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Artículos de revistas sobre el tema "Theatrical body"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 17 de febrero de 2022

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1

Rozzoni, Claudio. "Body Becoming Image: The Theatrical Window." HORIZON. Studies in Phenomenology 4, no. 1 (2015): 114–23. http://dx.doi.org/10.18199/2226-5260-2015-4-1-114-123.

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2

Logie, Lea. "Theatrical Movement and the Mind-Body Question." Theatre Research International 20, no. 3 (1995): 255–65. http://dx.doi.org/10.1017/s0307883300008695.

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Performers in the second half of this century face an intensified confontation with physical expression in theatre. The question of how, or even whether, movement can express the ‘inner life’ of an actor/character is always present in the work of groups or individuals who wish to design innovative and physicalized performances.
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3

Stowell-Kaplan. "Theatrical Posture, Theatrical Style: Fluidity of Body and Mind in Widowers' Houses." Shaw 39, no. 1 (2019): 98. http://dx.doi.org/10.5325/shaw.39.1.0098.

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4

Baltacioglu, Yesim Arsoy. "Views of state theatre actors on theatrical makeup." New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (2018): 118–27. http://dx.doi.org/10.18844/prosoc.v5i6.3848.

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Theatrical makeup is the process of transforming an actor into a character using specially crafted materials and specific techniques in a play staged. Theatrical makeup work is carried out by applying light, shadow, lines and colours on the actor’s face with specific techniques as well as affixing, where necessary, attachments to the actor’s face or body, such as prosthetic parts or false beard and moustache. Considering that actors predominantly use their facial expressions in addition to their speaking and body language to convey to the audience their emotions and how their situation affects
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5

Franko, Mark. "Majestic Drag: Monarchical Performativity and the King's Body Theatrical." TDR/The Drama Review 47, no. 2 (2003): 71–87. http://dx.doi.org/10.1162/105420403321921247.

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Two Bourbon kings, Louis XIII and XIV, were ballet dancers. What were the aesthetic, political, and ritual functions of court ballet? Did the monarch's stage appearances sustain his political identity? Franko argues that dance and music, rather than reinforcing, in their blatant magnificence, the political message of power's presence, were actually the formally subversive means through which the performance sustained the ambiguity and contradiction of personal sovereignty.
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6

Astington, John H. "Actors and the body." Gesture, ritual and memory 6, no. 2 (2006): 241–59. http://dx.doi.org/10.1075/gest.6.2.08ast.

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The ways in which the performing of gesture is inscribed into the very texts of Shakespeare’s plays constitutes a “meta-theatrical” and “meta-gestural” discourse which this article analyses with reference to Hamlet, Othello, The Winter’s Tale and Twelfth Night. Shakespeare is shown to be a “gestural writer”, well versed in the rhetorical tradition and sensitive to the subtleties of body language within and without the world of stage.
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7

Vysotska, Natalia. "Monarch’s Multiple Bodies: Implementing Body Politic Metaphor on Present-Day North American Stages." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 163–76. http://dx.doi.org/10.31861/pytlit2020.101.163.

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The paper seeks to explore the strategies instrumental for the implementation of the body politic metaphor that had been active in Western culture since classical antiquity in the plays authored by present-day North American dramatists (Sarah Ruhl’s Passion Play, USA, 2010, and Timothy Findley’s Elizabeth Rex, Canada, 2000). Drawing upon the concept of the “king’s two bodies” (E. Plowden, E. Кantorowicz, М. Аxton, А. Мusolff, L. Montrose and other New Historicists), the author sets out to demonstrate that in S. Ruhl’s dramatic cycle the metaphor serves to indicate the inextricable links betwee
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8

EL-KHATIB, MOHAMED SAMIR. "Tahrir Square as Spectacle: Some Exploratory Remarks on Place, Body and Power." Theatre Research International 38, no. 2 (2013): 104–15. http://dx.doi.org/10.1017/s0307883313000205.

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This article treats the Egyptian 25 January revolution as a struggle over the right to produce signs within an Egyptian cultural landscape long plagued by the state's attempted monopoly over meaning. Like an actor onstage who acquires a new sense of agency through performance, the individual citizen in revolt performs an existential act aiming to reclaim the uninhibited, free body from the regime and its cognitive hold. The revolution thus lends itself to analysis via the tools of theatre and performance studies. This theatrical mode of knowledge can be achieved in at least two strategic ways.
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9

Roberts, Rosemary. "Gendering the revolutionary body: Theatrical costume in cultural revolution China." Asian Studies Review 30, no. 2 (2006): 141–59. http://dx.doi.org/10.1080/10357820600714231.

