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Artículos de revistas sobre el tema "Pauli Theater"

Autor: Grafiati

Publicado: 26 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Wilmer, S. E. "Cultural Encounters in Modern Productions of Greek Tragedy." Nordic Theatre Studies 28, no. 1 (2016): 15. http://dx.doi.org/10.7146/nts.v28i1.23969.

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The exiled character in need of asylum is a recurrent theme in ancient Greek tragedy. In many of these plays, we see uprooted and homeless persons seeking sanctuary, and for the ancient Greeks, hospitality was an important issue. Many of these plays have been updated to comment on the current social and political conditions of refugees and often reflect on the notion of hospitality, something which both Emmanuel Levinas and Jacques Derrida considered to be fundamental to ethics. Recently there has been a series of demonstrations and occupations of public spaces by asylum seekers that has

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2

Lampe, Eelka. "Disruptions in Representation: Anne Bogart's Creative Encounter with East Asian Performance Traditions." Theatre Research International 22, no. 2 (1997): 105–10. http://dx.doi.org/10.1017/s0307883300020514.

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The avant-garde theatre director Anne Bogart has made her name in the U.S. theatre community through her deconstructions of modern classics such as the musical South Pacific (1984), Cinderella/Cendrillon (1988) after Massenet's opera, Büchner's Danton's Death (1986), Gorki's Summerfolk (1989), William Inge's Picnic (1992), as well as through her idiosyncratic and original dance/theatre ‘compositions’ developed collabortively with her company, the Saratoga International Theater Institute (SITI). Prominent among such compositions have been 1951 (1986) on art and politics during the McCarthy era,

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3

Arnaut, Luis Marcio. "Interview with André Garolli." Dramaturgia em foco 8, no. 2 (2024): 608–24. https://doi.org/10.5281/zenodo.14537463.

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4

Yakushenkov, Serguey N. "When the Naked Body Speaks: Brazilian Theater in the Search of National Identity." Corpus Mundi 3, no. 1 (2022): 31–51. http://dx.doi.org/10.46539/cmj.v3i1.59.

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The naked body is a complex phenomenon, combining a variety of functions. Nudity can be symbols of threat/insecurity, aggression/victim, freedom/slavery. Teatro Oficina, located in the São Paulo suburbs, offers us a unique example of nudity for the construction of national identity. Based on the Brazilian poet Oswald de Andrade's "Anthropophagic Manifesto," the theatre founders made nudity and anthropophagy their theatrical credo. Formed in 1958 the theater has taken a leading place in the cultural life of São Paulo and Brazil. Despite censorship during the military dictatorship, Teatro Oficin

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5

Laages, Michael. "Das Anthropophagische Theater." Theater heute 64, no. 10 (2023): 46–48. http://dx.doi.org/10.5771/0040-5507-2023-10-046.

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6

Dias, Rodrigo Francisco. "A PRESENÇA DE ANTONIO FAGUNDES NA CENA TEATRAL BRASILEIRA." Fênix - Revista de História e Estudos Culturais 16, no. 1 (2019): 1–10. http://dx.doi.org/10.35355/0000019.

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7

Neves, David Medeiros. "The first productions of Tennessee Williams´ plays in São Paulo." Dramaturgia em foco 8, no. 2 (2024): 442–61. https://doi.org/10.5281/zenodo.14085606.

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This article presents and describes the circumstances surrounding the production of the first premieres of Tennessee Williams’ plays in the theatrical context of São Paulo between 1948 and 1964. Through a comprehensive investigation into various academic and historical sources, describing the technical details, reception, and the importance of the show in the city’s scene, the crucial role played by these productions in the revitalization of São Paulo’s theater stands out. The productions not only contributed to the advancement of modern Brazilian theater but we

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8

Neves, David Medeiros. "As primeiras produções das peças de Tennessee Williams em São Paulo." Dramaturgia em foco 7, no. 2 (2025): 306–24. https://doi.org/10.5281/zenodo.14873421.

