Contents
Academic literature on the topic 'Teatro del Lemming (Performing group)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Teatro del Lemming (Performing group).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Teatro del Lemming (Performing group)"
1
Orazi, Veronica. "Faust secondo La Fura dels Baus: teatro, opera, cinema." Zeitschrift für Katalanistik 30 (July 1, 2017): 333–55. http://dx.doi.org/10.46586/zfk.2017.333-355.
Full textAbstract:
Summary: The article focuses on the Catalan theatre group La Fura dels Baus’s works on the myth of Faust. The analysis is based on the drama F@ust versió 3.0 (1998), the free adaptation of Berlioz’s La damnació de Faust (1999), the cyber show Faust Shadow (1999), the movie Fausto 5.0 (2001) and the opera staging of Gounod’s Faust (2014). In its interpretations of the myth, the group recreates it in different artistic dimensions: drama, cyber theatre, lyric opera, cinema. Nevertheless, the study of these productions demonstrates that all of them share some common basic elements: the multifaceted personality of the protagonist, his fragmented perception of himself and reality, a postmodern vision of the Self and life. At the same time, La Fura deepens its investigation on theatre/performance and technology, reaching impressive and groundbreaking results. Keywords: La Fura dels Baus, Catalan contemporary drama, performing arts, cinema, lyric opera, cyber theatre
2
Meza Cosme, Susana. "El grupo teatral Tepito Arte Acá, proyectos de prevención de la violencia y el delito." Investigación Teatral. Revista de artes escénicas y performatividad 12, no. 19 (May 23, 2021): 158–70. http://dx.doi.org/10.25009/it.v12i19.2671.
Full textAbstract:
Al grupo de teatro Tepito Arte Acá, fundado en 1980, se le confió la implementación de dos proyectos de artes escénicas en polígonos de altos índices de violencia en la alcaldía Gustavo A. Madero de la Ciudad de México, en 2013 y 2014. Posterior a ello, impulsamos talleres de verano de artes escénicas dirigidos a niñas y niños en el barrio de Tepito (2016, 2017, 2018, 2019). El presente testimonio aborda las fortalezas, experiencias y dificultades más significativas del grupo para enfrentar esta tarea.The theater group Tepito Arte Acá, projects to prevent violence and crimeAbstractThe theater group Tepito Arte Acá, founded in 1980, was recently tasked with the implementation of two performing arts projects in Mexico City neighborhoods with high rates of violence. The group later promoted summer performing arts workshops aimed at children of the Tepito neighborhood. This article is a testimony of the group’s most significant strengths, experiences, and difficulties in facing these tasks.
3
Settimo, Teatro. "A Theatre for Urban Renewal." New Theatre Quarterly 7, no. 25 (February 1991): 27–34. http://dx.doi.org/10.1017/s0266464x00005169.
Full textAbstract:
Teatro Settimo is a theatre group which was created in the Italian industrial city of Turin in 1979 by a group of theatre-making friends who wished to discover a kind of left-wing theatre that would respond directly to the problems of an urban environment. Their story is one of institutionalized success achieved – and then deliberately rejected, as the problems of administering that success, with all its attendant bureaucracy, threatened to stifle the original impulses behind the company. Their most recent production, Stabat Mater, was presented at the ‘Divina’ conference held in Turin in June 1990, as described elsewhere in this issue. Lizbeth Goodman and Gabriella Giannachi spoke there to members of the group, which has since brought Stabat Mater to the ‘Theatre under Threat’ conference in Cambridge last October.
4
Jacobs, Elizabeth. "The Theatrical Politics of Chicana/Chicano Identity: from Valdez to Moraga." New Theatre Quarterly 23, no. 1 (January 16, 2007): 25–34. http://dx.doi.org/10.1017/s0266464x06000601.