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10

권경희. "Theatrical Peculiarity Carried by Body in ‘the Only One Space’." Journal of korean theatre studies association 1, no. 59 (2016): 69–106. http://dx.doi.org/10.18396/ktsa.2016.1.59.003.

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11

Alvarez, Natalie. "Bodies Unseen." Janus Head 12, no. 2 (2011): 35–48. http://dx.doi.org/10.5840/jh201112227.

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The struggle to “adapt” to the presence of the corpse serves as the central turning point for this investigation into the theatrical encounters with the corpse in the early modern anatomy theatre. Beginning with novelist W.G. Sebald’s claim, in The Rings of Saturn, that the art of anatomy was a way of “making the reprobate body invisible,” Alvarez queries how the corpse as the central “gure of this theatrical space challenges conventional modes of theatrical looking and how the particular viewing procedures invited by the anatomy theatre, as a theatrical space, effectively make the body “unsee
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12

Krpič, Tomaž. "The Spectator's Performing Body: the Case of the Via Negativa Theatre Project." New Theatre Quarterly 27, no. 2 (2011): 167–75. http://dx.doi.org/10.1017/s0266464x11000297.

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The concept of the performing body consists of two elements: the performer's and the spectator's performing bodies. The performer's body is an active and creative body on stage, while the spectator's body is considered an uncreative body, passive in his or her seat. In this article, findings regarding the duality of the performing body, its interchangeability, and its intertwinement, derive from researching Via Negativa, a Slovenian-based (yet international in its nature) theatrical project established almost a decade ago by theatre director Bojan Jablanovec. The mission of Via Negativa is to
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13

Salimova, Leila F. "THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME." Articult, no. 1 (2021): 19–31. http://dx.doi.org/10.28995/2227-6165-2021-1-19-31.

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Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical ar
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14

Grew, Rachael. "Monstrous bodies: Theatrical designs by Salvador Dalí and Leonor Fini." Studies in Costume & Performance 4, no. 1 (2019): 9–24. http://dx.doi.org/10.1386/scp.4.1.9_1.

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Theatrical design is an under-researched area of Surrealist visual culture. This article examines two examples of Surrealist set and costume design, created by Salvador Dalí and Leonor Fini, respectively, through the concept of the monstrous body. Here, ‘monstrous’ refers to the ambiguous body that defies conventional categories. By using the monstrous body to interpret their designs, this article will yield a deeper insight into these artists engagement with the Surrealist challenge to rational conventions of individualism. It will also evidence their own interests in fluid, metamorphic bodie
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15

Yu, Yadong. "Theoretical foundations of actors training in Chinese theatrical schools." Педагогика и просвещение, no. 3 (March 2020): 47–53. http://dx.doi.org/10.7256/2454-0676.2020.3.33386.

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This article is dedicated to the work with students in Russian and Chinese theatrical schools, which is structured on the elements of acting techniques determined by the “Stanislavsky system” as the leading theoretical foundation in the training of novice actors. It is noted the assisting methods in the process of actors training is the methods and approaches towards drama training applied by Vsevolod Meyerhold and Nikolai Demidov. Leaning on the national and foreign experiments, the professors are guided by personal long-term artistic experience and theory of acting art, t
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16

Svich, Caridad. "Healing the Body Politic: 1968-2008. A Theatrical Reflection Across Time." Latin American Theatre Review 43, no. 1 (2009): 137–42. http://dx.doi.org/10.1353/ltr.2009.0015.

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17

BRANDSTETTER, GABRIELE. "The Virtuoso's Stage: A Theatrical Topos." Theatre Research International 32, no. 2 (2007): 178–95. http://dx.doi.org/10.1017/s0307883307002829.

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This essay considers the virtuoso in music, theatre and dance as a liminal figure of performativity. It draws on cultural studies as well as the history of science to offer a critical reading which follows the virtuoso's oscillation between science and art. The escalating dynamic in the virtuoso's technical control of material (of the body, the ‘instrument’, language) leads to a polarization between artistic ‘creation’ and virtuoso performance: the virtuoso thus occupies a seismographic function within the aesthetic debates of the nineteenth century. The article also outlines the relationship
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18

Richardson, Michael. "Sign Language Interpreting in Theatre: Using the Human Body to Create Pictures of the Human Soul." TranscUlturAl: A Journal of Translation and Cultural Studies 9, no. 1 (2017): 45. http://dx.doi.org/10.21992/t9n33b.