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Este artigo apresenta e descreve as circunstâncias das montagens das primeiras estreias das peças de Tennessee Williams no contexto teatral de São Paulo entre 1948 e 1964. Por meio de uma investigação abrangente em diversas fontes acadêmicas e históricas, ao descrever a ficha técnica, a recepção e a importância do espetáculo no cenário da cidade, destaca-se o papel crucial desempenhado por essas produções na revitalização do teatro paulistano. As montagens não apenas contr

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9

Abdulmunem Azeez, Rasha. "Paula Vogel And The Modern American Female Playwrights." Journal of the College of languages, no. 44 (June 1, 2021): 46–71. http://dx.doi.org/10.36586/jcl.2.2021.0.44.0046.

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Reading and analyzing Paula Vogel’s plays, the readers can attest that she achieves success in drama or theater because she is passionate about theater. Vogel is a modern American playwright who won the 1998 Pulitzer Prize for drama. Her success and insight in playwriting or in adapting do not come all of a sudden; she is influenced by many writers. Vogel is influenced by many American dramatists, including Eugene O’ Neill, Arthur Miller, Tennessee Williams, and Edward Albee, and by other non-American writers, including August Strindberg, Anton Chekhove, and Bertolt Brecht. Certainly, there we

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10

Leiva Filiho, João Oswaldo. "The place ow women in the theatres of São Paulo." Debats. Revista de cultura, poder i societat 136, no. 1 (2022): 49–68. http://dx.doi.org/10.28939/iam.debats-136-1.3.

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The aim of this article was to provide quantitative information about the gender gap in theatre production in the city of São Paulo (Brazil), thereby helping to raise awareness of the inequalities faced by women in the field. The text compares the opportunities available to men and women working in seven different theatre-related occupations and is underpinned by a mapping of 1,466 plays performed in the city throughout 2018. The data were collected from three weekly guides published by the local media and two monthly publications: a theatre guide and a magazine from a cultural institution tha

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11

Wiltshire, J. "Review: Jane Austen and the Theatre * Paula Byrne: Jane Austen and the Theatre." Cambridge Quarterly 32, no. 4 (2003): 367–72. http://dx.doi.org/10.1093/camqtly/32.4.367.

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12

Goldfeder, André. "Estrelas de Letras. Teatralidades do poema no Brasil pós-1970." Elyra, no. 17 (2021): 199–223. http://dx.doi.org/10.21747/2182-8954/ely17a13.

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By analyzing poems by Paulo Leminski, Ana Cristina Cesar and Veronica Stigger, this essay puts forward a notion of the theater of poetry aiming at clarifying a paradoxal and multiple status of the space of the poem, seen through de lenses of Brazilian poetry produced from de 1970s on. For doing so, it approaches a few contemporary modes of reception of a theoretical and practical antitheatrical field inherited from a modern context, where poetry, theater and visual arts hold converge by means of plural mises-en-scène of the specifity problem

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13

Ferraz, Leidson Malan Monteiro de Castro. "A EXPERIÊNCIA, UM TANTO DIFERENCIADA, DO TEATRO DE ARENA NO RECIFE." Arteriais - Revista do Programa de Pós-Gradução em Artes 9, no. 15 (2023): 43. http://dx.doi.org/10.18542/arteriais.v9i15.15705.

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ResumoA partir da estreia do formato teatro de arena no Brasil, na Escola de Arte Dramática (EAD), até o surgimento do grupo Teatro de Arena de São Paulo com sua respectiva casa de espetáculos, este artigo procura mapear a chegada do gênero na capital pernambucana, as reverberações que causou até fomentar o estímulo de fazer surgir o Teatro de Arena do Recife, inicialmente liderado pela dupla Alfredo de Oliveira e Hermilo Borba Filho, cuja companhia profissional e sede teatral sobreviveram por quase sete anos, mas com um perfil bem distinto daquele propagado pelo seu congênere paulistano, pref

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14

Zwitscher-Maschine., Journal on Paul Klee /. Zeitschrift für internationale Klee-Studien. "Autorinnen und Autoren ZM17." Zwitscher-Maschine. Journal on Paul Klee / Zeitschrift für internationale Klee-Studien 17 (May 31, 2025): 82. https://doi.org/10.5281/zenodo.15564634.

