Stanislavski, Creativity, and the Unconscious

1986 ◽  
Vol 2 (8) ◽  
pp. 345-351 ◽  
Author(s):  
Natalie Crohn Schmitt
Keyword(s):  
Associate Professor ◽  
National Endowment ◽  
The Unconscious ◽  
Contemporary Theatre ◽  
Natural Laws ◽  
System A ◽  
Wide Range ◽  
Theatre Companies ◽  
The University ◽  
The Relationship

As Alice Reyner's paper on Stanislavski and Bradley in NTQ 4 illustrated, Stanislavski remained very much a man of his own time, however enduring his approach to acting has proved. Here, Natalie Crohn Schmitt examines one of the concepts most crucial to ‘the system’ – a concept which is in its essentials, however, derived from nineteenth-century ideas, now being challenged, about the relationship between creativity and the unconscious. Pointing out that Stanislavski himself believed that his ‘system’ was simply the application of natural laws to acting technique, the author shows Stanislavski's indebtedness to the psychological theories of Théodule Armand Ribot, which interpreted all human behaviour in terms of ‘an aim towards fixed ends’. One of the reasons for the decline in influence of Stanislavski's system thus reflects, she argues, the growing belief that creativity is ‘process’, its ends ‘continually redefined by the actions, and vice-versa’ – and the author suggests examples of such a non-Stanislavskian approach among contemporary theatre companies. Natalie Crohn Schmitt is associate professor of theatre in the University of Illinois at Chicago. Her earlier essays have appeared in a wide range of journals, and she has just completed a full-length study, Actors on the Stage of Life. The present paper was written under a grant from the National Endowment for the Humanities.

The Relationship between Theatre and Ritual in the Sogo bò of the Bamana from Mali

2009 ◽  
Vol 25 (3) ◽  
pp. 233-240
Author(s):  
Marie Kruger
Keyword(s):  
Oral Tradition ◽  
Associate Professor ◽  
Sub Saharan Africa ◽  
Structural Elements ◽  
Repetitive Nature ◽  
Sub Saharan ◽  
Metaphorical Expression ◽  
The University ◽  
Shifting Boundaries ◽  
The Relationship

The Sogo bò, primarily an animal masquerade, can be distinguished from Western theatre through its use of a fluid space with shifting boundaries between spectator and performer. An oral tradition dictates the characterization, scenario, and content. The resemblance to ritual can be found in structural elements such as its repetitive nature and the use of non-realistic performance objects and motions. As in ritual, there is a clear sense of order, an evocative presentational style, and a strong collective dimension. The functional resemblance lies in the complex metaphorical expression through which relationships and values are symbolized, objectified, and embodied in a highly artistic way. Marie Kruger is an associate professor and the Chair of the Department of Drama at the University of Stellenbosch, South Africa, where puppetry is offered as a performance and research option. Her research is focused on masquerades in Africa and the various contemporary applications of puppetry in sub-Saharan Africa.

scholarly journals Aboagora 2013: The Human Machine

2013 ◽  
Vol 3 (2) ◽  
pp. 1-2
Author(s):  
Ruth Illman
Keyword(s):  
Joint Venture ◽  
Human Being ◽  
Music Festival ◽  
Arts And Sciences ◽  
The Arts ◽  
Wide Range ◽  
The University ◽  
The Relationship

The editorial introduces the articles of the issue, all pertaining to the arts and sciences event, Aboagora, which gathered artists, academics and a wide range of interested listeners together to discuss the relationship between technology and the human being in Turku/Åbo in August, 2013. Aboagora is arranged as a joint venture between Turku Music Festival and scholars from the University of Turku, Åbo Akademi University and the Donner Institute.

A Saturated Time: Three Festivals in Poland, 2007

2008 ◽  
Vol 24 (4) ◽  
pp. 307-321
Author(s):  
Murray Edmond
Keyword(s):  
New Zealand ◽  
Associate Professor ◽  
Contemporary Theatre ◽  
Avant Garde ◽  
Aotearoa New Zealand ◽  
Theatre Company ◽  
Street Performance ◽  
The University ◽  
Special Time

What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their aims, success, and role in what Barthes called the ‘special time’ which festivals have occupied since the Ancient Greeks dedicated such an occasion to Dionysus. Murray Edmond is Associate Professor of Drama at the University of Auckland, New Zealand. His recent publications include Noh Business (Berkeley: Atelos Press, 2005), a study, via essay, diary, and five short plays, of the influence of Noh theatre on the Western avant-garde, and articles in Contemporary Theatre Review (2006), Australasian Drama Studies (April 2007), and Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (2007). He works professionally as a dramaturge, notably for Indian Ink Theatre Company, and has also published ten volumes of poetry, of which the most recent is Fool Moon (Auckland: Auckland University Press, 2004).