Full textAbstract:
Critical opinion over the role of popular culture in relation to ethnic and cultural identity is deeply divided. In this essay, Elizabeth Jacobs explores the dynamics of this relationship in the works of two leading Mexican American playwrights. Luis Valdez was a founding member of El Teatro Campesino (Farmworkers' Theatre) in California during the 1960s. Originally formed as a resistance theatre, its purpose was to support the Farmworkers' Union in its unionization struggle. By the early 1970s Valdez and the Teatro Campesino were moving in a different direction, and with Zoot Suit (1974) he offered a critique of the race riots that erupted in East Los Angeles during the summer of 1943, the subsequent lack of reasonable judicial process, and the media misrepresentation of events. Valdez used setting, music, slang, and dress code among other devices to construct a sense of identity and ethnic solidarity. This provided a strong voice for the Chicano group, but at the same time a particular gendered hierarchy also distinguished his aesthetic. Cherríe Moraga's work provides a balanced opposition to that of Valdez. Giving up the Ghost (1984) helped to change the direction of Chicano theatre both in terms of its performativity and its strategies of representation. Elizabeth Jacobs explores how Moraga redefines both the culturally determined characterization of identity presented by Valdez and the media representation of women. She also utilizes theatrical space as a platform for a reassertion of ethnicity, allowing for the innovation of a split subjectivity and radical lesbian desire. Giving up the Ghost, Jacobs argues, provides a trenchant critique of communal and popular culture discourses as well as a redefinition of existing identity politics.
5
Orel, Barbara. "The World of Odour in the Slovenian Performing Arts." Amfiteater 9, no. 2021-2 (December 5, 2021): 92–98. http://dx.doi.org/10.51937/amfiteater-2021-2/92-98.
Full textAbstract:
The article provides an overview of performances on Slovenian stages that have used odour to stimulate the audience’s senses and arouse transformational effects. Representing the first research of this kind into Slovenian culture, the author demonstrates that odour was used as a means of sensory perception, especially in experimental theatre practices since the 1970s. One of the first such works was Cimetova vrata ladje norcev in druge spremembe (The Cinnamon Door of the Ship of Fools and Other Changes), a performance art piece directed by Tomaž Kralj at Glej Theatre in 1975. In the 1990s, the interest in olfactory perceptions grew among theatre-makers who successfully used odour to implement the aesthetics of the real in post-dramatic theatre and achieve the immersion of the spectator. This role of odour in theatre also continues in the 21st century. Barbara Pia Jenič began deliberately and continuously developing the poetics of scent at the Sensorium Theatre, which she founded in 2001 with Gabriel Hernandez. In her creation of sensorial events, Jenič relies on the methodologies of Enrique Vargas, with which she became acquainted as an actress and scent designer in his group Teatro de los Sentidos and creatively developed them at the Sensorium Theatre. As a scent designer, Jenič has collaborated with other Slovenian theatres, among others, on the 2015 operatorium, The Tenth Daughter (Deseta hči) by Svetlana Makarovič (based on the libretto by Milko Lazar, directed by Rocco) at the Slovenian National Theatre – Opera and Ballet Ljubljana.
6
Watson, Ian. "Letter to an Editor: the Yesterday and Today of Poland's Teatr Ósmego Dnia." New Theatre Quarterly 21, no. 1 (January 26, 2005): 52–60. http://dx.doi.org/10.1017/s0266464x04000338.
Full textAbstract:
Teatro Ósmego Dnia, the Theatre of the Eighth Day, has for forty years flourished in Poland, never as part of the established theatre, but as one of what Eugenio Barba calls the ‘floating islands’ – those companies which live as much as make theatre, and form part of an informal international circuit of like-minded though distinct and individual groups. Ian Watson here shapes his own memories of the group in the form of a letter to one of NTQ's co-editors, with whom he has shared experiences of Polish theatre, and in particular the work of Eighth Day, relating their history to the changing political and economic environment in Poland, and the company's relationship with the outside world. Ian Watson, who is a Contributing Editor of New Theatre Quarterly, teaches at Rutgers University, Newark, where he is the Acting Chair of the Department of Visual and Performing Arts. He is author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993) and of Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002). He edited Performer Training across Cultures (Routledge, 2001), and has published numerous articles on theatre in scholarly journals.