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<strong>Rudolf Altrichter</strong> ist Philosoph und lebt als freier Schriftsteller in der Schweiz. Letzte Veröffentlichungen: <em>Spiegelungen. Traktat über die Liebe</em>, Oberhausen 2016; »Das Mysterium der Moderne. Über das Geheimnis als Betriebsgeheimnis der Kunst im Werk von Paul Klee«, in: <em>Zwitscher-Maschine</em>, Nr. 3, 2017; <em>Versuch über das Wirkliche</em>, Oberhausen 2018; <em>Über das Opfer</em>, Oberhausen 2019; <em>Metaphysisch denken</em>, Küsnacht 2020; <em>Betrachtungen</em>, Küsnacht 2021; <em>Über den Anlass</em>, Ne

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15

Spadotto, Juliana, and Nadia Saito. "Estopô Balaio, a case of a socio-political engaged approach to Applied Theatre." Rev. nuestrAmérica, no. 21 (March 24, 2023): e7935007. https://doi.org/10.5281/zenodo.7935007.

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Theatre can play a social transformation role when used as a platform for empowering individuals who are critically engaged in such cultural practices. This article is part of a research conducted in 2021 on Estopô Balaio's work - a Brazilian collective theatre group that has worked in an under-represented community in São Paulo. This research aims to critically demonstrate how Applied Theatre (AT) can transform people's lives, empower individuals engaged in group activities, and build a sense of community and empathy. Moreover, two Brazilian authors, Paulo Freire (1970) a

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16

Lafon, Emmanuelle. "Foucault y el teatro: el Collectif F71." Dorsal. Revista de Estudios Foucaultianos, no. 13 (December 25, 2022): 179–95. https://doi.org/10.5281/zenodo.7482110.

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17

Cumura, Ljiljana, Evelina Barbanti, and Laura Trevisan. "The Use of Social Theatre along the Mediterranean." WELFARE E ERGONOMIA, no. 2 (February 2022): 117–32. http://dx.doi.org/10.3280/we2021-002009.

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The challenge of this article is to explore the role of Theatre for Social Change (TfSC). Clearly, it is a very complex field of research. It is not one form of theatre but "a set of interdisciplinary and hybrid practices". It spans the participatory and professional arts sectors and the fields of arts and activism. Unlike other kinds of theatre, TfSC is a performance ensemble to raise awareness about the impact of social issues through the community engagement process. The article seeks to investigate connections between social theatre, social wellbeing and health. Few paragraphs are dedicate

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18

Sherard, Hamp. "The Thinking of Students: Free Movie Passes." Mathematics Teaching in the Middle School 6, no. 9 (2001): 534–35. http://dx.doi.org/10.5951/mtms.6.9.0534.

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Ann Sullivan, who teaches at St. Norbert School, Paoli, PA 19301, gave the problem to her sixth-grade Advanced Math class. The students solved the problem immediately, finding how many tickets of each color were under the seats of the theater. She then asked them to find different ways to solve the problem. Their various strategies showed evidence of algebraic thinking, whether they used arithmetic or algebra. In each situation the students reasoned that the tickets had to be distributed in sets of 48 tickets, (3 + 19 + 15 + 11), resulting in 432 ÷ 48, or 9, complete sets of tickets hidden und

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19

Elliott, Matthew. "Young People as Legislators: Legislative Theatre and Youth Parliament." Applied Theatre Research 9, no. 1 (2021): 73–86. http://dx.doi.org/10.1386/atr_00049_1.

