PRESENT, FUTURE AND PAST IN THEHOMERIC HYMN TO APOLLO

Ramus ◽  
2018 ◽  
Vol 47 (2) ◽  
pp. 123-151
Author(s):  
Oliver Passmore
Keyword(s):  
Performance Art ◽  
Performance Studies ◽  
Live Performance ◽  
Specific Context ◽  
Greek Poetry ◽  
The Past ◽  
Singular Event

Within Classics, there is growing interest in the nature of reperformance, particularly in relation to archaic and classical Greek poetry and drama. Developing out of the now well-established ‘performative turn’ in studies of early Greek song, and gaining impetus from a series of publications focussing on the contextual specificity of archaic lyric and drama, those interested in reperformance ask what it means for a song or a play, composed for a specific occasion, to be reperformed in another time and (potentially) another place. While interest in reperformance is certainly not new, the debate is now increasingly taking place in dialogue with parallel studies of reperformance in other disciplines. Research in performance studies has articulated a paradox at the heart of reperformance: since aperformanceis imagined as a singular event that exists only in that moment, and in a specific context,reperformance is an attempt to repeat the unique. Theorists and practitioners have in turn explored this paradox in relation to the restagings and re-enactments of one-time events and performances, such as battle re-enactments, the reconstruction of ballet choreographies before the days of film and live performance art. These examples reveal the complex temporalities involved in reperforming notionally one-time events, as an attempt to capture the ephemeral and collapse the present and the past (as well as the there and the not-there) in the ‘syncopated time’ of the reperformance.

scholarly journals Performance Art in the 1990s and the Generation Gap

2022 ◽  
pp. 161-169
Author(s):  
Pierre Saurisse
Keyword(s):  
Performance Art ◽  
Generation Gap ◽  
Live Performance ◽  
The Past ◽  
Art Form ◽  
Art Scene ◽  
Marina Abramovic ◽  
Historical Performance ◽  
Sense Of Urgency

In the 1990s, the question of the legacy of historical performance was posed with a particular sense of urgency. In the context of most pioneers of the art form having retired from live performance, reenactments not only reproduced past works but positioned artists within the genealogy of performance. The sense of the passage of a generation and the transmission of the memory of past performances were made explicit by Marina Abramović in The Biography (1992), a theatre piece in which she stages the very process of accounting for her past, as well as by Takashi Murakami and Oleg Kulik, who emerged on the art scene in the 1990s and mimicked live works from the past.

Diversifying Greek Tragedy on the Contemporary US Stage

2018 ◽  
Author(s):  
Melinda Powers
Keyword(s):  
Cross Section ◽  
Performance Studies ◽  
Greek Tragedy ◽  
Live Performance ◽  
Greek Drama ◽  
The Us ◽  
Social Concerns ◽  
Performance Context ◽  
Historical Identity ◽  
Ancient Drama

Demonstrating that ancient drama can be a powerful tool in seeking justice, this book investigates a cross section of live theatrical productions on the US stage that have reimagined Greek tragedy to address political and social concerns. To address this subject, it engages with some of the latest research in the field of performance studies to interpret not dramatic texts in isolation from their performance context, but instead the dynamic experience of live theatre. The book’s focus is on the ability of engaged performances to pose critical challenges to long-standing stereotypes that have contributed to the misrepresentation and marginalization of under-represented communities. Yet, in the process, it also uncovers the ways in which performances can inadvertently reinforce the very stereotypes they aim to challenge. This book thus offers a study of the live performance of Greek drama and its role in creating and reflecting social, cultural, and historical identity in contemporary America.

scholarly journals Bodies Out of Time: Sculpting Queer Poetics and Queering Classical Sculpture in the Poetry of C. P. Cavafy

2021 ◽  
Author(s):  
J. L. Watson
Keyword(s):  
Raw Material ◽  
Ancient Greek ◽  
Greek Poetry ◽  
Modern Greek ◽  
The Past ◽  
Greek World