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This paper explores theatrical interpreting for Deaf spectators, a specialism that both blurs the separation between translation and interpreting, and replaces these potentials with a paradigm in which the translator's body is central to the production of the target text. 
 Meaningful written translations of dramatic texts into sign language are not currently possible. For Deaf people to access Shakespeare or Moliere in their own language usually means attending a sign language interpreted performance, a typically disappointing experience that fails to provide accessibility or to fulfil t
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19

Youn-gil, Jeong. "Religious Rituals and the Body as Theatrical Performance in Dancing at Lughnasa." Literature and Religion 24, no. 3 (2019): 355–74. http://dx.doi.org/10.14376/lar.2019.24.3.355.

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20

Carlson, Susan. "Leaking Bodies and Fractured Texts: Representing the Female Body at the Omaha Magic Theatre." New Theatre Quarterly 12, no. 45 (1996): 21–29. http://dx.doi.org/10.1017/s0266464x00009593.

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The contemporary staging of Women's bodies raises both practical and theoretical issues, and in both text-based theatre and performance art women theatre artists are currently engaging these challenges in inventive ways. Drawing upon the inland expanses and ontological freedoms of the American Midwest, the women at the Omaha Magic Theatre have recently premiered two collaboratively written plays, Body Leaks and Sound Fields, which use image, action, technology, and text to engage issues of gender, identity, sexuality, and the material body. In these issues, the spectator is prohibited from mak
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21

Todi, Cristina. "5. Coregraphic Arts Education from the Intercultural Perspective." Review of Artistic Education 15, no. 1 (2018): 161–64. http://dx.doi.org/10.2478/rae-2018-0016.

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Abstract Theatre, dancing and singing are arts born out of a common body that share the same idea and means of expression - the human body, these arts manifesting through the most important condition - the artist. The openings exhibited in the theatrical space, spiritless in some people, pragmatic in others, pass on the intimate message of dancing: substance, essence, density.
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22

Gilbert, Reid. "'And then we saw you fly over here and land!': Metadramatic Design in the Stage Work of Morris Panych and Ken MacDonald." Theatre Research in Canada 11, no. 2 (1990): 134–47. http://dx.doi.org/10.3138/tric.11.2.134.

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Reacting to recent comments on metafiction, this article explores the work of Morris Panych and Ken MacDonald, suggesting that their various collaborations exemplify post-modern metadrama. The Vancouver artists have collaborated in various ways with each other, and with other theatre specialists, to produce a body of work in which consistent approaches to the creation of theatrical illusion can be seen. By blurring the traditional distinctions between writer, designer, director and actor, by employing complex intertexts, and by forcing an active participation by the audience, Panych and MacDon
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23

Garland, Liz, and Kevin Almond. "Second Skin: Investigating the Production of Contoured Patterns for the Theatrical Costume Industry." Costume 50, no. 1 (2016): 90–113. http://dx.doi.org/10.1080/05908876.2015.1129860.

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This paper discusses research into pattern cutting via mould-making techniques for body-conscious, contoured clothing used in the theatrical costume industry (film, television and theatre). With their considerable experience as costume makers, the authors recognized a gap in knowledge and documentation for this approach to pattern cutting. The intentions were to expand the range of techniques available for theatrical costume professionals, allowing practitioners to draw complex style lines directly onto the body shape and onto inanimate objects. The research explored different approaches throu
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24

Kakosimou, Olga. "A theatrical metanarrative of Cervantes’ Don Quixote: Dramaturgy, corporeality and play." Journal of Adaptation in Film & Performance 13, no. 2 (2020): 121–34. http://dx.doi.org/10.1386/jafp_00021_1.

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In 2018, Efi Birba offered the Greek public a different theatrical version of the famous Cervantes’ novel, Don Quixote. Exclusively profiting the storytelling dynamic of the body, she used playing as the main tool of the literary interpretation and meaningfulness. Her directorial choices removed her from the concept of theatrical adaptation and introduced her into the field of metanarration. In this article, I explore the dramaturgical rhetoric of the performance and the narrative devices being used in. Highlighting the concept of ‘play’ as the main technique, I point out the performative flow
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25

Martin, Carol. "Bodies of Evidence." TDR/The Drama Review 50, no. 3 (2006): 8–15. http://dx.doi.org/10.1162/dram.2006.50.3.8.