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Young People as Legislators is the result of a six-month Legislative Theatre project with Collective Encounters Youth Theatre, Youth Focus NW and Youth Parliament UK. The project formed part of a wider scheme of practice as research that explored youth theatre practice as political engagement for young people. Legislative Theatre practice was utilized to work alongside the Youth Parliament’s Make Your Mark scheme, an annual poll for young people to decide on campaigning issues. In this article, I consider three elements: tokenism in youth engagement, differing experiences between artistic proc

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20

Shawyer, Susanne. "A Global Perspective on Theatre for Social Change." Canadian Theatre Review 140 (September 2009): 87–89. http://dx.doi.org/10.3138/ctr.140.016.

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A mask workshop with incarcerated offenders. An AIDS education play in rural Zimbabwe. An interactive drama about racism and refugees in northern England. What do these performances have in common? All are examples of applied theatre, a vibrant and expanding field that blends theory and practice in efforts to use theatre for social and political change. The Applied Theatre Reader adds a global perspective to the growing library of academic works investigating how theatre workers put into practice the theories of Bertolt Brecht, Augusto Boal and educator Paulo Freire. This anthology of short ar

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21

Prateek, Kumar. "REPERCUSSION OF DIGITAL TECHNOLOGY ON AUGUSTO BOAL'S THEATRE OF OPPRESSED: AN INVESTIGATION." International Journal of Advance and Applied Research 2, no. 20 (2022): 59–64. https://doi.org/10.5281/zenodo.7049422.

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<strong><em>Abstract:</em></strong><em> </em> <em>Augusto Boal, a Brazilian playwright, developed the aesthetic technique known as "Theatre of the Oppressed" (TO), which encourages critical observation and portrayal of reality while imagining the creation of consciousness and practical acts. Augusto Boal aimed to change the "monologue" of a conventional performance into a "dialogue" between the audience and the stage. Theatre of the Oppressed does not function as either entertainment or political propaganda. It is a type of community-based popular education that i

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22

Heritage, Paul. "Taking Hostages: Staging Human Rights." TDR/The Drama Review 48, no. 3 (2004): 96–106. http://dx.doi.org/10.1162/1054204041667695.

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23

Nery Monteiro, Argus Cecil. "Antunes Filho: Formation of the Brazilian System of Theatrical Art." Observatory of Culture, no. 3 (June 28, 2015): 44–50. http://dx.doi.org/10.25281/2072-3156-2015-0-3-44-50.

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Antunes Filho: Formation of the Brazilian System of Theatrical Art (by Argus Cecil Nery Monteiro) is devoted to the formation and development of the method of Antunes Filho, a reformer of the modern Brazilian theatre. Resting on Stanislavski’s system, he created his own method based on contemporary psychological and philosophical researches. His method is successfully used in training actors at the Centre of theatre researches founded by him in São Paulo.

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24

Cornago, Óscar. "El teatro como crítica institucional." Investigación Teatral. Revista de artes escénicas y performatividad 9, no. 13 (2018): 132–58. http://dx.doi.org/10.25009/it.v9i13.2559.

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Este artículo discute el sentido de las prácticas teatrales en relación a los contextos institucionales en los que se desarrollan. Para ello, se analiza la dimensión institucional del teatro en relación a las artes visuales. La reacción ante repertorios de formas y usos ya instituidos ha abierto un ámbito de confluencias entre las prácticas performativas y las visuales. Con el fin de trazar diversos recorridos dentro de este panorama, se estudian proyectos de creación de España, Alemania, México, Líbano y Brasil, algunos de ellos pertenecientes a la programación de la iii Mostra Internacional

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25

Halpenny, Francess G. "Paula Sperdakos. Dora Mavor Moore: Pioneer of the Canadian Theatre." Theatre Research in Canada 17, no. 2 (1996): 220–23. http://dx.doi.org/10.3138/tric.17.2.220.

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Halpenny, Francess G. "Paula Sperdakos. Dora Mavor Moore: Pioneer of the Canadian Theatre." Theatre Research in Canada 17, no. 2 (1996): 220–23. http://dx.doi.org/10.3138/tric.17.2.220.

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27

Monteiro, George. "George C. White in Brazil:." Eugene O'Neill Review 36, no. 1 (2015): 61–72. http://dx.doi.org/10.5325/eugeoneirevi.36.1.61.

