Sandra. "Dramaturgia na dança: uma perspectiva coevolutiva entre dança e teatro." reponame:Repositório Institucional da UFBA, 2013. http://www.repositorio.ufba.br/ri/handle/ri/8077.
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Compreender a dramaturgia na dança sob a perspectiva evolutiva implica entendê-la como um pensamento vivo, que se conecta, interage e coevolui numa dinâmica coadpatativa contínua com todas as coisas que existem no ambiente cultural em que ela se inscreve. Mas foi no final dos anos 80 que a dramaturgia começou a ser discutida na dança, evidenciando um processo configurativo de um pensamento dramatúrgico que já no renascimento pode ser observado. Sabe-se que diálogo entre dança e teatro não é recente e também se sabe que a idéia dramaturgia migra do teatro para dança, promovendo discussões acerca do que vem a ser dramaturgia neste campo disciplinar. Este trabalho tem por objetivo compreendê-la como área específica, distinta da dramaturgia teatral, sob uma perspectiva coevolutiva entre dança e teatro. Entrecruzam-se referenciais da biologia, da dança e do teatro com intuito de adotar um eixo que privilegia a coevolução e os processos cooperativos entre dança e teatro e deslocar a hierarquia entre ambos, pois se pressupõe não haver sujeição de um campo ao outro, mas trocas informativas que fomentam os processos dramatúrgicos de dança e de teatro e que promovem a ininterrupta configuração de seus campos. Foram investigadas algumas concepções dramatúrgicas atuais elaboradas em campo acadêmico (dança e teatro) e em campo prático (dança) com o objetivo de propor uma diferenciação entre as dramaturgias praticadas na dança e no teatro. A dramaturgia na dança é reconhecida como uma resultante de um processo “cego”, constituindo-se em uma síntese transitória resultante dos processos contaminatórios entre dança e teatro ocorridos ao longo do tempo, configurados em zona de transitividade. Dança e teatro constituem-se em ambientes cujas lógicas organizativas oferecem-se como condições diferenciadas para assimilação de uma mesma idéia. As dramaturgias de dança são correlatas à lógica cognitiva do corpo que dança, referindo-se à dramaturgia corporal.
Programa de Pós-Graduação em Dança - Escola de Dança
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Silva, Cínthia Renata Gatto. "Dramaturgia do angolano José Mena Abrantes em perspectiva pós-colonial." Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Letras, 2015. http://www.bibliotecadigital.uel.br/document/?code=vtls000205573.
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José Mena Abrantes (1945-) é um dos nomes mais importantes e atuantes da dramaturgia angolana da atualidade. Neste trabalho, analiso suas peças de cunho histórico na perspectiva do pós-colonialismo, a saber: A órfã do Rei; Sem herói nem reino ou o azar da Cidade de S. Filipe de Benguela com o fundador que lhe tocou em sorte; Sequeira, Luís Lopes ou o mulato dos prodígios; Kimpa Vita, a profetiza Ardente; Tari-Yari, misericórdia e poder no Reino do Congo e Ana, Zé e os escravos. A discussão central é a ideia de que o raciocínio ocidental é marcado por binarismos por meio dos quais as sociedades têm explicado os mais diversos fenômenos, binarismos esses que anulam a multiplicidade de perspectivas a partir das quais é possível compreender tais fenômenos. Nessa perspectiva, procuro refletir sobre como a dramaturgia de Mena Abrantes reescreve episódios da história de Angola a fim de desconstruir binarismos identitários oriundos do eurocentrismo. O discurso imperialista centra-se em justificar o empreendimento colonial, alegando que os nativos são seres primitivos, carentes de civilidade e cultura. O colonialismo, portanto, teria uma missão civilizatória, postulado que omite o caráter econômico do empreendimento e estimula preconceitos em relação ao nativo. A estratégia colonial consistia em inferiorizar o outro para melhor dominá-lo, razão pela qual muitos dos preconceitos propagados pelo colonialismo perpetuaram-se no imaginário social e estão presentes no cotidiano dos países colonizados. Nessas circunstâncias, reescrever a história é uma forma de resistência e uma possibilidade de desconstruir o discurso homogeneizador do imperialismo.José Mena Abrantes (1945 - ) is one of the most important and active names in the present Angolan dramaturgy. The present work makes a historically-oriented analysis of his plays from the post-colonial perspective. These plays are: A Órfã do Rei; Sem Herói Nem Reino ou o Azar da Cidade de S. Filipe de Benguela com o Fundador que Lhe Tocou em Sorte; Sequeira, Luís Lopes ou o Mulato Dos Prodígios; Kimpa Vita, a Profetiza Ardente; Tari-Yari, Misericórdia e Poder no Reino do Congo and Ana, Zé e os Escravos. Central to this thesis discussion is the idea that the western way of thinking is marked by binarisms through which the societies have explained several phenomena. Such binarisms cancel the multiplicity of perspectives from which it is possible to understand such phenomena. From this perspective, I seek to reflect on how Menas dramaturgy rewrites episodes from Angolas history in order to deconstruct the binarisms of identity originated with eurocentrism. The imperialist discourse focuses on justifying the colonial enterprise by arguing that the indigenous people are primitive beings in need of civility and culture. Therefore, colonialism is said to have a civilizing mission. Such premise omits colonialisms economic character and arouses prejudice towards indigenous people. The colonial strategy consisted in belittling the natives in order to better dominate them, which perpetuated the prejudice spread by the colonialism in the social imaginary and is still present on the daily life of the colonized countries. Under these circumstances, rewriting history is a form of resistance and a possibility to deconstruct the homogenized imperialist discourse.
