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Journal articles on the topic 'Schechner'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 January 2023

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1

Deriu, Fabrizio. "Performance Studies Floating Free of Theatre. Richard Schechner and the Rise of an Open Interdisciplinary Field." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 13. http://dx.doi.org/10.14198/raei.2013.26.02.

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As Marvin Carlson points out, the term performance has recently developed “as a central metaphor and critical tool for a bewildering variety of studies, covering almost every aspect of human activity.” While there is a tendency to stress their similarities and theoretical convergence, Performance Studies and Cultural Studies have different origins: the roots of Performance Studies are clearly located in theatre studies and practices. The essay outlines a short history of the rise of Performance Studies, focussing on Richard Schechner’s work. According to him, a Performance Studies paradigm came to the fore in the mid-1950s, with books by Bateson, Austin, Goffman, Caillois and others. In the Sixties Schechner started to teach and was founder/director for influential theatre groups on the American avant-garde scene. When his interest shifted from theatre to performance and from aesthetics to social sciences, he found anthropology extremely useful because in ethnographies anthropologists treat the actual lived behaviours of people performatively. Schechner developed these assumptions and cooperated intensely with social scientists, in particular the anthropologist Victor Turner. In 1980 Schechner co-founded the Department of Performance Studies at NYU. Since then many academic institutions have started similar programs; Schechner’s books have been translated into many languages; and worldwide a growing cohort of scholars have been attracted to this stimulating, inter-disciplinary, threshold-crossing approach.

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2

Gillitt, Cobina. "Richard Schechner." Asian Theatre Journal 30, no. 2 (2013): 276–94. http://dx.doi.org/10.1353/atj.2013.0047.

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3

Müller, Regina Polo. "Ritual, Schechner e performance." Horizontes Antropológicos 11, no. 24 (December 2005): 67–85. http://dx.doi.org/10.1590/s0104-71832005000200004.

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O artigo trata da experiência realizada no estágio pós-doutoral com Richard Schechner no Departamento de Estudos da Performance da Tisch School of the Arts/New York University, abordando a natureza da pesquisa desenvolvida pela autora, seus antecedentes e desdobramentos. O objetivo é apresentar de modo biográfico resultados da pesquisa e do processo de criação em performance realizados com o apoio das teorias da performance de Victor Turner e Richard Schechner. A pesquisa compreendeu trabalho de campo como observadora participante do processo de criação e montagem da peça teatral YokastaS, dirigida por Schechner. A criação pela autora de uma performance apresentada em Congresso científico é abordada como a etapa final de um percurso de transformações e passagens como pretende considerar o estágio realizado, visando caracterizar um fazer antropológico construído através de depoimentos da experiência pessoal.

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4

Dawsey, John Cowart. "Schechner, teatro e antropologia." Cadernos de Campo (São Paulo, 1991) 20, no. 20 (March 30, 2011): 207. http://dx.doi.org/10.11606/issn.2316-9133.v20i20p207-210.

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5

Smalec, Theresa. "What to Do When Your Role Model Jumps Ship: Lián Amaris's Swimming to Spalding." TDR/The Drama Review 55, no. 2 (June 2011): 157–64. http://dx.doi.org/10.1162/dram_a_00078.

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Swimming to Spalding, written and performed by Lián Amaris and directed by Richard Schechner, is, at its heart, a trans-generational journey to find Spalding Gray. Through their production, Amaris and Schechner negotiate the complexities of Gray's legacy and their relationship with the late actor.

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6

Dagaura, Mohan. "The Performance of Jhumra as the Tharu Folk Ballad: A Study in Angst and Eco-Romance." JODEM: Journal of Language and Literature 13, no. 1 (August 25, 2022): 92–106. http://dx.doi.org/10.3126/jodem.v13i1.47466.