AbstractTwo major themes dominate the poetry of the Alexandrian poet, C. P. Cavafy: homosexual desire and Greekness, broadly defined. This paper explores the interconnectivity of these motifs, showing how Cavafy’s poetic queerness is expressed through his relationship with the ancient Greek world, especially Hellenistic Alexandria. I focus on Cavafy’s incorporation of ancient sculpture into his poetry and the ways that sculpture, for Cavafy, is a vehicle for expressing forbidden desires in an acceptable way. In this, I draw on the works of Liana Giannakopoulou on statuary in modern Greek poetry and Dimitris Papanikolaou on Cavafy’s homosexuality and its presentation in the poetry. Sculpture features in around a third of Cavafy’s poems and pervades it in various ways: the inclusion of physical statues as focuses of ecphrastic description, the use of sculptural language and metaphor, and the likening of Cavafy’s beloveds to Greek marbles of the past, to name but three. This article argues that Cavafy utilizes the statuary of the ancient Greek world as raw material, from which he sculpts his modern Greek queerness, variously desiring the statuesque bodies of contemporary Alexandrian youths and constructing eroticized depictions of ancient Greek marbles. The very ontology of queerness is, for Cavafy, ‘created’ using explicitly sculptural metaphors (e.g. the repeated uses of the verb κάνω [‘to make’] in descriptions of ‘those made like me’) and he employs Hellenistic statues as a productive link between his desires and so-called ‘Greek desire’, placing himself within a continuum of queer, Greek men.

scholarly journals Performing with Plants in the Ob-scene Anthropocene

2020 ◽  
Vol 32 (1) ◽  
pp. 121-142
Author(s):  
Annette Arlander
Keyword(s):  
Performance Analysis ◽  
Performance Art ◽  
Performance Studies ◽  
Research Project ◽  
Performance Practices ◽  
Art Form ◽  
And Performance ◽  
Performance As Research ◽  
Artistic Research

Is there a way for the anthropocentric and anthropomorphic art form par excellence, the theatre, or performance art for that matter, to expand beyond their human and humanist bias? Is the term Anthropocene in any way useful for theatre and performance studies or performance-as-research? In the anthology Anthropocene Feminism (Grusin 2017) Rosi Braidotti proposes four theses for a posthumanist feminism: 1) feminism is not a humanism, 2) anthropos is off-center, 3) zoe is the ruling principle, 4) sexuality is a force beyond gender. These assertions can undoubtedly be put on stage, but do they have relevance for developing or understanding performance practices off-stage and off-center, such as those trying to explore alternative ways and sites of performing, like performing with plants? In this text, I examine Braidotti’s affirmative theses and explore their usefulness with regard to performance analysis, use some of my experiments in the artistic research project “Performing with plants” as examples, and consider what the implications and possible uses of these theses are for our understanding of performances with other-than-human entities, which we share our planet with.

Mental models, (de)compressions, and the actor’s process in body-swap movies

2018 ◽  
Vol 5 (2) ◽  
pp. 376-409
Author(s):  
Ahmed Abdel-Raheem
Keyword(s):  
Mental Models ◽  
Performance Studies ◽  
Cognitive Neuroscience ◽  
Cognitive Theory ◽  
The Body ◽  
Conceptual Blending ◽  
The Past ◽  
Cultural Concepts ◽  
And Performance ◽  
Number Of Publications