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Dudalski, Sirlei Santos. "O ensino da dramaturgia shakespeariana no Brasil: realidade e perspectivas." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-06112007-115505/.
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De inspiração etnográfica, esta pesquisa tem por objetivo a tentativa de mapear a realidade do ensino-aprendizagem da dramaturgia shakespeariana no ensino superior brasileiro, trazendo à tona, além das questões literárias, questões pedagógicas e metodológicas. Desse modo, o caráter interdisciplinar é enfatizado, tendo sempre em mente, entretanto, as especificidades do texto dramatúrgico. Com base na filosofia educacional de Paulo Freire e de alguns de seus seguidores, principalmente Henry Giroux, bell hooks e Moacir Gadotti, propõe-se refletir sobre esse ensino-aprendizagem no contexto do início do século XXI, marcado pela intensa influência do cinema, da televisão e da internet. Para tanto, foram observadas algumas aulas da Universidade Federal de Santa Catarina, da Universidade Federal do Rio de Janeiro e da Universidade de São Paulo. Nessa última, por um período de quatro anos. Foram entrevistados professores de Literaturas de Expressão Inglesa, de diversos estados brasileiros, shakespearianos e não shakespearianos. Questionários fizeram parte do estudo, além da discussão de alguns textos teóricos relacionados à literatura e ao seu ensino, como, por exemplo, o trabalho de Elaine Showalter e da professora brasileira Lígia Chiappini. O desejo de ação transformadora, presente na pedagogia crítica, cujas sólidas raízes se encontram no pensamento freireano, a prática de alguns docentes, assim como as vozes de discentes, em sua maioria da Universidade de São Paulo, impulsiona-nos a reconhecer a necessidade incessante de refletir sobre a nossa ação pedagógica. Uma ação que também se faz política, ampliando as possibilidades do debate em prol de um ensino mais crítico.This study, which has an ethnographic base, maps the teaching of Shakespeare in Brazilian universities and raises literary, educational and methodological questions. It is thus an interdisciplinary study but does not lose sight of the specific qualities of the dramatic text. Using the educational philosophy of Paulo Freire and his followers, especially Henry Giroux, bell hooks and Moacir Gadotti, it examines the teaching and study of Shakespeare at the beginning of the 21st century, which has been marked by the influence of the cinema, television and Internet. The methodology used includes the observation of classes at the Federal Universities of Santa Catarina and Rio de Janeiro and the University of São Paulo, where classes were observed during a period of four years. Interviews were made with university teachers of Literatures in English, both Shakespearians and non-Shakespearians, in a number of Brazilian states. Questionnaires were also used to discover the opinions of students and teachers. In addition to the work of Paulo Freire, that of Elaine Showalter and the Brazilian professor Ligia Chiappini were also used to provide a theoretical framework. The desire for transforming actions, which can be seen in critical pedagogy and which is rooted in the thinking of Paulo Freire, and the practice of certain teachers, the voices of students, the majority of whom are from the University of São Paulo, helps us to realise the need to reflect on our educational actions. This action is also a political action, thereby widening the possibilities of debate for a more critical teaching.
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Moore, Lori Dawn. "Preadolescent girls, media, and the presentation of self, a dramaturgical perspective." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37803.pdf.