‘Best Betrayal’: the Documentation of Performance on Video and Film, Part 2

1995 ◽  
Vol 11 (43) ◽  
pp. 259-276 ◽  
Author(s):  
Annabelle Melzer
Keyword(s):  
Associate Professor ◽  
Reference Book ◽  
Moving Image ◽  
Avant Garde ◽  
Tel Aviv ◽  
Johns Hopkins University ◽  
Theatre Companies ◽  
Hands On ◽  
Present Writing ◽  
The University

Whether described as adaptations, documentations, translations, or transcriptions, the video cassettes which allow us to see performances on video are proliferating. Not always easily available for begging, borrowing, or buying, not always willingly turned over by the theatre companies who hold them for in-house use, often lost or erased by television channels, and always beleaguered with copyright problems, these electronic arts ‘documents’ are none the less causing a revolution in teaching, rehearsal methods, and research. In what constitutes a first detailed mapping of the territory, Annabelle Melzer's two-part article, of which the first part appeared in NTQ42 (May 1995), deals with the theoretical and aesthetic questions surrounding performance documentation, with some of the hands-on issues of such filming – and with her own journey to seek out the documents themselves. Annabelle Melzer, Associate Professor of Theatre at the University of Tel Aviv, is completing ten years of research on the adaptation and documentation of theatre through moving image documents. Shakespeare on Screen, the first volume of her multi-volume filmography, Theatre on Screen, appeared in 1991, receiving the Choice and American Library Association awards as outstanding reference book of that year. Her articles on avant-garde performance have appeared in Artforum, Theatre Research International, and Comparative Drama, and her Hazan Prize-winning book Dada and Surrealist Performance has recently been reissued by Johns Hopkins University Press. She is at present writing a book on the theatricality of war.

The Reinvention of Shakespeare in Traditional Asian Theatrical Forms

1998 ◽  
Vol 14 (55) ◽  
pp. 274-284
Author(s):  
Min Tian
Keyword(s):  
Twentieth Century ◽  
Associate Professor ◽  
Modern Drama ◽  
University Of Illinois ◽  
Doctoral Candidate ◽  
Wide Range ◽  
And Performance ◽  
The University

Especially during the later decades of the twentieth century, Shakespeare's plays have been adapted for production in many of the major Asian traditional theatrical forms – prompting some western critics to suggest that such forms, with their long but largely non-logocentric traditions, can come closer to the recovery or recreation of the theatrical conditions and performance styles of Shakespeare's times than can academically derived experiments based on scantily documented research. Whether in full conformity with traditional Asian styles, or by stirring ingredients into a synthetic mix, Min Tian denies that a ‘true’ recreation is possible – but suggests that such productions can, paradoxically, help us to ‘reinvent’ Shakespeare in fuller accord with our own times, notably by exploiting the potential of stylized gesture and movement, and the integration of music and dance, called for by proponents of a modernistic ‘total’ theatre after Artaud. In considering a wide range of Shakespearean productions and adaptations from varying Asian traditions, Min Tian suggests that the fashionably derided ‘universality’ of Shakespeare may still tell an intercultural truth that transcends stylistic and chronological distinctions. Min Tian holds a doctorate from the China Central Academy of Drama, where he has been an associate professor since 1992. The author of many articles on Shakespeare, modern drama, and intercultural theatre, he is now a doctoral candidate at the University of Illinois at Urbana-Champaign.

scholarly journals The Eyes of the Animals

2010 ◽  
Vol 1 (1) ◽  
Author(s):  
Linda Hogan
Keyword(s):  
Short Story ◽  
Associate Professor ◽  
National Endowment ◽  
University Of Minnesota ◽  
Linda Hogan ◽  
The Arts ◽  
Book Award ◽  
American Book ◽  
Story Writer ◽  
The University

Linda Hogan Linda Hogan (1947), a successful poet, short story writer, novelist, playwright, and essayist whose tribal affiliation is Chickasaw, spent most of her childhood in Oklahoma and Colorado. She taught at the University of Minnesota, and has been an associate professor in the English Dept. at the University of Colorado in Boulder (where she obtained her MA in 1978), since 1989. She has served on the National Endowment for the Arts poetry panel for two years and has been involved in wildlife rehabilitation as a volunteer. The main focus and movement of Linda's work concerns the traditional indigenous view of and relationship to the land, animals and plants. She has won numerous awards, such as the 2002 Wordcraft Circle Writer of the Year (Creative Prose: Memoir), the Lifetime Achievement Award from the Native Writers' Circle of the Americas (1998), the prestigious Lannan Award, which may not be applied for, for outstanding achievement in poetry (1994), the Oklahoma Book Award for fiction in 1991, and the American Book Award (1986). She was one of three finalists for the Pulitzer in 1990.