Abstract The body-swap comedy, where someone finds themselves inhabiting an entirely different body, is a well-established Hollywood tradition. Crucially, American filmmakers have tried every twist and contortion of this genre premise at a point or another over the past few decades. And yet, other countries, such as Egypt, Japan, and South Africa, seem to have just now put different spins on the theme. Nevertheless, this genre is under-theorized and under-explored. Drawing on insights from blending theory (Fauconnier and Turner 2002), mental models (van Dijk 2014), and the actor’s process as described by, among others, Stanislavsky (1995, 2008) and Brecht (1964, 1970), this article provides cognitively plausible answers to the perennial questions: What is so funny in body-swap films? How do spectators make sense of this genre? How do blending processes operate in body-swap movies? Do spectators “live in the blend?” What patterns of compression or decompression are at work in body-swap templates? Can humor be a strong determiner of moral-political cognition? And what connections can be drawn between acting and cognitive neuroscience? A discussion of English and Arabic examples (i) points to some of the cultural concepts involved in body-swap films, (ii) shows how conceptual blending in humorous films serves to both perpetuate and modify culturally relevant concepts, and (iii) highlights the necessity to expand the current scope in compression, embodiment and identity research. More generally, then, this article presents a new cognitive theory of how cinema, television, or theatre communicates meaning. The most important aim of this study is thus to contribute to the small but growing number of publications that use the cognitive sciences to inform scholarly and practical explorations in theatre and performance studies, as well as to the study of Arab theatre and cinema, which are among the most neglected subjects in the field.

The Philosophy of Theater

2020 ◽  
Author(s):  
Michael Y. Bennett
Keyword(s):  
Performance Studies ◽  
Ancient Greece ◽  
Audience Reception ◽  
The Past ◽  
Art Form ◽  
Theatrical Performance ◽  
Ontological Question ◽  
Dramatic Text ◽  
And Performance ◽  
The Relationship

Theater—i.e., traditional text-based theater—is often considered the art form that most closely resembles lived life: real bodies in space play out a story through the passage of time. Because of this, theater (or theatre) has long been a laboratory of, and for, philosophical thought and reflection. The study of philosophy and theater has a history that dates back to, and flourished in, ancient Greece and Rome. While philosophers over the centuries have revisited the study of theater, the past four decades in particular have seen a noted and substantial increase of scholarship investigating this intersection between philosophy and theater. “Philosophy of theater” is, on one hand, a “field” that is just starting to take shape and is barely over a decade old; on another hand, it is a recognized subfield both of aesthetics and of theater and performance studies. And finally, it is also an amorphous concept, either not yet fleshed out, or intentionally amorphous and proudly organic. Philosophy of theater is also sometimes referred to—or is argued to be subsumed, more broadly, in—“performance philosophy,” which also refers to a network of academics and practitioners that publishes a book series and a journal of the same name. Regardless of what it is called or how it is classified, scholarship has coalesced around some fundamental preoccupations, which are not too dissimilar to questions that arise in other philosophies of. . . (e.g., art, film, dance, etc.). The debates in philosophy of theater mostly fall into three of the main branches of philosophy: metaphysics, epistemology, and aesthetics. The major metaphysical debates center on an ontological question: What is theater? Epistemological studies tend to focus on audience reception and/or how meaning is made and/or transmitted. Finally, studies in aesthetics focus on two main questions: (1) What is theater as an art form? (2) What is the relationship between dramatic text and theatrical performance? This article is intentionally narrow in its scope, focusing on philosophy and theater traditions that came out of Greek theater and philosophy, in order to ensure a sufficient amount of depth, not (merely) breadth.

Introduction

2007 ◽  
Vol 32 (2) ◽  
pp. 103-105
Author(s):  
KRISTINA HAGSTRÖM STÅHL
Keyword(s):  
Gender Studies ◽  
Performance Studies ◽  
Performance Theory ◽  
Future Directions ◽  
Critical Step ◽  
Self Evaluation ◽  
The Past ◽  
To Come ◽  
And Performance ◽  
And Gender

In the past decade and a half, feminism and gender studies have undergone a process of critical self-scrutiny and re-assessment. Presently, the fields of theatre and performance studies are undertaking a similar project of self-evaluation, as evidenced by recent calls to assess the ‘state of the field’ as well as its future directions. Elaine Aston and Geraldine Harrison suggest in their recent co-edited volume, Feminist Futures? Theatre, Performance, Theory, that any attempt to envision the future must begin by examining the present, which in turn entails looking to, and reflecting on, the legacies and remains of the past. In her article for this issue of TRI, ‘A Critical Step to the Side: Performing the Loss of the Mother’, Aston does precisely this, asking, ‘in what ways it might be critically productive to come back to the maternal as a subject for feminism’.