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Riom, Charlotte. "Apollon, Orpheus, Agon ou les étapes d’un cheminement spirituel : Une nouvelle interprétation de la trilogie grecque de Stravinsky et Balanchine, d’après une idée de Kirstein, à travers une perspective interdisciplinaire." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040237.
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Les trois ballets grecs de Stravinsky et de Balanchine s’unissent autour de l’agonisme − qui trouve son origine dans l’agôn, en grec « lutte » − que nous définissons comme étant la conciliation entre l’apollinien et le dionysiaque. Nous tentons de montrer comment le ballet manifeste la recherche d’un équilibre entre les qualités apollinienne et dionysiaque, essence même de la trilogie, par sa représentation et sa dramaturgie. Nous proposons pour cela une méthodologie afin d’étudier la coexistence des arts. Un mémoire sur les écritures du mouvement est joint à la thèse. Il part d’une réflexion menée sur les supports matériels qui conduisent au ballet – enregistrements vidéo, DVD, dessins, photographies, captures d’écran, dessins, partitions chorégraphiques, initiées dans ce travail. En dégageant la signification profonde de la trilogie, nous en proposons une interprétation et une production nouvellesLes trois ballets grecs de Stravinsky et de Balanchine s’unissent autour de l’agonisme − qui trouve son origine dans l’agôn, en grec « lutte » − que nous définissons comme étant la conciliation entre l’apollinien et le dionysiaque. Nous tentons de montrer comment le ballet manifeste la recherche d’un équilibre entre les qualités apollinienne et dionysiaque, essence même de la trilogie, par sa représentation et sa dramaturgie. Nous proposons pour cela une méthodologie afin d’étudier la coexistence des arts. Un mémoire sur les écritures du mouvement est joint à la thèse. Il part d’une réflexion menée sur les supports matériels qui conduisent au ballet – enregistrements vidéo, DVD, dessins, photographies, captures d’écran, dessins, partitions chorégraphiques, initiées dans ce travail. En dégageant la signification profonde de la trilogie, nous en proposons une interprétation et une production nouvelles
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Freeman, Roger D. "Oedipus at Colonus and The Gospel at Colonus: Dramaturgical Perspectives on Staging Greek Tragedy." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391586169.
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Crider, David. "Constructing and Performing an On-Air Radio Identity in a Changing Media Landscape." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/243908.
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Media & CommunicationPh.D.
The radio industry is fighting to stay relevant in an age of expanding media options. Scholarship has slackened, and media experts say that radio's best days are in the past. This dissertation investigates how today's radio announcer presents him/herself on the air as a personality, creating and performing a self that is meant for mass consumption by a listening audience. A participant observation of eleven different broadcast sites was conducted, backed by interviews with most key on-air personnel at each site. A grounded theory approach was used for data analysis. The resulting theoretical model focuses on the performance itself as the focal point that determines a successful (positive) interaction for personality and listener. Associated processes include narrative formation of the on-air personality, communication that takes place outside of the performance, effects of setting and situation, the role of the listening audience, and the reduction of social distance between personality and listener. The model demonstrates that a personality performed with the intent of being realistic and relatable will be more likely to cement a connection with the listener that leads to repeated listening and ultimately loyalty and fidelity to that personality. The successful deployments of these on-air identities across multiple channels (in-person, online, and through social media as well as broadcast) suggests that the demand for relatable and informative content will persist, regardless of radio's future delivery mechanisms.
Temple University--Theses
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Aspling, Fredrik. "The private and the public in online presentations of the self: A critical development of Goffman’s dramaturgical perspective." Thesis, Stockholms universitet, Sociologiska institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-59867.