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This paper critically unravels the themes of Jhumra folk dance-songs of Dangaura Tharu of Nepal. On its interpretation, it discusses the imaginative representation of nature and human relationship in Jhumra songs appropriating the notions of the folklore performance of Richard Schechner and Alan Dundes. The paper appropriates Tharu Jhumra dance songs: Chhaila To, Jone Panah Gaili, Baigam Ture and Karam Lage Aag voiced by Mani Ram Tharu. The songs reflect the romantic fantasy and the suffering of the folks. Jhumra serves as the distinct dance repeatedly performed by the community throughout the year. Along with this, the brief reference of Robert Burns has also been fetched to spell out the modern revival and revisualization of folklores by the medium of YouTube and other commercial online platforms. Jhumra songs comprise the lyrics that romanticize and de-romanticize nature with the human–nature union. I have used Schechner's idea of performance as the way of life to signify the eco-centric romance of Tharu community. Schechner believes that performance is embedded in everydayness of each activity that a folk performs. This research will help to assimilate the eco-friendly nature of Tharu ethnicity and other different ethnicities of Nepal urging us to be more eco-conscious individuals.

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7

Dawson, Barbara. "A Letter to Richard Schechner." TDR (1988-) 37, no. 2 (1993): 15. http://dx.doi.org/10.2307/1146245.

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8

Schlossman, David. "Pomona Alum Refutes Schechner Editorial." TDR (1988-) 40, no. 1 (1996): 12. http://dx.doi.org/10.2307/1146505.

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9

Anderson, Patrick. "Performed Imaginaries by Richard Schechner." Theatre Journal 67, no. 4 (2015): 747–48. http://dx.doi.org/10.1353/tj.2015.0125.

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10

Schechner, Richard, Timothy K. Beal, William E. Deal, Talia Rodgers, Claire L'Enfant, Judith Butler, Marvin Carlson, et al. "Concerning Theory for Performance Studies." TDR/The Drama Review 53, no. 1 (March 2009): 7–46. http://dx.doi.org/10.1162/dram.2009.53.1.7.

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In 2007, Routledge published Theory for Performance Studies as part of its Theory 4 series, listing Philip Auslander as author. When, in August, The Chronicle of Higher Education revealed that much of the book was lifted word-for-word from the template for the series, Theory for Religious Studies by Timothy K. Beal and William E. Deal, TDR editor Richard Schechner convened via email and phone conversations a “TDR Forum,” asking leaders in the field to respond to the book and the series. Schechner and other respondents address issues of plagiarism, corporate takeovers of academic publishing, and the dumbing down of performance studies, asking why a notable scholar such as Auslander would undertake such an egregious piece of “scholarship.” Deal and Beal answer some questions put to them by Schechner, and Routledge's Claire L'Enfant and Talia Rodgers offer their perspectives.

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11

Bruner, Edward M. ": Between Theater and Anthropology . Richard Schechner." American Anthropologist 88, no. 3 (September 1986): 761–62. http://dx.doi.org/10.1525/aa.1986.88.3.02a00750.

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12

Schechner, Richard. "Contributing Editors Announcement from Richard Schechner." TDR/The Drama Review 58, no. 3 (September 2014): 8–9. http://dx.doi.org/10.1162/dram_e_00389.

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13

Madeira, Cláudia, Cristina Pratas Cruzeiro, Anne Douglas, and Helena Elias. "About Performance: A Conversation with Richard Schechner." Arts 11, no. 1 (January 6, 2022): 14. http://dx.doi.org/10.3390/arts11010014.

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14

Schechner, Richard. "Uprooting the Garden: Thoughts around ‘The Prometheus Project’." New Theatre Quarterly 2, no. 5 (February 1986): 3–11. http://dx.doi.org/10.1017/s0266464x00001858.

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Richard Schechner is presently working towards a production of his The Prometheus Project, planned to open at the Performing Garage in New York before the appearance of this issue. Simultaneously, he is trying to come to terms with his own failures of communication with his eighty-year-old father. Personal preoccupations, theatrical work-in-progress, and performance theory mesh together in what amounts to the overview offered here of an avant-grade confronted by the prospect of global genocide – and, more specifically. Schechner offers an explanation of the tone of parody which seems increasingly to have characterized performance work. Richard Schechner took The Drama Review from its origins as a small academic journal to a lively forum for theatrical debate during his editorship from 1962 to 1969, by which time he was already directing the Performance Group, whose opening production was the controversial Dionysus in 69. He has been a Professor of Performance Studies at New York University since 1967, and resumed the editorship of TDR in 1985.

