scholarly journals Irish Rioters, Latin American Dictators, and Desperate Optimists' Play-boy

2005 ◽  
Vol 21 (3) ◽  
pp. 241-254
Author(s):  
Neal Swettenham
Keyword(s):  
Latin American ◽  
Detailed Account ◽  
Western World ◽  
Central Character ◽  
Contemporary Theatre ◽  
Avant Garde ◽  
Narrative Process ◽  
The Creation

The narrative process is inherently selective and consequently open to distortion and falsification. J. M. Synge humorously illustrated this in The Playboy of the Western World, in which his central character, Christy Mahon, reinvents himself through the telling and retelling of his own story. Play-boy, a much more recent performance work created by Desperate Optimists, takes as its opening gambit the riots that accompanied the first performances of this controversial Irish classic and adds a bewildering variety of other narrative materials to the mix—providing, as it does so, a tongue-in-cheek commentary on this story about stories. A detailed account of the show in performance and the manner in which the company construct their own tall tales initiates an investigation into how fact becomes fiction in the creation of new narrative accounts, narrative being considered as a participatory event that is both a psychological imperative and a ludic pleasure. Neal Swettenham lectures in drama at Loughborough University. His research into the role and status of narrative in contemporary theatre has led him to fresh examinations of both traditional story-based drama and avant-garde performance work. In particular, he has written about the plays of American dramatist Richard Foreman and is currently exploring the challenges presented to both actor and director by these texts.

Sacred ‘Idiocy’ the Avant-Garde as Alternative Establishment

1991 ◽  
Vol 7 (28) ◽  
pp. 348-352
Author(s):  
Graham Ley
Keyword(s):  
New Zealand ◽  
Corporate Finance ◽  
University Of Chicago ◽  
Ancient Greek ◽  
Short Introduction ◽  
Contemporary Theatre ◽  
Avant Garde ◽  
Alternative Theatre ◽  
The University ◽  
University Of Chicago Press

Is there a postmodernist theatre – and if so, what was the modernist theatre? What qualifies as avant-garde – and for how long? And why does the ‘established’ alternative theatre lean so heavily on appropriation, whether of ancient myths or contemporary ideologies – such as postmodernism? Graham Ley uses analogies from dance and design to explore our perceptions of and attitudes towards those contemporary theatre practitioners who may once have broken boundaries, but now often head the queue for lavish corporate finance. Graham Ley has taught in universities in England, Australia, and New Zealand, and his Short Introduction to the Ancient Greek Theatre will shortly appear from the University of Chicago Press.

Along the Lines of the Occupation

2017 ◽  
Vol 3 (1) ◽  
pp. 130-143 ◽  
Author(s):  
Fabio Cristiano ◽  
Emilio Distretti
Keyword(s):  
Augmented Reality ◽  
Video Game ◽  
Status Quo ◽  
Green Line ◽  
Avant Garde ◽  
The Creation ◽  
Pokémon Go ◽  
East Jerusalem

Augmented reality enables video game experiences that are increasingly immersive. For its focus on walking and exploration, Niantic’s location-based video game Pokémon Go (PG) has been praised for allowing players to foster their understanding and relationship to surrounding spaces. However, in contexts where space and movement are objects of conflicting narratives and restrictive policies on mobility, playing relies on the creation of partial imaginaries and limits to the exploratory experience. Departing from avant-garde conceptualizations of walking, this article explores the imaginary that PG creates in occupied East Jerusalem. Based on observations collected in various gaming sessions along the Green Line, it analyzes how PG’s virtual representation of Jerusalem legitimizes a status quo of separation and segregation. In so doing, this article argues that, instead of enabling an experience of augmented reality for its users, playing PG in East Jerusalem produces a diminished one.