Natural laws and ontological reflections: the textual and didactic implications of the presentation of Boyle's law in general chemistry

2015 ◽  
Vol 16 (3) ◽  
pp. 447-459 ◽  
Author(s):  
Waldo Quiroz ◽  
Cristian Merino Rubilar
Keyword(s):  
General Chemistry ◽  
Natural Laws ◽  
Compression Mechanism ◽  
The University ◽  
Explanatory Mechanism ◽  
Relationship Of ◽  
Gas Volume ◽  
The Relationship ◽  
Boyle’S Law ◽  
Collision Mechanism

This study develops a tool to identify errors in the presentation of natural laws based on the epistemology and ontology of the Scientific Realism of Mario Bunge. The tool is able to identify errors of different types: (1) epistemological, in which the law is incorrectly presented as data correlation instead of as a pattern of causality; (2) semantic, in which natural law is presented as a mathematical statement that relates variables but with an absence of ambiguous material reference; (3) deterministic, in which the relationship of natural variables is presented but with no causality statement; and (4) mechanistic, in which a causality statement is presented with the absence of an explanatory mechanism. In this work, Boyle's law was used as an example of the applicability of the instrument. In this case, we found errors in most of the university textbooks that we analyzed. Most of the errors arose from the disconnection between the symbolic and microscopic levels. The presentations of Boyle's law in general chemistry are given in textbooks that include illustrations based in a macroscopic perspective, in which the macroscopic compression mechanism is completely disconnected from the microscopic collision mechanism. This disconnection results in the incorrect presentation of gas pressure as the cause and gas volume as the effect.

Critical Success Factors and Benefits of Corporate–Education Partnerships

1992 ◽  
Vol 6 (2) ◽  
pp. 70-74
Author(s):  
Mary Lou Nugent
Keyword(s):  
Personal Experience ◽  
Success Factors ◽  
Corporate Education ◽  
Critical Elements ◽  
Critical Success ◽  
Corporate Partnership ◽  
Wide Range ◽  
Technology Corporation ◽  
The University ◽  
The Relationship

Regis University in Denver, Colorado, launched its first corporate partnership in 1987. The University has since developed two additional partnerships with very disparate industries. The three companies encompass a wide range of needs and cultures. The process of beginning and maintaining cross-cultural partnerships is dynamic and challenging. Mary Lou Nugent draws on her personal experience as Director of the partnership between Coors Brewing Company and Regis University to highlight and discuss critical elements in the successful development of a corporate–academic partnership, and points up the substantial benefits accruing from the relationship. She also indicates how the original Coors partnership provided Regis with a model on which to base the development of the two relationships subsequently established with Storage Technology Corporation and AT&T.

‘Best Betrayal’: the Documentation of performance on Video and Film, Part 1

1995 ◽  
Vol 11 (42) ◽  
pp. 147-157 ◽  
Author(s):  
Annabelle Melzer
Keyword(s):  
Associate Professor ◽  
Reference Book ◽  
Moving Image ◽  
Avant Garde ◽  
Tel Aviv ◽  
Johns Hopkins University ◽  
Theatre Companies ◽  
Hands On ◽  
Present Writing ◽  
The University

Whether described as adaptations, documentations, translations, or transcriptions, the video cassettes which allow us to see performances on video are proliferating. Not always easily available for begging, borrowing, or buying, not always willingly turned over by the theatre companies who hold them for in-house use, often lost or erased by television channels, and always beleaguered with copyright problems, these electronic arts ‘documents’ are none the less causing a revolution in teaching, rehearsal methods, and research. In what constitutes a first detailed mapping of the territory, Annabelle Melzer's two-part article deals with the theoretical and aesthetic questions surrounding performance documentation, with some of the hands-on issues of such filming – and with her own journey to seek out the documents themselves. Annabelle Melzer, Associate Professor of Theatre at the University of Tel Aviv, is completing ten years of research on the adaptation and documentation of theatre through moving image documents. Shakespeare on Screen, the first volume of her multi-volume filmography,Theatre on Screen, appeared in 1991, receiving theChoiceand American Library Association awards as outstanding reference book of 1991. Her articles on avant-garde performance have appeared inArtforum,Theatre Research International, andComparative Drama, and her Hazan Prize-winning bookDada and Surrealist Performancehas just been reissued by Johns Hopkins University Press. She is at present writing a book on the theatricality of war.

scholarly journals Tony Angelo and the University of the South Pacific

2008 ◽  
Vol 39 (4) ◽  
pp. 571
Author(s):  
Sue Farran
Keyword(s):  
South Pacific ◽  
Associate Professor ◽  
Law School ◽  
Outstanding Contribution ◽  
The South ◽  
Senior Lecturer ◽  
Wide Range ◽  
The University

The author, having served as a Senior Lecturer and Associate Professor at the University of South Pacific, pays tribute to Professor Tony Angelo's involvement in that University. The author notes that Professor Angelo was instrumental in the structuring and content of the Bachelor of Laws degree, and has continued to support the University in several different ways. The original aim of its law school, which remains unchanged, is to produce graduates who are appropriately prepared for a wide range of employment and service opportunities within the region and to make an outstanding contribution to the South Pacific communities. Professor Angelo has been, and continues to be, a key player in that mission.

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