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15

SCHECHNER, RICHARD. "Oh, I Know I've Been Changed." Theatre Research International 46, no. 3 (October 2021): 346–70. http://dx.doi.org/10.1017/s0307883321000304.

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16

Peixoto, Fernando. "Corrections for Peixoto, Martin, Epstein and Schechner." TDR (1988-) 34, no. 3 (1990): 22. http://dx.doi.org/10.2307/1146065.

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17

Schechner, Richard. "My Art in Life: Interviewing Spalding Gray." TDR/The Drama Review 46, no. 4 (December 2002): 154–74. http://dx.doi.org/10.1162/105420402320907074.

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18

Schechner, Richard. "“We Still Have to Dance and Sing”: An Interview with Richard Foreman." TDR/The Drama Review 46, no. 2 (June 2002): 110–21. http://dx.doi.org/10.1162/105420402320980532.

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19

Aaltonen, Sirkku. "Theatre translation as performance." Target. International Journal of Translation Studies 25, no. 3 (October 11, 2013): 385–406. http://dx.doi.org/10.1075/target.25.3.05aal.

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In 2008, the Finnish National Theatre produced the Lebanese/Canadian playwright Wajdi Mouawad’s tragic play Incendies in Finnish. The advertisements, newspaper pre-reviews and reviews named Reita Lounatvuori, a well-known Finnish theatre translator, as the author of the translation. However, several other people were also involved in the translation process before Mouawad’s text reached the stage. In my article, I offer an empirical study of the process of translation of Incendies into Finnish to argue that translations in the theatre are not objects of art but products of art worlds, bearing the fingerprints of many subjectivities. To support my argument, I draw on Actor-Network Theory, as recently developed in the context of translation sociology (Buzelin 2007, 2005; Bogic 2010), and on Performance Studies, following Richard Schechner’s articulation of the concept of performance (Schechner 2013). I apply these models to the specific context of the theatre, the specific genre of drama, and the process of translating one play. This interdisciplinary exploratory study argues for the relevance of Schechner’s analytical model, and more broadly of Performance Studies, to the analysis of interlingual translation processes.

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20

Brasil, Giselly. "A cena como campo ampliado: o ambiente e o Viewpoints." Urdimento - Revista de Estudos em Artes Cênicas 1, no. 43 (April 6, 2022): 1–23. http://dx.doi.org/10.5965/1414573101432022e0209.

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Este artigo apresenta considerações sobre a cena como campo ampliado a partir da noção de ambiente presente em propostas e projetos de Richard Schechner e Hélio Oiticica e de perspectivas da prática dos Viewpoints. Propõe-se aqui um olhar para a abertura da cena a partir de iniciativas que articulam corpo, espaço e tempo nos processos de criação. Schechner e Oiticica lançam propostas ambientais que ampliam as possibilidades de reflexão sobre o fenômeno da arte como espaço de relação no tempo e no espaço. O Viewpoints, por sua vez, estimula a investigação desse campo ambiental do ponto de vista da prática e da experiência da cena. Pretende-se assim, abordar perspectivas de uma cena ampliada levando-se em consideração a noção de ambiente, bem como das experiências ambientais propostas pelo Viewpoints.

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21

Demekhina, Daria O. "REVISITING CONCEPTUALIZATION OF PERFORMANCE: VERSION BY RICHARD SCHECHNER." Articult, no. 4 (2017): 144–52. http://dx.doi.org/10.28995/2227-6165-2017-4-144-152.

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22

Sidnell, Michael J. "Performance Theory by Richard Schechner (review)." Modern Drama 34, no. 4 (1991): 569–70. http://dx.doi.org/10.1353/mdr.1991.0068.

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23

Brown, John Russell. "Performance, Theatre Training, and Research." New Theatre Quarterly 12, no. 47 (August 1996): 207–15. http://dx.doi.org/10.1017/s0266464x00010204.