7
Hama, Mark. "Challenging Stereotypes: Prosocial Racial Humor in Luís Valdez’s Actos." Studies in American Humor 9, no. 2 (September 2023): 227–46. http://dx.doi.org/10.5325/studamerhumor.9.2.0227.
Full textAbstract:
ABSTRACT This article examines how Luís Valdez uses prosocial racial humor in his collection of short plays to challenge the anti-Mexican racism directed against the strikers during the 1965–1970 Delano, California, grape strike as well as to address many of the other social issues faced by the Chicano community during this period. Drawing on social psychology research on the dynamics of racial group identification and focusing on the acto entitled Los Vendidos, the article analyzes how Valdez and his Teatro Campesino created the set of conditions that allowed audience members to confront and overcome the negative effects of the racial stereotyping and ethnic slurs they were experiencing on the picket lines and elsewhere and in the process to raise their Chicano cultural and political consciousness.
8
McMahon, Christina S. "FROM ADAPTATION TO TRANSFORMATION: SHAKESPEARE CREOLIZED ON CAPE VERDE'S FESTIVAL STAGE." Theatre Survey 50, no. 1 (April 22, 2009): 35–66. http://dx.doi.org/10.1017/s0040557409000064.
Full textAbstract:
This is a tale of two directors. The setting is the Republic of Cape Verde, a former Portuguese colony and a tiny archipelago nestled off the coast of Senegal in West Africa. Framing the story is Cape Verde's annual Mindelact International Theatre Festival, which since 1997 has invited Lusophone theatre artists from three continents to perform a wide array of theatre genres on a mainstage program alongside Cape Verdean troupes. João Branco, a Portuguese director who moved to the islands in the early 1990s, is the artistic director of both the Mindelact Festival and the veteran Cape Verdean theatre troupe GTCCPM (Grupo de Teatro do Centro Cultural Português do Mindelo/Theatre Group of the Mindelo Portuguese Cultural Center). For Mindelact 2003, GTCCPM performed an abridged version of King Lear rendered in Cape Verdean Crioulo, a mix of Portuguese and several West African languages. Beyond bolstering Branco's cherished goal of creolizing Shakespeare's plays by transporting them to Cape Verde's Afro-European cultural milieu, Rei Lear worked in concert with the festival's media blitz to extol local spectators in Mindelact's host city, Mindelo, for their good taste. Two years later, Herlandson Duarte, a young Cape Verdean director and Branco's former theatre student, staged a Crioulo-language Midsummer Night's Dream at Mindelact with his new theatre company, Solaris. Duarte's production transformed Bottom's play-within-a-play into a searing critique of Mindelense audiences and the structures of authority that prop up the festival itself.
9
Marin, Fwala-lo. "Dirección teatral entre el diálogo con el grupo y la sordera: escucha, decisión y enunciación." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 48 (June 27, 2022): 45–70. http://dx.doi.org/10.32621/acotaciones.2022.48.02.
Full textAbstract:
Este trabajo analiza el rol de la dirección en su desempeño al interior de los procesos escénicos y estudia el diálogo de quien dirige con el resto del grupo. A partir de entrevistas a directores y directoras de teatro independiente argentino de la ciudad de Córdoba, elaboramos conceptualizaciones acerca de las concepciones directoriales que se ponen en juego en el desarrollo de las prácticas. En este trabajo abordamos centralmente tres aspectos que configuran la dirección en el ámbito que estudiamos y que están vinculadas a la dimensión dialógica del trabajo grupal y la distribución de roles entre creadores. Revisamos el problema de las decisiones como competencia de la dirección, la cuestión de la escucha como capacidad a desarrollar y, por último, las responsabilidades enunciativas del rol.