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Erving Goffman is an important sociologist whose dramaturgical perspective on social interaction and presentation of the self is a classic within sociology. However, social interaction and presentations of the self occurs increasingly more online. Goffman’s perspective is, unfortunately, limited to face-to-face interaction. The aim of this study is to discuss how far Goffman’s dramaturgical perspective can take us in a discussion on the private and the public in online presentations of the self in Facebook and personal blogs. The aim is specified with the following research questions: What are the possible constrains and possibilities? What happens to the central concepts in the model? How can the model be critically developed to online presentations of the self? The discussion connects to the distinction between the private and the public, as it implicitly is presented in Goffman’s model. The discussion draws on empirical material consisting of reflections of ten individuals on their social practices on Facebook and personal blogs. As all respondents use both applications, it opens up for a comparison between how they present themselves in each forum. All respondents presented themselves differently on Facebook compared to their personal blogs. Goffman’s model works better on self-presentations on Facebook than on personal blogs, which are contradictive to the model. Facebook is about staging a successful character. Conversely, the idea with the personal blog was to stage the front stage as a backstage. Performances on the personal blog constitute an inverted model where the intimate is sublimated and ritualized. Additionally, impression management follows an altered logic of selective opening of the backstage. However, the performances are just as, if not even more, theatrical and dramaturgical as performances in Goffman’s model. Moreover, social situations on Facebook and personal blogs are dissimilar to face-to-face situations. Both settings can be seen as an abstract sociability rather than a concrete sociability. There is no immediate co-presence between the interactants which has the consequence of creating an uncertainty of in front of whom the performance actually is held, which in addition makes the social situation diffuse, scattered and harder to define.
Books on the topic "Dramaturgic perspective"
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O istorie a prozei și dramaturgiei româneşti: Perspectiva personajului literar. Cluj-Napoca: Casa Cărții de Știință, 2011.
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Ramos-Perea, Roberto. Perspectiva de la nueva dramaturgia puertorriqueña: Ensayos sobre el nuevo teatro nacional. San Juan, P.R: Ateneo Puertorriqueño, 1989.
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La dramaturgia mexicana de los años 90 del siglo XX desde la perspectiva de la postmodernidad. Monterrey, Nuevo León [Mexico]: Universidad Autónoma de Nuevo León, 2010.
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Farrier, Stephen, and Alyson Campbell. Queer Dramaturgies: International Perspectives on Where Performance Leads Queer. Palgrave Macmillan, 2017.
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McKechnie, Kara. Opera North: Historical and Dramaturgical Perspectives on Opera Studies. Emerald Publishing Limited, 2014.
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Queer Dramaturgies: International Perspectives on Where Performance Leads Queer. Palgrave Macmillan, 2015.
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McKechnie, Kara. Opera North: Historical and Dramaturgical Perspectives on Opera Studies. Emerald Publishing Limited, 2014.
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Gordon, Robert, ed. The Oxford Handbook of Sondheim Studies. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.001.0001.
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This book examines the scope and ambition of Stephen Sondheim’s musicals by drawing on the perspectives of musicological and dramaturgical scholars, literary and film critics, and musical theater practitioners. Consisting of twenty-seven essays, it analyzes Sondheim’s radical re-invention of the artistic form of the Broadway musical in response to various traditions of artistic innovation and popular entertainment and how his work with several collaborators has radically transformed the history of American musical theatre. It explores problematic questions of authorship peculiar to the cultural milieu of Broadway musical theater by focusing on intertextuality in works ranging from Anthony Shaffer’s Sleuth (1970) to the film Hangover Square (1945) and Johann Sebastian Bach’s St Matthew Passion. It also probes the dramaturgical technique of songs that enable comic performers to act out the logic of character and plot in a meta-theatrical style and discusses the notion of the musical as a performance event, patterns of interpretation in the repeated performance of Sondheim’s musicals in the United Kingdom, the pleasures and challenges of performing these musicals in international opera houses, Sondheim’s work for cinema and television and his “cinematic” approach to musical theater, and his subtle and often ironic exploitation of genre conventions such as pastiche and parody. Finally, the book considers questions of cultural, political, and personal identity raised by Sondheim’s musicals in relation to contemporary American society.
Book chapters on the topic "Dramaturgic perspective"
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O’Reilly, Kaite. "Alternative dramaturgies informed by a Deaf and disability perspective." In Dramaturgies of Interweaving, 199–215. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187233-19.
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Scheibe, Karl E. "The Person as Actor, the Actor as Person: Personality from a Dramaturgical Perspective." In Deep Drama, 21–33. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62986-5_2.
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Thorne, Benjamin, and Julia Viebach. "Human Rights Reporting on Rwanda’s Gacaca Courts: A Story of Stagnation and Failure." In Rwanda Since 1994, 41–61. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941992.003.0004.
