A Wearable System with Individual Cuing for Theatrical Performance Practice

Author(s):  
Ryosuke Takatsu ◽  
Naoki Katayama ◽  
Tomoo Inoue ◽  
Hiroshi Shigeno ◽  
Ken-ichi Okada
2019 ◽  
Vol 2019 ◽  
pp. 1-10 ◽  
Author(s):  
Kosuke Sasaki ◽  
Tomoo Inoue

Our goal is to facilitate real-time serial cooperative work. In real-time serial cooperative work, the order of subtasks is important because a failure of the order leads to a failure of the whole task. So, coordinating the order of workers’ subtasks is necessary to smoothly accomplish the tasks. In this paper, we propose a method that uses vibration to present the action order and coordinate the orders. We conducted a user study to verify the effectiveness of the method in theatrical performance practice, which was an example of real-time serial cooperative work. As a result, order coordination reduced mistakes in the order of speech and action and in the contents of lines and action. This result suggests that order coordination can improve real-time serial cooperative work.


2004 ◽  
Vol 16 (1) ◽  
pp. 1-22
Author(s):  
NINA TREADWELL

Taking the opening solo song from the Florentine intermedi of 1589 as its focus, this article engages with questions regarding musical ownership, authorship, and the culture of print as it relates to musico-theatrical performance. The song, ‘Dalle più alte sfere’, was performed by the Florentine court’s prima donna Vittoria Archilei and the version she ostensibly sang appeared two years later in a commemorative print. While calling into question rigid distinctions between performer and composer during this period, the article nonetheless suggests that Archilei likely ‘composed’ the song, for which there are conflicting attributions. Evidence for this assertion includes disjunctions between the song as it appeared in print, its likely mode of ‘composition’, and the song’s realisation through the process-oriented act of live performance. These issues stand in stark relief to the likely incentives for publishing the Medici-commissioned music: harnessing the possibilities of print technology, the Florentines could effectively distill – and thus claim as their own – a primarily Roman/Neapolitan-associated performance practice, at the same time as attempting to rival the female-centred musical traditions of competing courts.


2006 ◽  
Vol 22 (3) ◽  
pp. 283-298 ◽  
Author(s):  
Erika Lin

In this article, Erika T. Lin explores theatrical performance as a material medium by considering which elements might have been privileged in the dramaturgy of Shakespeare and his contemporaries. After considering the strengths and weaknesses of Robert Weimann’s influential concepts of locus and platea, she offers an alternative model for understanding the authority of performance in early modern England, in which stage geography and actor–audience interactivity, two key components of Weimann’s formulation, are less important than the interplay between representation and presentation. Through an analysis of specific scenes from a number of Shakespeare’s plays, she argues that the moments most privileged in the early modern playhouse were those that foregrounded the semiotic system through which actions presented onstage came to signify within the represented fiction. Erika T. Lin is an Assistant Professor in the Department of English at the University of Louisville. She is currently writing a book entitled Shakespeare and the Materiality of Performance, and is also beginning work on a new project which examines seasonal festivities, folk drama, and professional theatre in early modern England.


Author(s):  
Ryosuke Takatsu ◽  
Naoki Katayama ◽  
Tomoo Inoue ◽  
Hiroshi Shigeno ◽  
Ken-ichi Okada

2012 ◽  
Author(s):  
James Livingston ◽  
Sagar Parikh ◽  
Erin Michalak ◽  
Victoria Maxwell ◽  
Vytas Velyvis ◽  
...  

Author(s):  
Isaac Hui

Reading Jonson with the Fabliau, Boccaccio and Chaucer, this chapter, with the help of Lacan’s theory, rereads Volpone Act 3 scene 7, explaining why Volpone ‘delays’ his ‘rape’ of Celia. While Volpone is commonly known for his love of theatrical performance and transformation, the chapter suggests that this cannot be thought without the concept of his being ‘castrated’. Although ‘castration’ is usually regarded as a censoring force, Volpone is empowered and thrives on it. Moreover, this chapter compares the scene in Volpone with another similar one in Philip Massinger’s The Renegado, discussing how the subject of castration is used in early modern comedy and tragicomedy.


2020 ◽  
Vol 384 (2) ◽  
pp. 222-232
Author(s):  
P. V. Menshikov ◽  
G. K. Kassymova ◽  
R. R. Gasanova ◽  
Y. V. Zaichikov ◽  
V. A. Berezovskaya ◽  
...  

A special role in the development of a pianist as a musician, composer and performer, as shown by the examples of the well-known, included in the history of art, and the most ordinary pianists, their listeners and admirers, lovers of piano music and music in general, are played by moments associated with psychotherapeutic abilities and music features. The purpose of the study is to comprehend the psychotherapeutic aspects of performing activities (using pianists as an example). The research method is a theoretical analysis of the psychotherapeutic aspects of performing activities: the study of the possibilities and functions of musical psychotherapy in the life of a musician as a “(self) psychotherapist” and “patient”. For almost any person, music acts as a way of self-understanding and understanding of the world, a way of self-realization, rethinking and overcoming life's difficulties - internal and external "blockages" of development, a way of saturating life with universal meanings, including a person in the richness of his native culture and universal culture as a whole. Art and, above all, its metaphorical nature help to bring out and realize internal experiences, provide an opportunity to look at one’s own experiences, problems and injuries from another perspective, to see a different meaning in them. In essence, we are talking about art therapy, including the art of writing and performing music - musical psychotherapy. However, for a musician, music has a special meaning, special significance. Musician - produces music, and, therefore, is not only an “object”, but also the subject of musical psychotherapy. The musician’s training includes preparing him as an individual and as a professional to perform functions that can be called psychotherapeutic: in the works of the most famous performers, as well as in the work of ordinary teachers, psychotherapeutic moments sometimes become key. Piano music and performance practice sets a certain “viewing angle” of life, and, in the case of traumatic experiences, a new way of understanding a difficult, traumatic and continuing to excite a person event, changing his attitude towards him. It helps to see something that was hidden in the hustle and bustle of everyday life or in the patterns of relationships familiar to a given culture. At the same time, while playing music or learning to play music, a person teaches to see the hidden and understand the many secrets of the human soul, the relationships of people.


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