10
Barba, Eugenio. "Creating Earthquakes." New Theatre Quarterly 40, no. 1 (February 2024): 1–30. http://dx.doi.org/10.1017/s0266464x23000325.
Full textAbstract:
Eugenio Barba has honoured NTQ by entrusting to its pages his very personal introduction to his most recent book, Le Mie vite nel terzo teatro: Diffrenza, mestiere, rivolta (My Lives in the Third Theatre: Difference, Craft, Revolt), which has here been specially translated into English by Judy Barba, the co-dedicatee, along with Julia Varley and Vera Gaeta, of his book: the ‘origins and accomplices of my journey to the archipelago of floating islands’. NTQ received this translation, here prepared by the journal’s editor, Maria Shevtsova, ahead of the book’s launch on 5 October 2023 at the Biblioteca Bernardini in Lecce in Puglia. On a grander scale, a few days later, the occasion also saw the opening in Barba’s honour of his and the Odin Teatret archives under the banner of LAFLIS (Living Archive Floating Islands), located in a wing of the three-dimensional immersive museum of the Bernardini. LAFLIS’s rich collection includes written material, film and video documentaries, recordings of performances, and such artefacts and equipment as instruments, masks, and costumes gathered during Third Theatre work. The latter is neither established-classical nor avant-garde theatre but ‘other’ – small-group, sometimes unofficial, and often self-taught theatre. LAFLIS is not exclusively intended for researchers and scholars, but is open as well to interested members of the general public. Barba’s introduction to My Lives in the Third Theatre is here published in full, clearly signposting, together with the author’s succinct commentary, the itinerary of his life’s multifarious work, which involved, and still involves, a wide range of participants and collaborators in different times, places, and languages, and in differing forms and patterns of creativity.Barba’s account begins with his departure from Italy to Norway (1954), and his apprenticeship as a welder, and then a mariner, before tracing his move to study in Poland (1961), where he meets and works with Grotowski, his return to Oslo, where he founds Odin Teatret (1964), and then his emigration to Denmark (1966), where Odin Teatret establishes its niche within the larger framework that Barba named the Nordisk Teaterlaboratorium. Barba’s journey continued, encompassing numerous theatre endeavours, including the development of the idea of a Third Theatre (the ‘floating islands’ alluded to above); the seminal ISTA (International School of Theatre Anthropology, 1979); and, although quite clearly not at journey’s end, the Fondazione Barba Varley established in 2020.
Books on the topic "Teatro del Lemming (Performing group)"
1
Munaro, Massimo. La tetralogia del Lemming: Il mito e lo spettatore. Rovigo: Il ponte del sale, 2021.
Find full text
2
Munaro, Massimo. Edipo: Tragedia dei sensi per uno spettatore : parte prima della "tetralogia dello spettatore" del Teatro del Lemming. Corazzano (Pisa): Titivillus, 2010.
Find full text
3
Castilho, Avellar Marcello, Grupo Oficcina Multimédia (Performing group), and Fundação de Educação Artística, eds. Grupo Oficcina Multimédia: 30 anos de integração das artes no teatro. Belo Horizonte, Minas Gerais, Brasil: Grupo Oficcina Multimédia, da Fundação de Educação Artística, 2007.
Find full text
5
Czertok, Horacio, and Martin Holbraad. Theatre of Exile. Taylor & Francis Group, 2015.
Find full text
6
Czertok, Horacio, and Martin Holbraad. Theatre of Exile. Taylor & Francis Group, 2015.
Find full text
7
Czertok, Horacio, and Martin Holbraad. Theatre of Exile. Taylor & Francis Group, 2015.
Find full text
8
Czertok, Horacio, and Martin Holbraad. Theatre of Exile. Taylor & Francis Group, 2015.
Find full text