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John Russell Brown, who was a founder member and first Head of the University of Birmingham's Department of Drama and Theatre Arts, and subsequently an Associate Director of the National Theatre in London, here responds to the article by NTQ co-editor Clive Barker in our May 1995 issue, ‘What Training – for What Theatre’, taking as further text an editorial by Richard Schechner in the Summer 1995 issue of TDR. Currently, as a Professor of Theatre at the University of Michigan, John Russell Brown is teaching a production-based undergraduate acting course, and is also an advisor for Theatre Studies at the University of Singapore and a consultant to the School of Drama at Middlesex University. He draws upon this wide range of past and present experience to explore the issues raised by Barker and Schechner – and to suggest some possible ways forward.

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24

Shevtsova, Maria. "Interculturalism, Aestheticism, Orientalism: Starting from Peter Brook's Mahabharata." Theatre Research International 22, no. 2 (1997): 98–104. http://dx.doi.org/10.1017/s0307883300020502.

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The criticism of ‘intercultural’ theatre in general, and Peter Brook's Mahabharata in particular, that was spearheaded by Rustom Bharucha in Theatre and the World, has taken firm hold in the Anglo-American academy and especially in Britain. Bharucha's critique of Eurocentric appropriation of non-western cultures (although the word ‘plundering’ might be more precise for his argument) is the mainstay of his attack on interculturalism, whether theorized by Richard Schechner or, in Bharucha's view, epitomized in performance by Brook's production. Schechner is understandably Bharucha's central reference, for he essentially gave the concept of interculturalism its particular twist in the early 1980s and has continued his crusade for it ever since. Scheduler's concept involves generic mixing within an anthropological framework, as occurs, for instance, when ‘western’ text-based theatre, usually situated in the domain of art and letters, merges with non-western ritual, one of the main areas of anthropological study.

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25

Schechner, Richard. "A Tale of a Few Cities: Interculturalism on the Road." New Theatre Quarterly 7, no. 28 (November 1991): 315–23. http://dx.doi.org/10.1017/s0266464x00006011.

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This is a personal record of a theatre worker's journey to places where theatre is inextricably mixed with politics — or is no less significantly divorced from social concerns. Visiting mainland China and South Africa in the summer of 1990, Richard Schechner records how theatre people confronted the aftermath of major political upheavals – the crushing of hopes in Tiananmen Square, and the perhaps deceptive raising of them following the release of Nelson Mandela. His trip also took in the widely different perspectives and problems of Taiwan, where pluralism struggles (almost unnoticed in the West) to displace an ageing autocracy. Richard Schechner teaches at New York University, and recently returned to the editorial chair at The Drama Review, the journal he conducted through its vintage years in the 'sixties – at the same time creating the Performance Group, and beginning his researches into theatre and anthropology, the field in which he has published widely and innovatively in the interim.

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26

SALGADO, Tiago Barcelos Pereira. "PERFOMANCE." Dispositiva 2, no. 2 (June 10, 2014): 74–90. http://dx.doi.org/10.5752/p.2237-9967.2013v2n2p74-90.

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O texto trata do domínio da performance e de suas múltiplas definições. Em um recorte histórico o texto busca definir e aproximar a performance tanto do domínio da arte quanto em suas reverberações, pelas reflexões de Schechner, em outros domínios levando-nos a pensar o campo da performance no âmbito da vida cotidiana.

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27

Schechner, Richard. "Theory and Practice of the Indeterminate Theatre." New Theatre Quarterly 5, no. 20 (November 1989): 348–60. http://dx.doi.org/10.1017/s0266464x00003663.

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Richard Schechner has recently come full circle back to the editorship of The Drama Review, which he earlier transformed from a quietly respected academic journal into the voice of American avant-garde theatre between 1962 and 1969. By this time, he had also joined the Drama faculty of New York University, where he still teaches, and created the Performance Group, for whom his productions included Dionysus in '69, Makbeth. The Tooth of Crime. Oedipus, and The Balcony. His early advocacy of environmental theatre, celebrated in his book of that name in 1973, developed into his present concern with theatre anthropology, the focus of his recent study. Between Theatre and Anthropology, discussed by Eugenio Barba in NTQ10 (1987). In October 1988 Schechner contributed to the Leicester conference ‘Points of Contact: Theatre. Anthropology, and Theatre Anthropology’, and there Nick Kaye discussed with him the relationship between his practical and theoretical work, its evolution, and the influences upon it–also looking in more detail at his most recent production, a performance combining Don Juan and Don Giovanni.