Peer assessment in performance studies

1996 ◽  
Vol 13 (1) ◽  
pp. 67-78 ◽  
Author(s):  
Desmond Hunter ◽  
Michael Russ
Keyword(s):  
Performance Studies ◽  
Peer Assessment ◽  
The Past ◽  
Second Year ◽  
The University

The purpose of this paper is to outline the background to the introduction of peer assessment at the University of Ulster and to report on how the project has operated and developed over the past three years. Initially assessors were drawn from the same student year group as the performers (BMus, year 2). The process was monitored by the authors who subsequently met with each assessment panel to discuss the performances before marks and reports were finalised. In the following years the assessment of second-year performances was conducted by panels of final-year students; this resulted in more objective reporting.

scholarly journals Gender equality in African customary law: has the male ultimogeniture rule any future in Botswana?

2014 ◽  
Vol 52 (3) ◽  
pp. 475-494 ◽  
Author(s):  
Charles Manga Fombad
Keyword(s):  
Gender Equality ◽  
Customary Law ◽  
Human Rights Law ◽  
Specific Context ◽  
The Past ◽  
Customary Laws ◽  
Family Home ◽  
Property Inheritance ◽  
The Right ◽  
Court Of Appeal

ABSTRACTThe actual and perceived conflicts between customary law and human rights law, especially in issues dealing with gender equality, have remained a major challenge in Africa. Some of these conflicts are further complicated by the varying and contradictory interpretation of some customary laws by the courts. Different approaches have been adopted at different times and in different places to deal with some of these conflicts. One of the most controversial areas of customary law has been the traditional exclusion of women from property inheritance. This paper takes a critical look at how the courts in Botswana have dealt with the issue of the right to inherit the homestead or family home. It examines this issue in the specific context of the recent case of Ramantele v Mmusi in which the Court of Appeal had to consider the customary law rule of male ultimogeniture – which permits only the last-born son to inherit the homestead intestate to the exclusion of other siblings, especially females. It argues that courts need to be more proactive and progressive in their approach to dealing with such issues than they have been in the past in order to recognise the nature and extent of changes that are taking place today. The main lesson that can be drawn from the Botswana case is that if customary law is to survive and develop, more needs to be done to promote research and scholarship in this area and judges also need to take advantage of this research and deal with these customary law disputes with knowledge, understanding and sensitivity.

scholarly journals Institutionalization of Protestantism as a way out

2005 ◽  
pp. 238-261
Author(s):  
Petro Yarotskiy ◽  
Yu.Ye. Reshetnikov
Keyword(s):  
Religious Organization ◽  
Specific Context ◽  
Jehovah’S Witnesses ◽  
Jehovah's Witnesses ◽  
The Public ◽  
The Past ◽  
Current State ◽  
Extended Analysis

The study of the current state and tendencies of the development of the traditional trends of late Protestantism in Ukraine - Baptism, Adventism and Pentecostalism, as well as Jehovah's Witnesses during 1999-2005 made it possible, in our opinion, to be scientifically valuable and relevant to the public in these confessions. generalizations and conclusions. At the same time, in our study, they have both a universal character for all four of these denominations, as well as a specific context in the form of an extended analysis of the nature of theological, doctrinal, institutionalization changes that have taken place in the past 15 years in particular in Ukrainian Baptism and the religious organization of Jehovah's Witnesses. Adventism was preserved somewhat during this period.

Sign in / Sign up

Export Citation Format

Share Document