Experiencing Expectation: Perceiving the Future in Performance

2009 ◽  
Vol 34 (2) ◽  
pp. 166-172
Author(s):  
JOY KRISTIN KALU
Keyword(s):  
Complex System ◽  
Aesthetic Experience ◽  
Wooster Group ◽  
The Past ◽  
Emergent Phenomena ◽  
The Future ◽  
The Aesthetic ◽  
A Performance ◽  
The Hamlet

This article examines the realization of the future in performance through aesthetic experience. Following the historian Reinhardt Koselleck, who introduces the category of ‘experience’ as the present past, and ‘expectation’ as the present future, in order to formulate a theory of possible histories, I examine the interconnection of different time layers and the potentiality of a performance. I argue that every performance constitutes a space of possibility, defined by a permeation of traces of the past and the future, emergent phenomena characteristic of performance, and a dimension of future inherent in the performative materiality. Hamlet by New York's Wooster Group serves as an example for an analysis focusing on the aesthetic experience of the future in performance. The Hamlet performance proves exceptionally suitable, since the staging is based on a theatrical repetition of the film document of a Hamlet performance long past, and unfolds a complex system of past and future bound time layers.

Work in Progress: Rimini Protokoll's Karl Marx: Capital, First Volume and the Experience of the Future on Stage

2009 ◽  
Vol 34 (2) ◽  
pp. 153-158
Author(s):  
BJÖRN FRERS
Keyword(s):  
Karl Marx ◽  
Work In Progress ◽  
The Past ◽  
Scientific Approach ◽  
The Future ◽  
A Performance

This article examines how the future is expressed and experienced in the theatre. Referring to the performance Karl Marx: Capital, First Volume by the German artistic collective Rimini Protokoll, the article exemplifies the relation between the past, the present and the future, showing how the different layers of time are interrelated. The performers involved are not professional actors but so-called ‘experts’, whose lives are connected to Marx's Capital in different ways. Based on the experts’ biographies, the performance not only offers a rereading of Marx's ideology, but also shows similarities between Rimini Protokoll's artistic and Marx's scientific approach, between the conceptualization of one's life and watching a performance in theatre.

scholarly journals Summary of pottery development to knowledge

2017 ◽  
Vol 7 (2) ◽  
pp. 47-54
Author(s):  
Uzzi Festus Osarumwense ◽  
Edem Peters
Keyword(s):  
Reference Point ◽  
Historical Analysis ◽  
Future Generation ◽  
Symbolic Meaning ◽  
The Past ◽  
The Future ◽  
New Ideas ◽  
The Aesthetic

AbstractPottery has been defined and redefined by many scholars of history and anthropologist. Pottery is wrapped in the past with no written record; this study intends to work on the historical analysis of form, style and techniques of Pottery tradition, the various pottery associations in Nigeria will be identified and discussed. The study will also examine the symbolic meaning of each of the traditions, it will also project the aesthetic qualities, and the effects of new ideas of pottery of the indigenous Benin people, and how pottery is interpreted/ the study hopes to compile and analyze forms of pottery that will rekindle interest in pottery, and serve as reference point for the future generation. Keyword: pottery, summary, development, knowledge.

scholarly journals The concept of encounter in psychotherapy and developmental psychology

2015 ◽  
Vol 23 (3) ◽  
pp. 105-116 ◽  
Author(s):  
M.V. Ermolaeva ◽  
D.V. Lubovsky
Keyword(s):  
Mental Health ◽  
Mental Health Services ◽  
Health Services ◽  
Older People ◽  
Aesthetic Experience ◽  
Developmental Psychology ◽  
Advanced Age ◽  
The Past ◽  
Psychological Tools ◽  
The Aesthetic

The article discusses possibilities for application of the concept of encounter in two areas of practical developmental psychology — in the work with the aesthetic experience gained by people in the perception of artworks and in relation to mental health services for older people, for whom one of the most important activities is the recollection of their life. Authors take as basic the understanding of the encounter proposed by W. Schutz, who showed psychological tools to achieve it in psychotherapy, and R. May, who applied this concept in the psychology of creativity. The authors clarify psychotechnical tools to achieve basic aspects (openness, self-consciousness, responsibility, etc.) in relation to the work of psychologist with the aesthetic experience as a result of the perception of artworks, and recollections of the life in mature and advanced age. The importance of encounter with aesthetic experience is considered in the context of forming a system of means mastering our own emotions (L.S. Vygotsky). Authors stressed the importance of the encounter with recollections of the past for the growth of psychological new formations of mature ages.

scholarly journals En defensa del concepto de “actuación estética” como actuación teatral verosímil