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Building on legal anthropology and performance studies, this chapter analyses the Gacaca law talk and performances to evidence the wider context of changes in Rwanda post-1994 due to national and international pressures. The Rwandan government legally mandated Rwandans to actively participate in the gacaca courts from 2004 to 2012 for crimes committed during the 1994 Genocide against Tutsi. Every citizen was required to attend the local level courts to provide testimony and to serve as judge, witness and testifier on a weekly basis. In total, 15,300 courts ruled over nearly two million cases. Based on a 'kaleidoscopic' reading of optical illusions, or a slight shift in perspective to integrate the multiplicity of performances within the gacaca system, we demonstrate the dramaturgic nature of gacaca through gacaca law, policy and practices. Ultimately, such visual metaphors provide important interpretative tools to grasp how gacaca scripts were performed for different audiences with different effects and functions depending on micro to macro politics, and the resulting performances of competing narratives and the variances within the gacaca system.
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"Dramaturgical Perspective." In Theories of Macro-Organizational Behavior: A Handbook of Ideas and Explanations, 132–36. Routledge, 2017. http://dx.doi.org/10.4324/9781315290096-33.
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Foyn Bruun, Ellen. "Sceneteksten som aktiv partner." In Teaterproduksjon, 156–78. Cappelen Damm Akademisk/NOASP, 2018. http://dx.doi.org/10.23865/noasp.43.ch6.
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This article addresses theatre production working with scripts. First, I look at the hegemonic status of the play text in the history of Western theatre and how this was challenged during the twentieth century. Then I present relevant theoretical perspectives for developing methods integrating script in ensemble theatre. These are drawn from dramaturgy today and physically based improvisation. The main body of the article is a case study of a student production of The Caucasian Chalk Circle by Bertolt Brecht. The students produced their unique version of the play in collaboration. The study demonstrates how dramaturgical competence was developed as a collective resource. The findings reveal that the dramaturgical processes of text, performance and group dynamics were interdependent in a complex system. Reflexive practice therefore stands out as an important learning point. The article is aimed at teachers, directors, facilitators and students in educational contexts, and others that use theatre production as a learning arena.
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Rønning, Barbro. "ODA: Opplevelsesbasert Dramaturgisk Analyse – fra tekst til regikonsept." In Teaterproduksjon, 127–56. Cappelen Damm Akademisk/NOASP, 2018. http://dx.doi.org/10.23865/noasp.43.ch5.
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This chapter addresses a methodology for dramaturgical analysis and conceptualisation which I have developed from teaching in the subjects ‘Theatre production’ and ‘Dramaturgy and conceptualisation’ at NTNU. Method development has, for a long time, arisen in response to the students’ need for a step-by-step process, where they learn to create their own concepts with sufficient artistic sustainability to be realised in a given context. First, I present various tools and theoretical traditions in the field of dramaturgical analysis and conceptualisation, with contributions from both the Nordic and international field. Then I present and discuss the development of ODA methodology. I address how the students’ response has contributed to further development of the method through some examples. And finally, I present how this work represents an alternative, step-by-step methodological approach in the field, focusing particularly on a phenomenological perspective: embodiment, materiality and imagination. Conceptualising is about moving an impulse or text from one universe to another that you create yourself. The method has therefore proven to be fruitful in other creative contexts where this is a focus.
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Mustafa, Cecep. "The Challenges to Improving Public Services and Judicial Operations." In Handbook of Research on Global Challenges for Improving Public Services and Government Operations, 117–32. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-4978-0.ch007.
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This chapter explores judicial perspectives on sentencing minor drug offenders in Indonesia. As a basis for the framework for this study, a concept of Goffman on dramaturgy was used to explain the dramaturgical competence of the panel judges in their attempts to show accountability to their audiences (i.e., the sphere of politics, the public, and religion). Conceptualisation of this study stems from this author former self-identity as a judge but also from the author biography since the author more familiar with the practical pressure and challenges of lower court judges. This chapter contributes to knowledge by considering that the judicial awareness of the issues surrounding justice and public acceptance led to the situation where they were attempting to present a unique balance between pursuing justice and public service.
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Aune, Vigdis. "Performing Young Adults’ Reflections on Work, Citizenship, and Democracy." In Theatre and Democracy: Building Democracy in Post-war and Post-democratic Contexts, 173–91. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.135.ch09.
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Can theatre be a significant arena for reflections on work as an essential part of life for youth and young adults? This chapter reports on an arts-based research project that involved a cultural centre (ISAK) and participants aged 15–30 over a period of seven months. The overall framing perspective was an ethos of equality and a concept of dissensus inspired by the works of Jacques Rancière. The chapter discusses in particular Democratic forum, a workshop designed so the participants could reflect on, and perform, dreams, questions and challenges concerning work as part of their life and future. It also incorporated the development of exercises as well as the use of artistic ensemble, focal point and metaphor for further dramaturgical work. In the making of the performance Happy Land 2048, strategies for post-dramatic dramaturgy were applied, and this chapter discusses how experiences from Democratic forum can also be transformed into aesthetic experiences for an audience. Throughout an interactive performative event, the audience was co-performing in six different functions.