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Abstract In 1988, under the auspices of the United States Information Services, George C. White toured major cities in Brazil to talk about the Eugene O'Neill Memorial Theater Center. In São Paulo he was interviewed by Leo Gilson Ribeiro for the Jornal da Tarde. This newspaper interview appeared on October 1, 1988. It is reprinted here, for the first time in an English translation.

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28

Coelho, Caco, Fernando Peixoto, and Willi Bolle. "Mesa-redonda - A estética do teatro de Brecht." Pandaemonium Germanicum, no. 4 (November 5, 2000): 125. http://dx.doi.org/10.11606/1982-8837.pg.2000.64191.

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Drei Erfahrungsberichte über Bertolt Brechts Theater auf brasilianischen Bühnen. Caco Coelho spricht über den Zyklus der Brecht-Lesungen, -Aufführungen und -Vorträge seiner Theatergruppe Os Fodidos Privilegiados 1998 in Rio de Janeiro. Fernando Peixoto vertritt die Ansicht, daß der zentrale Punkt von Brechts Theater darin besteht, Emotionen im zwischenmenschlichen Verhalten und in ihren politisch-historischen Kontexten verstehbar zu machen. Er erzählt unter anderm von einer "Wiederentdeckung" der Brechtschen Theaterästhetik durch eine Laiengruppe in Amazonien und vertritt insgesamt ein undogma

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29

Miñana, Rogelio. "“The Don Quixote of the Streets”: Social Justice Theater in São Paulo, Brazil." Cervantes: Bulletin of the Cervantes Society of America 31, no. 1 (2011): 159–70. http://dx.doi.org/10.1353/cer.2011.0009.

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Miñana, Rogelio. "“The Don Quixote of the Streets”: Social Justice Theater in São Paulo, Brazil." Cervantes 31, no. 1 (2011): 159–70. http://dx.doi.org/10.3138/cervantes.31.1.159.

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En São Paulo, la capital financiera y cultural de Brasil, diversas organizaciones humanitarias utilizan adaptaciones de Don Quijote como base cultural y política para su trabajo con niños y jóvenes en situación de riesgo social. Además del “Projeto Quixote,” una ONG fundada en 1996 que a través de un equipo multidisciplinar de más de 140 trabajadores y voluntarios ha colaborado con unos trece mil niños y jóvenes, numerosas organizaciones han escenificado en la última década versiones teatrales (la mayoría escritas para la ocasión) de Don Quijote. Este artículo se centra en los tres grupos (Ins

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31

Starr, G. Gabrielle. "Jane Austen and the Theatre. Paula Byrne.Jane Austen and the Theatre. Penny Gay.Recreating Jane Austen. John Wiltshire." Wordsworth Circle 33, no. 4 (2002): 161–62. http://dx.doi.org/10.1086/twc24044214.

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32

Konstantinova, N. S. "Through Hardship to the Stars." Cuadernos Iberoamericanos 11, no. 2 (2023): 111–25. http://dx.doi.org/10.46272/2409-3416-2023-11-2-111-125.

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The article is devoted to one of the brightest phenomena of Brazilian culture – theater, which, for a number of objective reasons, is much less known abroad than its other areas. The genesis and main stages of the evolution of the dramaturgy and theatrical art of Brazil over the course of five centuries of its existence are briefly considered. The extremely important role of the Week of Modern Art, held in Sao Paulo in 1922, which marked the birth of Brazilian modernism, which radically influenced the entire subsequent cultural process, is emphasized. Particular attention is paid to the format

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De Andrade Silva, Bianca Camila, and Luciana Dadico. "Contemporary Black Theater as a Possibility of Intersectional Critical Praxis." Revista Kaylla, no. 2 (November 13, 2023): 160–78. http://dx.doi.org/10.18800/kaylla.202301.009.