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Documentary theatre is created from archived materials that foreground the nonfictional, even as it uses the literary and theatrical devises of fiction. The extratextual language of the body of the actor separates evidence from testimony, creating a space where the archive is interpolated by the repertory.
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26

Bulgakowa, Oksana. "From stage to brain: Montage as a new principle of scientific narrative." Sign Systems Studies 41, no. 2/3 (2013): 200–218. http://dx.doi.org/10.12697/sss.2013.41.2-3.04.

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German Dadaists, Italian and Russian Futurists and Constructivists created in their experiments multi-medial orthopedic bodies as products of collage and montage. Sergei Eisenstein, who was influenced by these experiments, organized his theatrical productions as a chain of independent fragments capable of entering any possible combination/recombination and labelled this method “montage of attractions”. He used the same montage principle not only for a new theatrical or cinematic narrative but also to conceptualize the expressive movement of the theatrical or cinematic body created on stage and
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27

Wilcox, Emily E. "Meaning in Movement: Adaptation and the Xiqu Body in Intercultural Chinese Theatre." TDR/The Drama Review 58, no. 1 (2014): 42–63. http://dx.doi.org/10.1162/dram_a_00327.

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Zhuli xiaojie (adapted from Strindberg's Miss Julie) and Xin bi tian gao (from Ibsen's Hedda Gabler) are two works in a recent series of intercultural xiqu productions by playwrights William Huizhu Sun and Faye Chunfang Fei. In these works, the xiqu body serves as a medium for theatrical expression, where music, costume, movement, and props come together in a super-expressive acting technique that foregrounds qing (情), or sentiment. In these adaptations, the xiqu body compensates for what is necessarily cut from the text in the transformation from spoken drama to xiqu performance.
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28

Smathakarnagsorakij, Nootchanart. "Body and Space for Evasion in the Theatre of Samuel Beckett." MANUSYA 14, no. 1 (2011): 39–62. http://dx.doi.org/10.1163/26659077-01401003.

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Stuck between an impossible life and an inadmissible death and condemned to suffer from their empty existence, the wretched protagonists in Samuel Beckett’s theatrical work desperately seek an escape in a symbolic and metaphorical body and space: a foetus in the uterus. Aroused by the nostalgia for mother, they constantly strive to create or live in the conditions analogous to those in the womb: the world absent of excitements, dark, and protective where their idle bodies can curl up serenely in the intermediary state of non-life and non-death until the desired end actually comes.
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29

Kirk, Keith Byron. "The African American Theatrical Body: Reception, Performance, and the Stage by Soyica Diggs Colbert." Theatre History Studies 33, no. 1 (2014): 280–82. http://dx.doi.org/10.1353/ths.2014.0028.

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30

Fiaschini, Fabrizio. "‘The Memory of the Tree’: A New Theatrical Model of Genogram." Dramatherapy 38, no. 2-3 (2017): 94–105. http://dx.doi.org/10.1080/02630672.2017.1329449.

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In the context of systemic psychotherapy, the genogram represents a model of graphical representation which the persons involved produce and comment on in order to provide information about their family of origin, from at least a three-generational perspective. This paper proposes a new variant of the genogram, focused on theatrical language: the result of a five-year experiment in the training of dramatherapists, psychologists, psychotherapists and counsellors. Starting from Stanislavski's and Grotowski's research, the paper highlights the potentialities that the theatre perspective may have
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31

Cesarino Costa, Flávia. "Building an integrated history of musical numbers in Brazilian chanchadas." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 13–27. http://dx.doi.org/10.33178/alpha.19.02.

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This article discusses industrial and aesthetical aspects of the musical numbers in 1950s Brazilian chanchadas. The chanchadas were a body of films made between the 1930s and 60s, that combined a mixed style derived from domestic influences of radio and popular music routines and from local forms of comic theatrical revues. I propose an examination of the entertainment industry’s influence on the musical numbers chosen for these 1950s chanchadas. This intermedial approach is based on the strong links between cinema and other cultural practices. I will argue the need to take into account not on
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32

Tassi, Marguerite A. "Rapture and Horror: A Phenomenology of Theatrical Invisibility in Macbeth." Explorations in Renaissance Culture 44, no. 1 (2018): 1–26. http://dx.doi.org/10.1163/23526963-04401001.