2021 ◽  
Vol 12 (19) ◽  
pp. 79-97
Author(s):  
Gina Cima Vallarino ◽  
Juan C. González González
Keyword(s):  
Cognitive Science ◽  
Aesthetic Experience ◽  
Empirical Studies ◽  
Three Dimensions ◽  
The Spectator ◽  
The Aesthetic ◽  
A Performance ◽  
Aesthetic Performance

Este trabajo atañe a la experiencia teatral desde la estética y las ciencias cognitivas. Se defiende la idea de que la actuación estética puede ser entendida como actuación verosímil. Si la experiencia estética posee tres dimensiones –sensorial, conceptual y hedonista–, la verosimilitud en la actuación se lograría en términos de una estrecha y apropiada relación entre ellas. La experiencia estética del espectador sería, pues, una consecuencia de lo que éste percibe, piensa y siente. A su vez, los estudios empíricos permiten establecer criterios objetivos de evaluación para juzgar una actuación como verosímil, tanto por parte del actor como del espectador. In Defense of the Concept of “Aesthetic Performance” as Truthful Theatrical PerformanceThis work concerns Aesthetics and Cognitive Science. Furthermore, deals with theatrical issues, defending the idea that an aesthetic performance can be understood as a truthful performance. If the aesthetic experience has three dimensions –sensory, conceptual and hedonistic–, the truthfulness of the performance would be achieved thanks to a close and appropriate relationship between them. The aesthetic experience of the spectator would thus be a consequence of what he/she perceives, thinks and feels. At the same time, empirical studies allow to establish objective criteria of evaluation for judging the truthfulness of a performance, by both the actor and the spectator. Recibido: 03 de agosto de 2020Aceptado: 14 de diciembre de 2020

Philosophical Aesthetics: An Overview

2009 ◽  
Author(s):  
Jerrold Levinson
Keyword(s):  
Aesthetic Experience ◽  
Aesthetic Property ◽  
The Past ◽  
Theoretical Inquiry ◽  
Anglo American ◽  
The Aesthetic ◽  
Definition Of ◽  
Ontology Of Art

This article focuses on the domain of aesthetics and various problems and issues associated with aesthetics. Aesthetics is the branch of philosophy devoted to conceptual and theoretical inquiry into art and aesthetic experience. This article offers first an outline of the structure of philosophical aesthetics as a whole, and then a selective sketch of the development of Anglo-American aesthetics over the past fifty years, focusing on five central topics: the concept of the aesthetic, the definition of art, the ontology of art, representation in art, and expression in art. The three foci of aesthetics are labeled as art, aesthetic property, and aesthetic experience.

The Aesthetic Pedagogy of Francis of Assisi

1998 ◽  
pp. 59-64
Author(s):  
Laura Smit
Keyword(s):  
Aesthetic Experience ◽  
Effective Teacher ◽  
Physical Discipline ◽  
The Aesthetic ◽  
Hebrew Prophets ◽  
Francis Of Assisi ◽  
A Performance

Despite his anti-intellectualism, Francis of Assisi was an effective teacher who intentionally illustrated the life of virtue in his own way of living. He was a teacher in the sense that the Hebrew prophets, Socrates or Gandhi were teachers. He was a performance artist for whom drama functioned pedagogically. His life was not always meant to be an example to his followers; sometimes it was a dramatic lesson, meant to be watched, not imitated. All drama is inherently a distortion of reality because it focuses the attention on one aspect of reality. Francis’ dramatized life distorts the importance of poverty, but this is a distortion from which we may be able to learn if we are able to imaginatively identify with Francis. For Francis, asceticism was a form of obedience, and obedience a mode of knowledge. Such ‘personalized,’ lived teaching is the only way in which virtue (as opposed to ethics) may be effectively taught. Francis followed the same model of paideia as Gandhi, bringing together the physical discipline of radical asceticism with the aesthetic experience of a dramatic life in which he played the roles of troubadour and fool.

A TRIP TO THE PAST, OR A LOOK FROM THE FUTURE

2021 ◽  
Author(s):  
Графира Николаевна Емельянова
Keyword(s):  
Comparative Analysis ◽  
Sleeping Beauty ◽  
The Past ◽  
The Future ◽  
A Performance

В данной статье проводится сравнительный анализ двух постановок балета «Спящая красавица» П. И. Чайковского-М. Петипа - спектакля в редакции К. Сергеева, созданного в 1952 и в 1989 годах и реконструкции данного балета, осуществленной танцовщиком Мариинского театра С. Вихаревым в 1999 году. This article provides a comparative analysis of two productions of the ballet Sleeping Beauty by P. I. Tchaikovsky-M. Petipa - a performance edited by K. Sergeyev, created in 1952 and in 1989 and the reconstruction of this ballet, carried out by Mariinsky Theater dancer S. Vikharev in 1999.

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