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28

Bäcke, Maria. "Make-believe and make-belief in Second Life role-playing communities." Convergence: The International Journal of Research into New Media Technologies 18, no. 1 (January 31, 2012): 85–92. http://dx.doi.org/10.1177/1354856511419917.

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This feature article applies the concepts of ‘make-believe’ and ‘make-belief’ formulated by performance theorist, Richard Schechner, in a study of two role-play communities, Midian City and Gor in the online 3D environment Second Life. With make-believe fantasy role-play at their core, members of the two communities negotiate the social and political norms, the goals of the community and as well as the boundaries of the virtual role-play. The article explores the innovative forms of interaction at play in these negotiation processes, using (cyber)ethnographic methods and the analysis of various textual sources, Goffman’s theories of social performance as well as various types of performance discussed by Schechner and Auslander. The innovative forms of interaction are analysed in the light of the new technology and as performances and make-belief strategies directed towards realizing performative utopias, towards influencing the direction in which leaders and residents of this digital context want the role-play to develop, and towards shaping the emergent social and cultural rules and the political framework of the role-play.

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29

Denzin, Norman K. "Performing Ethnography: Staging Resistance." Cultural Studies ↔ Critical Methodologies 18, no. 6 (July 25, 2018): 453–62. http://dx.doi.org/10.1177/1532708618787460.

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In this performance script, I interrogate the ethical and political implications of the interdisciplinary turn to performance and theatre in critical ethnography. I focus on ethnodramas, and the performance theories of Boal, Conquergood, Freire, Goffman, Madison, Saldana, Schechner, and Turner. A play-within-a-play is offered as an instance of this kind of writing.

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30

Calixto Marques, Maria Do Socorro, and Tatiane Oliveira Silva. "Corporalidade, musicalidade e aspectos sociais no congado Moçambiqueiro." Sala Preta 16, no. 1 (July 1, 2016): 39. http://dx.doi.org/10.11606/issn.2238-3867.v16i1p39-54.

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Neste artigo, apresentamos uma breve análise do Congado Uberlandense, festa coletiva que reúne afrodescendentes e honra aos santos da Igreja Católica. A análise se concentra no sincretismo religioso, mas principalmente no que se refere às características musicais, corporais e sociais, tendo por base observações feitas em textos sobre cultura (Canclini), tradição (Arantes) e performance (Schechner).

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31

Fornaciari, Christina Gontijo. "OUTRO CARNAVAL: FESTA E PERFORMATIVIDADE EM PROTESTOS DO BRASIL PÓS-TEMER." Arte da Cena (Art on Stage) 3, no. 2 (December 26, 2017): 018. http://dx.doi.org/10.5216/ac.v3i2.49376.

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O presente artigo pretende olhar para as manifestações políticas realizadas pela população no Brasil pós-Temer, analisadas pelo viés da teoria da performance e da filosofia. Para tanto, utilizaremos conceitos chaves, como “ação para revolução”, “carnavalização”, “multidão” e “frivolidade tática”, retirados do pensamento de autores como Richard Schechner, Michael Bakhtin, Antônio Negri, Michael Hardt, Graeme Chesters e Ian Welsh, entre outros.

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Faleiro, Wertem Nunes, and Lisandro Nogueira. "PONTOS DE CONTATO ENTRE O CINEMA E AS PERFORMANCES CULTURAIS." Revista Fragmentos de Cultura - Revista Interdisciplinar de Ciências Humanas 28, no. 3 (December 6, 2018): 327. http://dx.doi.org/10.18224/frag.v28i3.6686.