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Since the Brazilian black theater groups are growing up in cities such as São Paulo and other capitals from Brazil, it becomes necessary to investigate the impact of their productions and organizations in aesthetic, political, and cultural perspectives. In the work of Abdias do Nascimento, black theater used to be proposed as a way to reflect on its identity. This characteristic remains until the present with different demands and prisms. The aim of this paper is to analyze the contemporary play IDA, a work that has the identity as theme for the Brazilian black women, considering identity in i

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34

Lacey, Stephen, and Brian Woolland. "Educational Drama and Radical Theatre Practice." New Theatre Quarterly 8, no. 29 (1992): 81–91. http://dx.doi.org/10.1017/s0266464x00006357.

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In the early issues ofNew Theatre Quarterly, David Hornbrook initiated a debate on the role and techniques of drama-in-education to which several other notable practitioners subsequently contributed. Since then, the continuing need to defend the very existence of drama within a curriculum-oriented system has perhaps disinclined drama-in-education workers from a theoretical exploration of their methods and purposes. But the argument that the subject should be concerned with theatre practice has, suggest Stephen Lacey and Brian Woolland, overlooked the reality that drama-in-education, in importa

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35

Woodland, Sarah. "Prison Theatre and an Embodied Aesthetics of Liberation: Exploring the Potentials and Limits." Humanities 10, no. 3 (2021): 101. http://dx.doi.org/10.3390/h10030101.

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Prison theatre practitioners and scholars often describe the sense of imaginative freedom or “escape” that theatre and drama can facilitate for incarcerated actors, in contrast to the strict regimes of the institution. Despite this, the concept of freedom or liberation is rarely interrogated, being presented instead as a given—a natural by-product of creative practice. Drawing from John Dewey’s (1934) pragmatist aesthetics and the liberatory pedagogies of Bell Hooks (2000) and Paulo Freire (1996), I propose an embodied aesthetics of liberation in prison theatre that adds depth and complexity t

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Silwadi, Najwa, and Peter Mayo. "Pedagogy under Siege in Palestine: Insights from Paulo Freire." Holy Land Studies 13, no. 1 (2014): 71–87. http://dx.doi.org/10.3366/hls.2014.0078.

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This paper analyses the relevance of Paulo Freire's pedagogical and philosophical ideas within the context of occupied Palestine. It specifically focuses on the work in continuing community action and education carried out by a particular centre established at Al-Quds University in Jerusalem, and at the heart of the ‘old city’, for this purpose. The major focus here is on community theatre foregrounding issues related to women in Palestinian society. Major themes broached include the politics of education, social mobilisation, women and the Intifada, the collective dimensions of knowledge, lea

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Franzolin, Caio Sérgio de Castro Armada Floret, and Simone Scifoni. "Teatro de grupo como patrimônio imaterial do município de São Paulo." Revista CPC 18, no. 36 (2023): 272–80. http://dx.doi.org/10.11606/issn.1980-4466.v18i36p272-280.

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Today, in the city of São Paulo, Group Theater stands as a fundamental element of the local culture, an intangible heritage officially recognized through its designation as a Form of Expression in 2014 by the municipal authority. Presently, there are over 200 organized, independent, and inter-connected collectives actively engaged in diverse regions across the city, in order to protect its status as an intangible heritage, a Safeguard Plan has been devised. The plan is rooted in the conceptualization and historical context of these cultural practices, encompassing an extensive survey of activi

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Papier, Sylwia. "Historia mojego ojca: zaraz wam odegram… Czyli jak pamięta drugie pokolenie?" Politeja 18, no. 1(70) (2021): 197–208. http://dx.doi.org/10.12797/politeja.18.2021.70.15.

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My Father’s Story: I’ll Play You Right Away… So How Do the Second Generation Remember? The aim of the article is to discuss the life story of the survivor, Majer Jesion and the joint work of daughter and father on discovering memory and the past, as well as to analyze the result of this work: the spectacle 121 023 J (dir. Ariel Goldmann, Sao Paulo), including the construction of the history and stage spaces with the usage of props to visualize the difficult past. In 2002, Renata Jesion decided to put on stage the traumatic story of her father in which she embodied him on stage. The theat

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Levy, Aiala. "Theaters and the Popular-Elite Divide in São Paulo, Brazil, 1895–1922." Latin American Theatre Review 52, no. 2 (2019): 37–54. http://dx.doi.org/10.1353/ltr.2019.0002.