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Macbeth is arguably Shakespeare’s greatest experiment in the phenomenology of horrible imaginings. For all of its visible supernatural trappings, Macbeth is a play radically steeped in the invisible, which exerts a gravitational force on all aspects of performance. The phantom dagger, King Duncan’s slain body, Lady Macbeth’s murky hell—these unseen supernatural sights are as phenomenologically palpable and horrifying in the theater as the weïrd sisters are. Invisible elements of the play’s world permeate the visible, producing a pervasive sense of unease, dread, and horror in the theater. The
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33

Scholte, Tom. "Rehearsing the revolution: theatre as a reflective social practice." Kybernetes 46, no. 9 (2017): 1499–507. http://dx.doi.org/10.1108/k-09-2016-0261.

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Purpose The purpose of this paper is to explicate the ways in which the practice of the dramatic arts has evolved to facilitate second-order observation of social systems and can be used to “pragmatize” systems thinking for a wider audience. Design/methodology/approach Survey of selected dramatic theory and practice from the nineteenth century to the present framed within the cyber-systemic theories of Niklas Luhmann, Werner Ulrich and Oswaldo Garcia de la Cerda and Maria Saavedra Ulloa. Findings Beginning with Naturalism in the late nineteenth century, theatrical practitioners have increasing
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34

Barba, Eugenio. "The Dilated Body: on the Energies of Acting." New Theatre Quarterly 1, no. 4 (1985): 369–82. http://dx.doi.org/10.1017/s0266464x00001792.

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All too many teachers and theorists treat acting as if it were a sort of puzzle to be solved, a role as a sort of summit to be conquered. Eugenio Barba sees it rather as a process, involving the use of trained energies which often work intuitively, even contradictorily, in search of new relationships between actions and ideas. Using examples as diverse as the legend of the Flying Dutchman and his own company's work on a story by Jorge Luis Borges. Barba explores the way in which the mutation of a narrative line can interweave with the presence of the actor to create that ‘sudden dilation of th
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35

Saddik, Annette J. "Rap's Unruly Body The Postmodern Performance of Black Male Identity on the American Stage." TDR/The Drama Review 47, no. 4 (2003): 110–27. http://dx.doi.org/10.1162/105420403322764061.

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In response to the question, Does rap bear any “social message,” Ice Cube was careful to make a distinction between the occasions when rappers are “just having fun” and when they are performing a more serious “social message.” “Gansta rap” or “reality rap” are self-conscious performances of the complexities and commodifications of black male identity in America. Gangsta rap, the most theatrical style of rap, comments on the place of black masculinity in the American value system, and imagines alternative spaces where the power structures may be redefined.
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36

Furno, Raffaele. "Napoli and the loss of innocence: Three theatrical hypotheses." Forum Italicum: A Journal of Italian Studies 52, no. 2 (2018): 523–36. http://dx.doi.org/10.1177/0014585818757195.

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The layers of Neapolitan culture have pinned down the representation of the city to two shifting paradigms: Napoli as a nourishing mother, pregnant in luxurious views of her Gulf and generous products of her land, and, on the opposite side, Napoli as a whore and a witch, a dark sterile entity that devours her children. Both ways, female markers have characterized the construction of Napoli’s cultural identity in the imagery of her intellectuals, story-tellers, and writers. This article will analyze such female reincarnations through the theatrical work of three of the city’s major authors: Edu
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37

Paris, Carl. "Power (Empowerment) through the Body, Self, and Black Male Identity in Contemporary Theatrical Modern Dance." Congress on Research in Dance Conference Proceedings 2011 (2011): 20–28. http://dx.doi.org/10.1017/s0149767711000258.

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Postmodern articulations in contemporary theatrical modern dance have produced new black male expressions–straight and gay–that disrupt rigid and reductive representations of identity and masculinity and also open up pluralistic and libratory possibilities through the black male dancing body. I use this context to examine power (and empowerment) in the work of choreographers Bill T. Jones, Ronald K. Brown, Reggie Wilson, Nicholas Leichter, Helanius Wilkins, and Kyle Abraham, who approach the particularity of black male identity from postmodern perspectives. My idea of power, here, is inspired
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38

Deaca, Mircea Valeriu. "Hypertheatre or Media Entanglement in the Theatre of Jay Scheib." Acta Universitatis Sapientiae, Film and Media Studies 13, no. 1 (2016): 21–42. http://dx.doi.org/10.1515/ausfm-2016-0012.