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É possível estudar o Cinema Clássico sob o viés interdisciplinar das Performances Culturais? Para responder essa questão, verificamos maneiras de relacionar os dois campos confrontando autores e elementos da forma e conteúdo da linguagem cinematográfica com textos de Schechner, expoente teórico das performances. Encontramos pontos de contato que contribuem para assentar pesquisas entre as duas áreas e servir como ponto de partida para outros estudos.

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33

Schechner, Richard. "Building the Builders Association: A Conversation with Marianne Weems, James Gibbs, and Moe Angelos." TDR/The Drama Review 56, no. 3 (September 2012): 36–57. http://dx.doi.org/10.1162/dram_a_00187.

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The Builders Association construct their multimedia extravaganzas by means of intense and prolonged research, workshop experiments, interactions among participating artists, and a deep knowledge of postmodern globalized societies. Artistic director Marianne Weems, dramaturg-writer James Gibbs, and performer-writer Moe Angelos in conversation with Richard Schechner range over TBA's deeply collaborative methods and how these have developed from early influences to their most recent works.

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Moraes, Daniela Beny Polito. "Gestualidade ancestral: o trânsito entre o Candomblé e o teatro." Conceição/Conception 7, no. 1 (July 18, 2018): 122–41. http://dx.doi.org/10.20396/conce.v7i1.8648538.

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Compreendendo o corpo e a oralidade como meios de transmissão de saberes dentro do Candomblé, este artigo visa trazer para o diálogo acadêmico, a partir do estudo dos autores Zeca Ligiéro, Richard Schechner e Diana Taylor, os possíveis caminhos para a preparação do artista da cena partindo das motrizes culturais afro-ameríndias como forma de restauração de comportamento e a transmissão de conhecimento incorporado.

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35

Polito Moraes, Daniela Beny. "A PRESENÇA DE IANSÃ NA PREPARAÇÃO DE ELENCO D’O SOM QUE SE FAZ DEBAIXO D’ÁGUA." Manzuá: Revista de Pesquisa em Artes Cênicas 3, no. 1 (July 16, 2020): 152–70. http://dx.doi.org/10.21680/2595-4024.2020v3n1id20607.

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Este artigo visa compartilhar a experiência prática da investigação “Os elementos de Iansã como possibilidade de criação cênica”, trazendo processo espetáculo “O som que se faz debaixo d´água” do Coletivo Cores (Natal/RN). Através do relato de experiência e da metodologia de trabalho conduzida com o elenco, observando na prática conceitos trabalhados na Antropologia da Performance, Antropologia Teatral e Estudos da Performance, tendo como principais teóricos Schechner e Barba.

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36

Jannarone, Kimberly. "A Sucker Punch of Horror: The Oyoun Theatre's Gaza Mono-Logues." TDR/The Drama Review 56, no. 3 (September 2012): 178–82. http://dx.doi.org/10.1162/dram_a_00195.

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The Oyoun Theatre brought their performance of The Gaza Mono-logues from Gaza to Haifa for the RS/PS: Richard Schechner and Performance Studies conference, hosted by the University of Haifa. They were part of the larger Gaza Mono-Logues project, conceived by the Ashtar Theatre in Ramallah, which commissioned 33 first-person pieces written by children about their experiences during the three-week-long 2008 war in Gaza.

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37

Almeida, Karina, and Sayonara Pereira. "A performatividade na dança." Sala Preta 20, no. 1 (August 13, 2020): 173–84. http://dx.doi.org/10.11606/issn.2238-3867.v20i1p173-184.

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Este artigo discute como as noções de coreografia, corporeidade e performatividade vem sendo exploradas de um modo experimental desde os anos 1960. Discute-se a noção de performativo na dança através de uma breve análise da peça What the body does not remember (1987), do coreógrafo belga Wim Vandekeybus. Do ponto de vista teórico, Féral, Schechner, Preston-Dunlop e Hantelmann são as principais referências propostas para esta discussão.

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38

Soares, Juliana, Tess Chamusca, and Thiago Ferreira. "Disputas no YouTube: mapeando masculinidades através do canal Manual do Homem Moderno." Esferas, no. 19 (February 8, 2021): 54. http://dx.doi.org/10.31501/esf.v0i19.12372.