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40

Diba, Denise, and Ana Flavia d'Oliveira. "Community Theater as social support for youth: agents in the promotion of health." Ciência & Saúde Coletiva 20, no. 5 (2015): 1353–62. http://dx.doi.org/10.1590/1413-81232015205.01542014.

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There has been much discussion on promotion of the health of young people in vulnerable situations; but little work has been done analyzing its actual operation - and this is especially true in relation to programs and projects that are outside the health services. This article aims to analyze the relationship of an experience in Community Theater with the promotion of health. It is a qualitative, ethnographic study made at the Pombas Urbanas Institute, in the Cidade Tiradentes district of the municipality of São Paulo, and is coordinated by a theater group with a history that is relevant to t

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Duşe, Carmen Sonia, and Dan Maniu Duse. "Brief consideration on the use of the theatre of oppressed in anti-bullying activities in schools." MATEC Web of Conferences 343 (2021): 11015. http://dx.doi.org/10.1051/matecconf/202134311015.

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The problem of bullying is of great importance in education, due to the severity of its consequences. The paper aims to present some ideas about how theatre, as an art form, can be used in the fight against bullying in education. In this context, the use of the theatre concept of the oppressed as a tool to combat bullying behaviours can be more successful, as the act of denouncing oppression through actions, mimicry and gestures, through the tones of voice, leads to the setting of benchmarks. between the participating students / children and the educational community. Starting from the idea pr

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Friedman, Sharon. "Revisioning the Woman's Part: Paula Vogel's ‘Desdemona’." New Theatre Quarterly 15, no. 2 (1999): 131–41. http://dx.doi.org/10.1017/s0266464x00012823.

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In Desdemona, Paula Vogel's revision of Shakespeare's Othello, we have a Desdemona who is Othello's worst nightmare, the transformation of lago's fiction into reality. Why has Paula Vogel created a Desdemona who, though ostensibly inside out, still appears to be Othello's projection? Sharon Friedman argues that although Paula Vogel's raucous Desdemona draws on many of the conventions of feminist revisioning, it marks an important shift in the feminist critical perspective in drama – as characterized by Lynda Hart, ‘from discovering and creating positive images of women … to analyzing and disru

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Cohen-Cruz, Jan. "Theatre and Empowerment: Community Drama on the World Stage. Edited by Richard Boon and Jane Plastow. Cambridge: University of Cambridge Press, 2004; pp. 280. $75 cloth." Theatre Survey 46, no. 2 (2005): 353–55. http://dx.doi.org/10.1017/s0040557405410200.

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Theatre and Empowerment is a collection of essays about theatre projects worldwide that engage local people in addressing their own concerns. Editors Richard Boon and Jane Plastow explain how they selected the essays: All are written from the perspective of writers' experiences in the field; they embrace diverse communities, issues, and practices; and all are “profoundly subversive of established power,” including the authority of the artist-facilitators themselves, “in favor of more open-ended, democratic and meaningful learning processes” (3–4). Paulo Freire's spirit hovers over the collecti

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Salifu, Musa, and Yunusa Musa. "Theatre for development as a competent vehicle for the eradication of domestic violence against women." Tropical Journal of Arts and Humanities 5, no. 1 (2023): 66–73. http://dx.doi.org/10.47524/tjah.v5i1.67.

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Apparently, domestic violence is one of the burning social issues of global concern. In many countries of the world, including Nigeria, reports and news of how several women have been abused by their intimate partners have occupied major parts of the mass media in recent times. Often, this ugly trend causes psychological and bodily harm, and even loss of life for the victims who are majorly women and children. In fact, the negative implications of domestic violence on the victims and society in general cannot be over emphasized. Hence, the need to fight against the menace is sacrosanct. Howeve

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Fitzpatrick, Lisa. "Breaking Silences: Women, Citizenship and Theatre In Northern Ireland." ABEI Journal 25, no. 2 (2023): 87–100. http://dx.doi.org/10.11606/issn.2595-8127.v25i2p87-100.

