The Childhood of Theatre: The Errant Method for an ‘Infant Public’

2021 ◽  
Vol 37 (1) ◽  
pp. 71-81
Author(s):  
Chiara Guidi ◽  
Dominika Laster
Keyword(s):  
New Mexico ◽  
Performance Studies ◽  
Associate Professor ◽  
University Of New Mexico ◽  
Experimental Activity ◽  
Artistic Experience ◽  
And Performance ◽  
Embodied Memory ◽  
The University ◽  
The Relationship

Chiara Guidi, along with Romeo and Claudia Castellucci, was one of the founders in 1981 of Societas Raffaello Sanzio (now renamed Societas), the Italian company that, above any other, has been at the forefront of the international theatre scene since the early 1980s. She was the soul of dramatic rhythm and vocal composition for the company’s productions, directing numerous plays and researching each actor’s spoken part. Author and producer of sound theatre since the 1990s, she has also created an intense artistic experience with children as part of her research and analysis of the relationship between voice and childhood, which has earned her several awards, including an Ubu Prize in 2013. In this interview1 she discusses the early projects of Societas Raffaello Sanzio, which explored immersive, environmental performances for and with children – a line of research within the company’s multidirectional and overlapping experimental activity that she led. Dominika Laster is Associate Professor of Theatre and Performance Studies at the University of New Mexico. She is the author of Grotowski’s Bridge Made of Memory: Embodied Memory, Witnessing and Transmission in the Grotowski Work (2016), and is Executive Co-Director of the ‘Performance in the Peripheries’ initiative (see https://www.performanceperipheries.com).

Interview with Milla Cozart Riggio, Angela Marino, and Paolo Vignolo

2022 ◽  
Vol 3 (1) ◽  
pp. 282
Author(s):  
Emily Ruth Allen
Keyword(s):  
Performance Studies ◽  
Trinity College ◽  
Associate Professor ◽  
University Of California ◽  
National University ◽  
And Performance ◽  
The University

Emily Ruth Allen interviews Milla Cozart Riggio, Angela Marino, and Paolo Vignolo on Festive Devils of the Americas (2015). Interview date: Feb 4, 2021 Milla Cozart Riggio is James J. Goodwin Professor of English Emerita at Trinity College. Angela Marino is Associate Professor in the Department of Theater, Dance, and Performance Studies at the University of California Berkeley. Paolo Vignolo is Associate Professor of History at the National University of Colombia, Bogota

Cultural Labour

2019 ◽  
Author(s):  
Brahma Prakash
Keyword(s):  
Conceptual Framework ◽  
Performance Studies ◽  
Life Experience ◽  
Social Hierarchies ◽  
Folk Performance ◽  
And Performance ◽  
The Relationship

Folk performances reflect the life-worlds of a vast section of subaltern communities in India. What is the philosophy that drives these performances, the vision that enables as well as enslaves these communities to present what they feel, think, imagine, and want to see? Can such performances challenge social hierarchies and ensure justice in a caste-ridden society? In Cultural Labour, the author studies bhuiyan puja (land worship), bidesia (theatre of migrant labourers), Reshma-Chuharmal (Dalit ballads), dugola (singing duels) from Bihar, and the songs and performances of Gaddar, who was associated with Jana Natya Mandali, Telangana: he examines various ways in which meanings and behaviour are engendered in communities through rituals, theatre, and enactments. Focusing on various motifs of landscape, materiality, and performance, the author looks at the relationship between culture and labour in its immediate contexts. Based on an extensive ethnography and the author’s own life experience as a member of such a community, the book offers a new conceptual framework to understand the politics and aesthetics of folk performance in the light of contemporary theories of theatre and performance studies.

scholarly journals “Peace engineering in practice: A case study at the University of New Mexico”

2021 ◽  
Vol 173 ◽  
pp. 121113
Author(s):  
Ramiro Jordan ◽  
Kamil Agi ◽  
Sanjeev Arora ◽  
Christos G. Christodoulou ◽  
Edl Schamiloglu ◽  
...  
Keyword(s):  
New Mexico ◽  
University Of New Mexico ◽  
The University

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.

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