Visibilis et Invisibilis: The Mistress in Italian Renaissance Court Society*

1994 ◽  
Vol 47 (4) ◽  
pp. 770-792 ◽  
Author(s):  
Helen S. Ettlinger
Keyword(s):  
Fifteenth Century ◽  
Golden Age ◽  
Italian Renaissance ◽  
The Political ◽  
Central Character ◽  
Male And Female ◽  
The Creation

Fifteenth Century Italy has been called both the “golden age of bastards” and the “age of golden bastards.” But while scholars from Jacob Burckhardt to Lauro Martines have decried princely infidelity and the political problems resulting from the promotion of the inevitable bastards, they have not discussed a central character in the creation of such situations: the mother of those bastards or, more properly, the mistress of the prince. “Golden bastards,” male and female, could not have existed without the tacit cooperation of noble women and the men who protected them – husbands, fathers, and brothers. And herein lies a conundrum. Paternal, spousal, and/or fraternal consent to an illicit relationship which was, at best, a tenuous claim on the generosity of a prince might appear to violate the model constructed by family historians of a society concerned with preserving the honor of their women in order to enhance the family's position through advantageous marital alliances of the virgin daughters.

Introduction

2017 ◽  
Author(s):  
Victoria L. Evans
Keyword(s):  
Le Corbusier ◽  
Window Frame ◽  
Avant Garde ◽  
Mise En Scene ◽  
The Creation ◽  
Douglas Sirk ◽  
Architecture And Design

After describing one of Peter Greenaway's recent efforts to move beyond the limits of the cinema, Evans proposes that Douglas Sirk had already begun to dissolve the boundaries the medium by assimilating elements of avant-garde art, architecture and design into his mise-en-scène. She goes on to assert that Sirk's importation of a high art aesthetic into the low genre of melodrama echoed the widespread European Modernist preoccupation with the creation of a synergistic Gesamtkunstwerk or "total art work" during the period in which he intellectually came of age. Finally, the director's tendency to create "pictures" of the external landscape that the characters (and the viewer) are obliged to contemplate through the window frame is interpreted in the light of the theories of Le Corbusier.

Introduction

2016 ◽  
pp. 5-8
Author(s):  
Luis G. Martínez del Campo
Keyword(s):  
Foreign Policy ◽  
Soft Power ◽  
Western World ◽  
Spanish Society ◽  
Power Strategies ◽  
History Of ◽  
The Creation

In this chapter, I link the creation of the British-Spanish Society (BSS) and the development of soft power strategies in the Western World. I also put the history of the BSS in the context of British-Spanish relations in the 20th Century. Finally, I describe the BSS as one example of those institutions involved in the cultural side of foreign policy.

On DH in Argentina

2020 ◽  
pp. 225-235
Author(s):  
Héctor Fernández L’Hoeste ◽  
Juan Carlos Rodríguez
Keyword(s):  
Latin American ◽  
21St Century ◽  
Digital Humanities ◽  
Research Council ◽  
The State ◽  
Technical Research ◽  
Spanish Speaking ◽  
American Academia ◽  
The Creation ◽  
Del Rio

In this chapter, Gimena del Río Riande, the Argentine researcher based at the National Scientific and Technical Research Council (CONICET), talks about the state of the digital humanities in Argentina and the potential implications and promise of digital research in Latin American academia. She explains the specific challenges in the region and how technologies are playing a defining role in the reshaping of Latin American humanities at the dawn of the 21st century. As expected, the way in which the humanidades digitales developed in Spanish-speaking countries differs significantly from that of the Anglophone digital humanities. These differences can be found not only in the language that communicates research—all the different variants of Spanish—but also in the topics, methods, and tools, due to the diverse academic, cultural, and economic contexts. To illustrate this, Gimena del Río tells us how she started working in 2013 on the creation of a digital humanities community in Argentina, the Asociación Argentina de Humanidades Digitales (AAHD), and the digital humanities projects she is currently coordinating.

