Releasing the ‘Profound Physicality of Performance’

1997 ◽  
Vol 13 (52) ◽  
pp. 329-338
Author(s):  
JoAnne Akalaitis
Keyword(s):  
New Jersey ◽  
Performing Arts ◽  
Art And Politics ◽  
Visual And Performing Arts ◽  
Rutgers University ◽  
The Arts ◽  
The Relationship

In the following interview, JoAnne Akalaitis discusses her experiences as an actress and director with the Mabou Mines company; her artistic encounters with Beckett, Brecht, and Genet; her thoughts about the relationship between art and politics; and her belief in the connection between the physical and the emotional in performance. Deborah Saivetz is a director and performer who teaches in the Department of Visual and Performing Arts at the Newark Campus of Rutgers University, New Jersey. She assisted JoAnne Akalaitis on her production of John Ford's Jacobean tragedy Tis Pity She's aWhore at the Goodman Theatre in Chicago, and performed in Akalaitis's workshop production of The Mormon Project at the Atlantic Center for the Arts in New Smyrna Beach, Florida. She had several opportunities to talk at length with Akalaitis during the months that they worked together.

‘What Counts is the Landscape’: the Making of Pino DiBuduo's ‘Invisible Cities’

2000 ◽  
Vol 16 (1) ◽  
pp. 50-64
Author(s):  
Deborah Saivetz
Keyword(s):  
New Jersey ◽  
Urban Environment ◽  
Performance Studies ◽  
Performing Arts ◽  
Assistant Professor ◽  
Visual And Performing Arts ◽  
Rutgers University ◽  
Northwestern University ◽  
Assistant Director ◽  
A Site

In October 1998 the Italian director Pino DiBuduo visited the Newark, New Jersey, campus of Rutgers University on the occasion of the major international conference, ‘Arts Transforming the Urban Environment’ For the occasion, he transformed a bleakly concrete teaching block on the Newark campus into a site for the latest of his Invisible Cities projects. These had originated in his Teatro Potlach company's residency in the Italian village of Fara Sabina in 1991, where DiBudo's intention – as in a number of site-specific variations on Invisible Cities since – was to render ‘visible’ aspects of the everyday urban environment which we no longer have the imagination or the patience to ‘see’. While Deborah Saivetz looks also at this original Italian project, and at a later version in Klagenfurt, Austria, she concentrates here on the Newark production, whose development she recorded – in this opening article in her own and DiBuduo's words, and in the following piece through the experiences and recollections of the participants. Deborah Saivetz holds a doctorate in Performance Studies from Northwestern University, and is currently Assistant Professor of Theater in the Department of Visual and Performing Arts at the Newark campus of Rutgers University. Her directorial work includes productions for the New Jersey Shakespeare Festival, the Drama League of New York's Directors’ Project, New York's Alchemy Courthouse Theater, and the Parallax Theater Company in Chicago. She has also worked with JoAnne Akalaitis as assistant director on John Ford's ‘Tis Pity She's a Whore at Chicago's Goodman Theatre, and created original theatre pieces with Chicago's Industrial Theater and Oxygen Jukebox.

Naming the Frame: the Role of the Pre-Interpretive in Theatrical Reception

1997 ◽  
Vol 13 (50) ◽  
pp. 161-170 ◽  
Author(s):  
Ian Watson
Keyword(s):  
New Jersey ◽  
Performing Arts ◽  
Visual And Performing Arts ◽  
Rutgers University ◽  
The Everyday ◽  
Suspension Of Disbelief

When is a theatre event not a theatre event? Where, in the shifting relationships between (and even the shifting definitions of) actor and audience in modern and postmodern performance, is a useful line to be drawn – if only for purposes of analysis and discussion? How adequate are such traditional concepts as the ‘suspension of disbelief’, when the distinction between the ‘realities’ of the theatre and of the everyday begin to merge or dissolve? Ian Watson, an advisory editor of NTQ who teaches in the Department of Visual and Performing Arts at the Newark Campus of Rutgers University, New Jersey, here explores how the issue is affected by the differing pre-interpretive perspectives of performers and spectators. In this light he describes three recent theatre events – the Broadway production of Death and the Maiden, Harold Pinter's London production of Circe and Bravo, and an instance of Augusto Boal's ‘Invisible Theatre’ – to suggest that it is in these perceptual variations that the clue to understanding theatrical reality may lie.

scholarly journals The festival of moors and christians as pillar of the arts.