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This essay seeks to weave together an analysis of women’s citizenship and its dependency on certain silences, and the exploration of this tension in two recent productions by Belfast- based Kabosh Theatre Company. Kabosh, and company Artistic Director Paula McFetridge, stage work that examines the realities of the region in the post-conflict era. In constructing the theoretical frame for the analysis, the concept of “silence” and “silencing” draws from Kristie Dotson (2015), and from work on violence such as Gayatri Spivak’s concept of “epistemic violence” and a wide range of sources on the pe

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De Lima, Sonia Albano, Claudio Piccolo, and Flavia Albano De Lima. "The Interdisciplinary reading of Opera contexts: an innovative way of teaching arts in educational projects and environments." Journal on Innovation and Sustainability. RISUS ISSN 2179-3565 2, no. 3 (2011): 34. http://dx.doi.org/10.24212/2179-3565.2011v2i3p34-43.

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The Grupo de Ensino e Pesquisa em Interdisciplinaridade da Pontifícia Universidade Católica de São Paulo - GEPI-PUCSP [Group of Studies and Research in Interdisciplinarity of the Pontifical Catholic University of São Paulo] in the project PENSAR E FAZER ARTE [THINKING AND MAKING ART], among other purposes, aims at analyzing several works of art, in the format of conversation, under an inter-disciplinary perspective. This differentiated reading allows for the socio-cultural updating and re-signification of the work of art, providing education with artistic information linked to the other areas

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Steinberg, Shirley R. "On-the-Ground Literacies: Moderating with Media and Theatre to Embody Critical Pedagogy." International Journal of Roma Studies 2, no. 1 (2020): 28. http://dx.doi.org/10.17583/ijrs.2020.5161.

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My work is based on the work of Paulo Freire, and my current tasks come from the endeavors that Freire, Jesús Gomez, Joe Kincheloe and I did on Radical Love in the early part of the new century. Both Radical Love and Critical Pedagogy create my theoretical framework for critical activist pedagogy.

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Repertório, Teatro &. Dança. "MELODRAMA ATUAL: MEDIAÇÃO ENTRE TRADICIONAL E MASSIVO [Paulo Merisio]." REPERTÓRIO, no. 15 (July 7, 2010): 52. http://dx.doi.org/10.9771/r.v0i15.5212.

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<div>Este artigo resulta da investigação da potencialidade do melodrama – modalidade dramatúrgica emblemática do repertório circense-teatral – como instância mediadora entre a tradição popular e algumas manifestações associadas à indústria cultural e à cultura de massas. Seguindo as pistas de estudos como os de Martin-Barbero (1997), Huppes (2000) e Xavier (2003), pretende-se compreender um pouco mais movimentos recentes de inserção do melodrama em outros meios. Para tanto, é importante perceber em que veículos o melodrama se inseriu e de que forma se dá sua leitura.<br><br /&gt

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Jayo, Martin, and Adriana Tavares Lima. "Toponymic commodification and the neoliberal city." Domínios de Lingu@gem 15, no. 2 (2021): 347–70. http://dx.doi.org/10.14393/dl46-v15n2a2021-4.

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After being practiced for nearly three decades in the city of São Paulo for privately-owned venues such as cinemas, theaters and, more recently, sports stadiums, the sale of naming rights is being applied to state-owned spaces: in April 2020, the Companhia do Metropolitano de São Paulo (Cia. do Metrô) announced a plan to grant to private exploitation the right to name its stations. This article analyzes this plan, its premises and expectations. It concludes that, while a series of conflicts related to the memory of the city and its spatial landmarks have been identified by recent studies on to

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Rowen, Bess. "The Theatre of Paula Vogel: Practice, Pedagogy, and Influences by Lee Brewer Jones (review)." Theatre Topics 34, no. 1 (2024): 107–8. http://dx.doi.org/10.1353/tt.2024.a920486.

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