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Esse artigo discute os sentidos de masculinidades performados em vídeos e comentários do canal do YouTube Manual do Homem Moderno. As mediações da tecnicidade e da identidade, propostas por Martín-Barbero (2009) para compreensão do contexto hodierno, são centrais na análise. Para essa discussão, acionamos ainda as masculinidades (Azpiazu Carballo, 2017), a partir das disputas de poder constituintes das relações de gênero, e a noção de performance enquanto comportamento restaurado (Schechner, 2006).

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39

Worthen, W. B. "Antigone's Bones." TDR/The Drama Review 52, no. 3 (September 2008): 10–33. http://dx.doi.org/10.1162/dram.2008.52.3.10.

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Returning to a formative moment in the discourse of performance studies with a glancing dialogue between Richard Schechner and Michael Goldman, this article traces a series of efforts by Benjamin Bennett, Herbert Blau, Elin Diamond, and Stanton Garner, among others, to seize the work of dramatic performance as performance and to develop a critical vocabulary that understands dramatic theatre as an encounter with writing rather than as a reinscription of the archive.

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Balieiro, Kevin Cesar de Mattos, and Gina María Monge Aguilar. "O treinamento Rasaboxes como propulsor da investigação da sinestesia vocal do ator." Pitágoras 500 8, no. 1 (June 26, 2018): 122–33. http://dx.doi.org/10.20396/pita.v8i1.8652797.

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O treinamento do Rasaboxes, criado por Richard Schechner a partir do Teatro Clássico Indiano, surge enquanto um possível propulsor de uma investigação mais aprofundada e complexa das potencialidades sinestésicas da voz e da palavra falada do ator. A questão principal que será aqui levantada traz a indagação de como o treinamento do Rasaboxes se encaixa no escopo da vocalidade do ator e o auxilia na busca da sinestesia presente em sua voz?

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Najera-Ramirez, Olga. ": The Future of Ritual: Writings on Culture and Performance . Richard Schechner." American Anthropologist 96, no. 2 (June 1994): 466. http://dx.doi.org/10.1525/aa.1994.96.2.02a00340.

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Silva, Rubens Alves da. "Entre "artes" e "ciências": a noção de performance e drama no campo das ciências socias." Horizontes Antropológicos 11, no. 24 (December 2005): 35–65. http://dx.doi.org/10.1590/s0104-71832005000200003.

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Propõe-se neste artigo desenvolver uma reflexão teórica que está relacionada com as preocupações e propostas da área de estudos antropológicos das formas expressivas, focalizando, centralmente, a noção de performance e drama no campo das ciências sociais. Nesse sentido é que se busca, no momento, dialogar com os autores considerados representantes principais da discussão teórica em torno da noção de performance, drama e ritual no campo antropológico: Victor Turner, Clifford Geertz, Michael Taussig, Richard Schechner, John Dawsey - entre outros.

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Govari, Caroline. "A morte midiatizada de Júpiter Maçã: performance e tradições funerárias." Esferas, no. 20 (June 4, 2021): 93. http://dx.doi.org/10.31501/esf.v0i20.12350.

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Este artigo pretende discutir a midiatização da morte de Júpiter Maçã, pensando seu funeral como uma performance teatral e analisando a influência da mídia na mitificação do artista. Trabalhamos com conceitos dos Estudos de Comunicação para discutir os processos midiáticos e conceitos dos estudos de Performance para discutir o evento fúnebre em si. Autores como Gomes (2013), Hjavard (2012), Turner (1982), Schechner (2006) e Taylor (2013) são alguns dos que nos oferecem suporte para esta análise.

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Pita, Andrea Carla de Miranda. "DAS LIMINARIDADES DE WITKACY E DE SUA FORMA PURA." Revista Fragmentos de Cultura - Revista Interdisciplinar de Ciências Humanas 28, no. 3 (December 6, 2018): 308. http://dx.doi.org/10.18224/frag.v28i3.6679.