2016 ◽  
Vol 10 (17) ◽  
pp. 40
Author(s):  
Miguel Ángel Martínez Pozo ◽  
José-Luis Anta Félez
Keyword(s):  
Performing Arts ◽  
Visual And Performing Arts ◽  
The Arts ◽  
Good And Evil ◽  
Concrete World

ABSTRACTThe Festivals of Moors and Christians represents a unique and concrete world that crosses both the history and geography of Spain and its social, political and economic configurations. Historically, they have had a pedagogical sense and, for that reason, they present the complexity of different events, elements, objects and actors that compose it as contrasting elements (assimilation of nationalism and regionalisms or the eternal Hispanic struggle between good and evil), making everything appear normal, exerting a power that few celebrations hold. These chameleonic feasts have adapted to different historical moments and, with the coming of postmodernity, have opened their gates to a colorful game of fantasy where visual and performing arts have become of the utmost importance. 

Letter to an Editor: the Yesterday and Today of Poland's Teatr Ósmego Dnia

2005 ◽  
Vol 21 (1) ◽  
pp. 52-60
Author(s):  
Ian Watson
Keyword(s):  
Performing Arts ◽  
Economic Environment ◽  
Scholarly Journals ◽  
Visual And Performing Arts ◽  
Shared Experiences ◽  
Rutgers University ◽  
Form Part ◽  
Performer Training ◽  
International Circuit ◽  
Odin Teatret

Teatro Ósmego Dnia, the Theatre of the Eighth Day, has for forty years flourished in Poland, never as part of the established theatre, but as one of what Eugenio Barba calls the ‘floating islands’ – those companies which live as much as make theatre, and form part of an informal international circuit of like-minded though distinct and individual groups. Ian Watson here shapes his own memories of the group in the form of a letter to one of NTQ's co-editors, with whom he has shared experiences of Polish theatre, and in particular the work of Eighth Day, relating their history to the changing political and economic environment in Poland, and the company's relationship with the outside world. Ian Watson, who is a Contributing Editor of New Theatre Quarterly, teaches at Rutgers University, Newark, where he is the Acting Chair of the Department of Visual and Performing Arts. He is author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993) and of Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002). He edited Performer Training across Cultures (Routledge, 2001), and has published numerous articles on theatre in scholarly journals.

Understanding cultural activity involvement of loyalty segments in the performing arts

2015 ◽  
Vol 9 (2) ◽  
pp. 103-116 ◽  
Author(s):  
Pieter de Rooij
Keyword(s):  
Performing Arts ◽  
Cultural Transmission ◽  
Cultural Activity ◽  
Content Type ◽  
Activity Involvement ◽  
Four Dimensions ◽  
Leisure Involvement ◽  
The Arts ◽  
The Relationship

Purpose – The purpose of this paper is to describe and understand dimensions of cultural activity involvement and the relationship between cultural activity involvement and behavioural loyalty. Design/methodology/approach – Semi-structured in-depth interviews with 47 customers of a theatre were held. Findings – The study shows that the concept of cultural activity involvement consists of six dimensions: attraction, centrality, self-expression, social bonding, cultural transmission and financial contribution. Three customer segments are taken into consideration according behavioural loyalty levels: incidental spectators, interested participants and the core audience. There are large differences between the three customer segments regarding cultural activity involvement. Research limitations/implications – Introspection might have decreased the reliability. As the study is a case study, problems with external validity are recognised. Practical implications – Given the decline of subsidies in the arts world, it becomes more important to attract more visitors and to increase spending. Performing arts organisations might attract more visitors in case they provide additional services which enable cultural transmission. Moreover, the study shows that certain visitors are willing to contribute additional money to the arts. Originality/value – Current studies about leisure involvement focus on recreation and distinguish four dimensions of involvement. This study focuses on cultural activity involvement and explores these four dimensions, but also shows there are two new dimensions. This study contributes to a further understanding of the relationship between cultural activity involvement and behavioural loyalty.