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"Self-Presentation and the Dramaturgical Perspective." In The Presentation of Self in Contemporary Social Life, 1–32. 2455 Teller Road, Thousand Oaks California 91320: SAGE Publications, Inc., 2017. http://dx.doi.org/10.4135/9781506340913.n4.
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Carpenter, Faedra Chatard. "Deconstructing our perspectives on casting." In Diversity, Inclusion, and Representation in Contemporary Dramaturgy, 15–23. Routledge, 2020. http://dx.doi.org/10.4324/9780429445316-3.
Full textConference papers on the topic "Dramaturgic perspective"
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Khedher, Manel. "Dramaturgical perspective of online personal branding." In 2013 World Congress on Computer and Information Technology (WCCIT). IEEE, 2013. http://dx.doi.org/10.1109/wccit.2013.6618685.
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Narzullaeva, D. R. "The problems of history of American dramaturgy in literature study of the USA." In IX International symposium «Humanities and Social Sciences in Europe: Achievements and Perspectives». Viena: East West Association GmbH, 2016. http://dx.doi.org/10.20534/ix-symposium-9-219-221.
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Tetik, Müge, Mikael Öhman, Risto Rajala, and Jan Holmström. "Game-based learning in an Industrial Service Operations Management Course." In Fourth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/head18.2018.8095.
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This study explores how a game-based approach supports students’ learning in a graduate course on industrial service operations management. Aalto Manufacturing Game (AMG) has been played for several years as a part of an Industrial Management course to provide students with a realistic view of industrial services and asset management. The game illustrates supply chain dynamics and asset management challenges, with a focus on the quality deterioration problem in service provision (Oliva & Sterman, 2001). In this paper, we evaluate the effect of AMG on participants’ learning based on game session feedback and written exam answers. We also evaluate the game as a learning experience trough feedback, observations, and interviews. The findings suggest that the gamified version of teaching provides students with the opportunity to learn by doing while having fun in the class. The game enables participants to socially construct knowledge, raising the effectiveness of teaching supply chain challenges by simulating real world problems from different perspectives of actors involved in operations. Based on our research we argue that the game enhances the learning experience through emotionally engaging students in the activity. To this end, the learning objectives should be embedded in the game dramaturgy.
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Valdaliso Casanova, Teresa. "El concepto de "Estación Creativa"; un proyecto reticular basado en el proceso creativo compartido." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5860.
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A partir de la idea de metrópolis como un nudo de conexiones donde la localización geográfica del núcleo central se propone temporal y de carácter itinerante, quedando prioritariamente desplazado a la periferia, se plantea un proyecto de intercambio creativo cuya estructura de actuación viene definida en modo reticular, fomentando la regeneración y reutilizo de espacios en desuso, o bien utilizando nuevos espacios situados en territorios que no disfrutan de la consideración que merecen.La descentralización de los lugares de creación y divulgación artística implica la reconfiguración de una identidad territorial perdida que, presentándose como irrecuperable, decide reinventarse a partir de un nuevo concepto de espacio de fusión y fruición, un punto de encuentro y de adición de diversas realidades que se encuentran en un ámbito local, procedentes a su vez de otros ámbitos locales, pertenecientes todos a una misma red de intercambios.Dicha idea se materializa a partir del concepto de "Estación Creativa", desarrollado teóricamente por los italianos Paolo Rosa (artista y docente) y Andrea Balzola (dramaturgo y docente), siendo llevada a cabo por primera vez en el espacio MIL de Sesto San Giovanni (Milán) en los meses de Abril-Mayo de 2016. Creativos, artistas y estudiosos de diversas disciplinas actuaron como agentes culturales a la vez que sociales, a partir de una perspectiva de arte político entendiendo la polis como la extensión de lugar en donde todos cohabitamos. Activadores de imaginarios compartidos, incluyen al visitante como parte integrante del proceso creativo, un proceso basado en la formación, la investigación y la producción. Donde el aura no pertenece ya a la obra de arte, sino a la experiencia artistica común. http://www.spaziomil.org/evento/stazione-creativa-2/http://dx.doi.org/10.4995/ANIAV.2017.5860