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Neste trabalho será abordado o artista plural Stanislaw Ignacy Witkiwicz, o Witkacy(1895-1939) e a sua Teoria da Forma Pura. O polonês foi pintor, dramaturgo, romancista, fotógrafo, performer e pensador antes da 2ª Guerra Mundial. É estabelecido aqui um diálogo entre o artista, a Forma Pura – teoria estética por ele elaborada, o conceito de “liminaridade” de Victor Turner(1920-1983) e o de “transporte/transformação” de Richard Schechner(1934- ), autores do campo emergente das Performances Culturais.

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Massa, Clóvis Dias. "A Antropofagia da Usina do Trabalho do Ator." Revista Brasileira de Estudos da Presença 2, no. 2 (December 2012): 502–15. http://dx.doi.org/10.1590/2237-266030380.

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RESUMO Este texto conjuga a aproximação entre a teatralidade das manifestações orientais com o trabalho prático do Núcleo de Investigação - Usina do Trabalho do Ator (UTA). Trata-se aqui de estabelecer vínculos entre a teoria da recepção proposta por Richard Schechner a partir do teatro rásico e a teatralidade presente em vários espetáculos da UTA. Examina-se de que forma o grupo empregou os procedimentos antropofágicos em quatro de suas montagens e qual o papel do espectador em suas composições cênicas.

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Reckziegel, Ana Cecília de Carvalho, and Gisela Costa Habeyche. ""Contar histórias sempre foi a arte de contá-las de novo"." Revista Brasileira de Estudos da Presença 2, no. 2 (December 2012): 532–47. http://dx.doi.org/10.1590/2237-266031445.

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RESUMO O presente artigo discute alguns aspectos do processo improvisacional da criação do espetáculo Cinco tempos para a morte e os relaciona à experiência de presença descoberta nesse trabalho, a partir do pensamento de Richard Schechner, Henri Bergson e Walter Benjamin. Para tanto são pinçadas duas cenas performadas pelas próprias autoras na montagem mencionada, que consistem na narração de dois acontecimentos vividos pelas atrizes, colocando-as na situação de realizar um depoimento diante da plateia, sem a intermediação de um personagem.

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Ramnarine, Tina. "Musical performance as storytelling: Memory, European integration, and the Baltic youth philharmonic оrchestra?" Muzikologija, no. 16 (2014): 83–103. http://dx.doi.org/10.2298/muz1416083r.

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Storytelling has been theorized as a performative, narrative practice, but it has not been employed often as a trope in studies of musical performance. This article outlines a theoretical context for exploring the possibilities of such a conceptual move within musicology by referring to the anthropological and performance studies approaches of Turner and Schechner. Benjamin?s reflection on the storyteller as a narrator of memory and history frames the presentation of a case-study on the Baltic Youth Philharmonic Orchestra.

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Carlson, Marvin. "O Entrelaçamento dos Estudos Modernos da Performance e as Correntes Atuais em Antropologia." Revista Brasileira de Estudos da Presença 1, no. 1 (June 2011): 164–88. http://dx.doi.org/10.1590/2237-266021512.

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RESUMO Este texto propõe uma discussão da relação entre a Performance, o Teatro e a Antropologia. Apresentam-se as origens das relações entre performance e antropologia, elencando as principais ideias dos pioneiros norte-americanos e franceses. Comparam-se os relacionamentos entre artistas e antropólogos como Richard Schechner e Victor Turner, Eugenio Barba e Kirsten Hastrup. Por fim, problematiza-se os movimentos e as diferentes compreensões de performance e a forma produtiva como a relação entre performance e antropologia foi sendo construída nos últimos anos.

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Light, Timothy. "The Future of Ritual: Writings on Culture and Performance by Richard Schechner." Comparative Drama 29, no. 3 (1995): 387–88. http://dx.doi.org/10.1353/cdr.1995.0048.

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Marvin, Ursula B. "Comets, Popular Culture, and the Birth of Modern Cosmology. Sara Schechner Genuth." Isis 89, no. 4 (December 1998): 705–6. http://dx.doi.org/10.1086/384164.

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