scholarly journals 'It's not the form; it's the process': A phenomenological study on the use of creative professional development workshops to improve teamwork and communication skills

2018 ◽  
Author(s):  
Anita Acai ◽  
Sydney A. McQueen ◽  
Christine Fahim ◽  
Natalie Wagner ◽  
Victoria McKinnon ◽  
...  
Keyword(s):  
Professional Development ◽  
Communication Skills ◽  
Health Professionals ◽  
Performing Arts ◽  
Phenomenological Study ◽  
Well Being ◽  
Communication Styles ◽  
Visual And Performing Arts ◽  
Positive Effects ◽  
The Arts

Introduction: Past research has demonstrated the positive effects of visual and performing arts on health professionals’ observational acuity and associated diagnostic skills, well-being, and professional identity. However, to date, the use of arts for the development of non-technical skills, such as teamwork and communication has not been studied thoroughly. Methods: In partnership with a community print and media arts organization, Centre[3], we utilized a phenomenological approach to explore front-line mental health and social service workers’ experiences with a creative professional development workshop based on the visual and performing arts. Through pre- and post-workshop interviews with participants and post-workshop interviews with their managers, we sought to examine how participants’ perceptions of the workshop compared to their pre-workshop expectations, specific impacts of the workshop with respect to participants’ teamwork and communication skills, and changes in their perceptions regarding the use of the arts in professional development. Results: Our workshops were successful in enhancing teamwork skills among participants and showed promise in the development of communication skills, though observable changes in workplace communication could not be confirmed. The workshop facilitated teamwork and collegiality between colleagues, creating a more enjoyable and accepting work environment. The workshops also helped participants identify the strengths and weaknesses of their communication skills, made them more comfortable with different communication styles, and provided them with strategies to enhance their communication skills. Conclusions: Participation in the arts can be beneficial for the development of interpersonal skills such as teamwork and communication among health professionals.

scholarly journals Conference & Planning Committee Information

2013 ◽  
Vol 5 ◽  
Author(s):  
Laura Lukes
Keyword(s):  
Online Education ◽  
Performing Arts ◽  
Writing Center ◽  
Writing Across The Curriculum ◽  
College Of Education ◽  
Visual And Performing Arts ◽  
The Arts ◽  
University Life ◽  
Science College ◽  
Engineering Writing

Theme:Transformational Learning Campuswide: Insights to Enhance Student EngagementSeptember 20, 2013 Conference Director:Kimberly Eby (Center for Teaching & Faculty Excellence) Conference Coordinator:Ashleen Gayda (Center for Teaching & Faculty Excellence) (Retroactive) Conference Proceedings:Laura Lukes (Center for Teaching & Faculty Excellence)Chyna Staten (Center for Teaching & Faculty Excellence) Logistical Coordination:Karen Tai (Office of Events Management) Logistical Support:Events productionShannon DavisRebecca JonesLisa ListerSamira LloydLindsey LowenbergDenise NazaireHermoine PickettShawn Lee’s Tourism StudentsThe Writing Center Tutors Co-Sponsors: Blackboard, Inc.; 4-VA; Cengage Learning; Center for the Arts; College of Education and Human Development; College of Health and Human Services; College of Humanities and Social Sciences; College of Science; College of Visual and Performing Arts; Division of Instructional Technology; GMU Bookstore; Graduate Student Life; Higher Education Program; Mason Inn Conference Center & Hotel; Of ce of Student Scholarship, Creative Activities, and Research; Online Education; School for Con ict Analysis and Resolution; School of Management; School of Public Policy; University Libraries; University Life; Volgenau School of Engineering; Writing Across the Curriculum; and The Writing Center. 

scholarly journals A LETTER FROM THE EDITOR-IN-CHIEF

2021 ◽  
Vol 2 (2) ◽  
pp. 1-1
Author(s):  
Kumkum Bharadwaj
Keyword(s):  
Performing Arts ◽  
High Standard ◽  
Faculty Members ◽  
Google Scholar ◽  
Research Papers ◽  
Visual And Performing Arts ◽  
Research Article ◽  
The Arts ◽  
Wide Range ◽  
New Phase