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Abstract The theatre of Jay Scheib blends theatrical and filmic features, allowing for a theoretical investigation of the manner in which two different media coexist on the same expressive support. How can two distinct media like film and theatre fuse and, at the same time, be apprehended as separate artistic means in a single artifact? The present article uses a theoretical interpretive metaphor that rests on an application of the mechanisms of relationship between two physical systems issued from the quantum mechanical view of reality. From this perspective, the two afore-mentioned media are
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39

Schwind, Klaus. "“No Laughing!” Autonomous Art and the Body of the Actor in Goethe's Weimar." Theatre Survey 38, no. 2 (1997): 89–108. http://dx.doi.org/10.1017/s0040557400002088.

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In his “Special Formal Report” of 24 April 1808, Weimarian court actor Heinrich Becker informed his superiors about a little theatrical irregularity. Becker was reporting in his official function as controlling supervisor for representations—a kind of stage manager for the theatre. By this report the “graciously decreed Noble Saxonian Commission for Direction of the Court Theatre,” chaired by Johann Wolfgang von Goethe, had to take official notice of the following punishable histrionic faux pas:Wednesday the 20th of April during the performance of Piccolomini [Schiller's] in the scene with the
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40

Large, Gerald. "Theatrical Physicality, the Gross-out Zombie, and Michael Chekhov Technique: Creating a Bridge from the Actor’s Body to the Character’s Body via the Zombie-Body." Theatre Topics 25, no. 3 (2015): 295–303. http://dx.doi.org/10.1353/tt.2015.0043.

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41

Wanke, Eileen M., Michael Arendt, Helmgard Mill, et al. "The Theatrical Stage as Accident Site in Professional Dance." Medical Problems of Performing Artists 29, no. 1 (2014): 32–36. http://dx.doi.org/10.21091/mppa.2014.1008.

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OBJECTIVE: Reducing work-related health hazards at the different theatre workplaces is one aspect of preventive options in professional dance. This also applies to hazards on the highly variable theatrical stage areas. However, detailed information on these stages and their risks is not available. The aim of this study was to analyze and evaluate work-related traumatic injuries in the stage area. METHODS: The basis for the evaluation was accident reports, from the German National Statutory Insurance, of work-related traumatic injuries occurring on stage in professional dancers (n=790: 407 male
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42

Chandrakumar, S. "அபசுரம் நாடக ஆற்றுகை: நெறியாள்கை வெளியும் பாத்திரவார்ப்பும் - ஓர் பங்குகொள் ஆய்வு". Shanlax International Journal of Tamil Research 5, № 3 (2021): 40–48. http://dx.doi.org/10.34293/tamil.v5i3.3640.

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Apsura drama caused great twists in the history of Eelam Tamilans. The 1960s saw the emergence of a number of theatrical theories to express the inherent feelings of world drama and gave them new styles in the arena. They stood on different platforms in the theatrical setting and outside the river, focusing on the viewers and twisting their mental congestion to create clarity and taste. Absurd theatrical style also led to the development of new forms of action to bring their own unique inward expression to the history of the theater. The body language of the performer, the way the voice is exp
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43

Koerner, Morgan. "Beyond Drama: Postdramatic theater in upper level, performance-oriented foreign language, literature and culture courses." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 2 (2014): 1–16. http://dx.doi.org/10.33178/scenario.8.2.1.

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This article makes the case for expanding drama pedagogy in foreign language education to include strategies from postdramatic theater, which abandons traditional notions of plot, character, and dialogue and prioritizes theatrical performances over dramatic texts. The article presents findings from an action research project conducted with undergraduate students of German at the College of Charleston, South Carolina in the spring semester of 2013. It describes and discusses the efficacy of specific postdramatic theater strategies and assignments that encouraged Bachelor’s students of German to
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Nelkin, Dorothy, and Lori Andrews. "Do the Dead Have Interests? Policy Issues for Research After Life." American Journal of Law & Medicine 24, no. 2-3 (1998): 261–91. http://dx.doi.org/10.1017/s0098858800010431.