Xul Solar (1887–1963)

2018 ◽  
Author(s):  
David Fernando Cortés Saavedra
Keyword(s):  
Latin American ◽  
Visual Arts ◽  
Buenos Aires ◽  
Italian Renaissance ◽  
American Modernism ◽  
Avant Garde ◽  
Long Period ◽  
Semiotic Systems ◽  
San Fernando ◽  
Modernist Project

Associated with the most important figures of the literary and artistic avant-garde of Buenos Aires, the Argentinean painter and polyglot Xul Solar was key in connecting European movements like Expressionism, Constructivism and Dadaism to Latin American modernism. He contributed to the modernist project via the convergence in his work of depurated (simplified) flat colorful figuration and a complex iconography of pre-Columbian and religious derivation. Xul Solar lived during his youth in San Fernando, Argentina, and was equally inclined towards music and the visual arts. During a long period of travel throughout Europe, he encountered several artistic movements—from the Italian Renaissance to die Brücke—and studied linguistics and theosophy. Enthralled by his experiences abroad, Xul Solar returned to Argentina in 1924, joining the artist group Martín Fierro and elaborating on projects begun in Europe such as the creation of his artificial language, Panlingua. His fascination with elaborate semiotic systems also led him to create the game PanChess. Xul Solar’s visual works varied throughout his career from geometric abstraction to schematic figuration, from fantastic paintings to symbolic portraits. Xul Solar remains one of the most influential Latin American artists of the modern period.

Tamayo, Rufino (1899–1991)

2018 ◽  
Author(s):  
Valentina Locatelli
Keyword(s):  
Latin American ◽  
Abstract Expressionism ◽  
American Art ◽  
Latin American Art ◽  
Diego Rivera ◽  
Avant Garde ◽  
The World ◽  
Emotional Aspects ◽  
Poetic Realism ◽  
Jose Clemente Orozco

A Mexican painter and muralist of indigenous heritage, Rufino Tamayo was one of the most important representatives of figurative abstraction and poetic realism in 20th-century Latin American art. A supporter of the universalistic approach to art, in the late 1940s he started a controversy—the so called ‘‘polémica Tamayo’’—by positioning himself against the classical Mexican school and its ‘‘Big Three,’’ the muralists José Clemente Orozco, Diego Rivera and Alfaro Siqueiros. Contrary to the stress they put on art as political, Tamayo focused on its poetic and emotional aspects. Tamayo’s art is based both on Mexican figurative traditions (characterized by the rigor and geometry of pre-Hispanic sculpture and its imaginative and magical character), and on the influence of European and North American avant-garde movements, especially Impressionism, Fauvism, Cubism, Futurism, Surrealism and Abstract Expressionism. His sensibility for nature and spirituality, his interest in ordinary people, and his ability to synthesize different pictorial languages with Mexican folk art and beliefs, have made him a very popular artist, nationally and internationally. Throughout his career Tamayo directed his effort ‘‘towards the salvation of painting, the preservation of its purity and the perpetuation of its mission as translator of the world’’ (Paz 1985: 23).

The Closing and Lasting Impact of CLAEM

2020 ◽  
pp. 162-176
Author(s):  
Eduardo Herrera
Keyword(s):  
Latin American ◽  
Classical Music ◽  
Social Bonds ◽  
American Art ◽  
Art Music ◽  
Lessons Learned ◽  
Latin American Art ◽  
American Composers ◽  
Avant Garde ◽  
The Impact

This chapter evaluates the conditions leading to the closing of CLAEM and the impact the center as a whole had on the Latin American art music scene. Touching upon the three main themes of the book, the chapter discusses the lessons learned and the weaknesses revealed from the most significant philanthropic incursion into avant-garde art music in Latin America, and the lasting legacy of a generation of fellowship holders, both in terms of their embrace or rejection of the avant-garde, and their adoption of an identification as Latin American composers based on strong and intimate social bonds. It argues that the impact that the relatively short-lived center had during the following fifty years on the classical music of the region was the result of calculated philanthropic efforts, the embodied and multi-faceted embrace of avant-garde ideas, and the conscious and strategic construction and identification of Latin American composers.

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