English: It gives me immense pleasure to inform that “ShodhKosh: Journal of Visual and Performing Arts” ISSN: 2582-7472 has been listed in the UGC-CARE list. It is a bi-annual peer-reviewed journal of visual and performing arts that publishes research papers in both Hindi and English. Our editorial members have also contributed significantly in this effort. As a result of this, we have been able to make the research fund one of the leading journals in the field of art, and I congratulate the editorial members and the publisher by appreciating them.I would like to take this opportunity to express my gratitude to all the authors and reviewers whose contribution has made the journal reach this dimension. I would like to thank all the readers, contributors, writers, reviewers, and editorial members for all of you invaluable support and contribution.This change marks the beginning of a new phase of development in the future as we want to establish “ShodhKosh: Journal of Visual and Performing Arts” ISSN: 2582-7472 Journal in the fields of art We are committed to striving for a more consistently high standard of publication, while maintaining our wide range of teachers that includes all of the faculty members. On a national and international level, we want to assist the journal in any way we can. Even as we reimagine ourselves in conventional fields of the arts, we will continue to publish theoretical, artistic, and empirical investigations of modern and contemporary art in all its aspects.Over the years We have made several significant modifications to “ShodhKosh: Journal of Visual and Performing Arts” ISSN: 2582-7472 which will benefit all the researchers as well as we have done. ShodhKosh: Journal of Visual and Performing Arts (ShodhKosh) " ISSN: 2582-7472" is indexed on CrossRef, CrossMark, Google Scholar, Portico, Dimensions, PKP Preservation Network (PKP PN), Index Copernicus, PKP Index, so that all the papers published by us can be read nationally and internationally. We provide a unique DOI to each research article. The ShodhKosh is always progressing to support our commitment with well. Hindi: मुझे यह सूचित करते हुए अत्यंत हर्ष का अनुभव हो रहा है “ShodhKosh: Journal of Visual and Performing Arts” ISSN: 2582-7472 UGC-CARE list में अनुक्रमिनित कर लिया गया है। यह एक अर्द्धवार्षिक पत्रिका है, जिसमें हिंदी व अंग्रेजी भाषा में शोध पत्रों का प्रकाशन किया जाता है। इस प्रयास में हमारे सम्पादकीय सदस्यों का भी महत्वपूर्ण योगदान रहा है। इसी के परिणाम स्वरूप हम शोध-कोष को कला के क्षेत्र में अग्रणी पत्रिकाओं में से एक बनाने में सफल हुए हैं, और मैं सम्पादकीय सदस्यों एवं प्रकाशक की सराहना करते हुए उन्हें बधाई देती हूँ। में इस अवसर पर उन सभी लेखकों और समीक्षकों के प्रति आभार व्यक्त करना चाहती हूँ, जिनके योगदान से पत्रिका इस आयाम तक पहुँच पायी है। आप सभी के अमूल्य समर्थन व योगदान के लिए मैं सभी पाठकों, योगदानकर्ताओं, लेखकों, समीक्षकों, व सम्पादकीय सदस्यों को धन्यवाद प्रेषित करती हूँ।यह परिवर्तन भविष्य में विकास के एक नए चरण की शुरुआत का प्रतीक है क्योंकि हम “ShodhKosh: Journal of Visual and Performing Arts” ISSN: 2582-7472 UGC-CARE list को कला के क्षेत्रों में मजबूती से स्थापित करना चाहते हैं, इस पत्रिका में कला के सभी शिक्षकों को शामिल करते हुए हम हमारे व्यापक दायरे को बनाये रखते हुए, हम प्रकाशन के निरंतर उच्च मानकों के प्रयास हेतु प्रतिबद्ध है। हम पत्रिका के राष्ट्रीय व अंतराष्ट्रीय समर्थन के लिए प्रयास करेंगे। कला के पारंपिक क्षेत्रों में अपने आप को सशक्त करते हुए आधुनिक और समकालीन कला के सभी आयामों के सैद्धांतिक, मौलिक और अनुभवजन्य अध्ययनों को प्रकाशित करना जारी रखेंगे। विगत वर्षों से हमने “ShodhKosh: Journal of Visual and Performing Arts” ISSN: 2582-7472 UGC-CARE list में कुछ महत्वपूर्ण परिवर्तन किए है, जिससे सभी शोधकर्ताओं को लाभ मिले जैसे हमने ShodhKosh: Journal of Visual and Performing Arts (ShodhKosh) " ISSN: 2582-7472" की Indexing: CrossRef, CrossMark, Google Scholar, Portico, Dimensions, PKP Preservation Network (PKP PN), Index Copernicus, PKP Index पर की है, जिससे हमारे द्वारा प्रकाशित सभी शोधपत्र राष्ट्रीय व अंतराष्ट्रीय स्तर पर पढ़े जा सके। हमारे द्वारा सभी शोधपत्रों को स्वयं का DOI प्रदान किया जाता है। हमरी प्रतिबद्धता और सुधीजनों के सहयोगार्थ शोध-कोष निरंतर अग्रसर है।  