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The importance of establishing rights in a dead body has been, and will continue to be, magnified by scientific advancements. The recent explosion of research and information concerning biotechnology has created a market place in which human tissues are routinely sold to and by scientists, physicians and others. The human body is a valuable resource.The body of the nineteenth century philosopher Jeremy Bentham is on display in a glass cage at University College, London. Bentham applied his utilitarian perspectives to the body by suggesting that corpses, including his own, would be of greater u
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45

Lira de Sousa, Ramayana. "“There would this monster make a man”: Colonial power in the 1993 RSC production of 'The Tempest'." Gragoatá 23, no. 47 (2018): 780–802. http://dx.doi.org/10.22409/gragoata.v23i47.33603.

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Taking on assumptions about oppression, identity and representation as they are developed in contemporary postcolonial theory, this study proposes the analysis of the 1993 theatrical production of William Shakespeare's The Tempest by The Royal Shakespeare Company (RSC). It aims to discuss the role of Caliban's monstrosity in the production and how it pertains to issues such as power relations and spectacle. The main benefit of doing an analysis of a performance of a Shakespearean text seems to be the possibility of seeing the play's meaning as contingent, as a result of a series of elements (a
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46

Pradier, Jean-Marie. "Towards a Biological Theory of the Body in Performance." New Theatre Quarterly 6, no. 21 (1990): 86–98. http://dx.doi.org/10.1017/s0266464x00004000.

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In previous issues of NTQ. we have begun to explore the complex questions raised by the interaction of the study of theatrical performance with other disciplines – notably, in the various interpretations of ‘theatre anthropology’, in the widely divergent approaches to ‘theatre sociology’, and even in terms of its application to quantum theory. Many of these studies have made necessary assumptions in the area of human biology without, however, fully following through their implications. Jean-Marie Pradier. who teaches in the Drama Department of the University of Paris 8, here looks at theatre a
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47

Derksen, Céleste. "Out of the Closet: Dramatic Works by Sarah Anne Curzon Part Two. Re-Dressing Gender Inequality:The Sweet Girl Graduate." Theatre Research in Canada 15, no. 2 (1994): 123–35. http://dx.doi.org/10.3138/tric.15.2.123.

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This second of a two-part essay on Sarah Anne Curzon's "closet drama" examines the novel and duplicitous effects of cross-dressing in The Sweet Girl Graduate. The essay argues that Curzon's play is unique in the theatrical tradition of cross-dressing, first because it provides an extended political argument for the expansion of women's educational privileges and, second, because it displaces the male gaze in order to dramatize female use of, and response to, the cross-dressed body.
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48

Pukan, Miron. "Medzi liminalitou a slobodou aj ako prejav diskurzivity popsubkultúry v súčasnom slovenskom alternatívnom divadle." Prace Literackie 57 (July 12, 2018): 117–28. http://dx.doi.org/10.19195/0079-4767.57.10.

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Between liminality and freedom as the manifestation of the discourse of the popsubculture in the contemporary Slovak alternative TheaterThe release in postmodern and postdramatic society after 1989 was reflected — was also reflected in many changes in theatre and drama. A lot of new authors and shows have appeared. The original drama, however, is very slow at the stage of major theatres. Whereas, in the seventeenth and eighteenth century normalization seasons, the determinations of individual categories prevailed in the culture and art and not only the theatrical strict genological rules. Neve
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49

Misemer, Sarah M. "Over Her Dead Body: Marianella Morena’s Delmira Agustini in No daré hijos, daré versos." Revista Canadiense de Estudios Hispánicos 43, no. 2 (2020): 403–23. http://dx.doi.org/10.18192/rceh.v43i2.4658.

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No daré hijos, daré versos, by Marianella Morena, debuted in October 2014 in Montevideo during the centennial year of Delmira Agustini’s death at the hands of her ex-husband Enrique Job Reyes. It was also performed in Spain in 2016. Over Agustini’s dead body, Morena and her acting group, La Morena, develop multiple strands of meaning in differing temporalities and frameworks of power as they demonstrate an engagement with affective currents and attitudes toward both views of the body and memory through performance, space, and trauma. In the play, they create theatrical and poetic space to expl
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McGinley, Paige A. "The African American Theatrical Body: Reception, Performance, and the Stage by Soyica Diggs Colbert (review)." Theatre Journal 65, no. 2 (2013): 298–99. http://dx.doi.org/10.1353/tj.2013.0055.

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