Theatre and the Presidential Debates: the Role of Performance in Voter Choice

2006 ◽  
Vol 22 (4) ◽  
pp. 336-351 ◽  
Author(s):  
Ian Watson
Keyword(s):  
Performing Arts ◽  
Presentation Of Self ◽  
Presidential Debates ◽  
Scholarly Journals ◽  
Visual And Performing Arts ◽  
Richard Nixon ◽  
Rutgers University ◽  
Voter Choice ◽  
Performer Training

The fictionalized account in the recent film The Queen of Tony Blair's coaching of Her Majesty into a more voter-friendly response to the death of Princess Diana, largely through the medium of television, is a pertinent reminder of how the presentation of self on television subtly modifies the presentation of self in everyday life. In this article, Ian Watson considers how the now-ritualized debates between the main contenders in American presidential elections are stage-managed to enhance what their supporters suppose to be their candidate's most sympathetic features – supposedly learning the lessons of the first such debate, between John F. Kennedy and Richard Nixon, which displayed Nixon in such an unappealing light. However, what are ostensibly strengths or weaknesses may be read as quite other by an audience attuned to reading signifiers in film or television drama – or simply empathic towards what others perceive as failings, as in the case of reactions to George W. Bush's inarticulacies, awkward mannerisms, and failed jokes, which some read not as signs of ineptness but of an endearing humanity. Ian Watson, who is a Contributing Editor of New Theatre Quarterly, teaches at Rutgers University, Newark, where he is the Acting Chair of the Department of Visual and Performing Arts. He is author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993) and of Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002). He edited Performer Training across Cultures (Routledge, 2001), and has published numerous articles on theatre in scholarly journals.

Governing Culture, Producing Modern Citizens

2021 ◽  
pp. 90-119
Author(s):  
Banu Karaca
Keyword(s):  
Cultural Policy ◽  
The State ◽  
Turkish Republic ◽  
Art And Politics ◽  
Cultural Policies ◽  
The Arts ◽  
Greater Good ◽  
Administrative Units ◽  
The Many ◽  
The Relationship

Chapter 3 shows how ideas of art as a greater good have been translated into Turkish and German cultural policies. It begins with a general overview of cultural policy as a domain of statecraft rooted in modernist notions of aesthetic education as essential for modern personhood and then turns to the fundamental contradictions that characterize the interlocution of art and administration. It revisits and retells major debates and turning points in Turkish and German arts policies of the twentieth century by examining forgotten episodes of this history that allow for re-evaluating the present. These include the heated discussions on the relationship between art and politics in the early Turkish republic that resulted in a constant reshuffling of the administrative units in charge of the arts, and the fact that engagements abroad, including arts initiatives in the Ottoman Empire, were formative for Imperial Germany’s domestic cultural policy. Analyzing the tension between art as a supposedly functionless good and the many ways in which the state mobilizes different understandings of art for its own purposes, the chapter shows how the critical potential of art always also presents a risk that the state needs to contend with.

Sign in / Sign up

Export Citation Format

Share Document