The Feminist Struggle in Performing Arts in Brazil

2021 ◽  
Vol 46 (3) ◽  
pp. 390-397
Author(s):  
LÚCIA R. V. ROMANO
Keyword(s):  
Performing Arts ◽  
Military Coup ◽  
Theatrical Production ◽  
Political Theatre

This article summarizes recent transformations in the field of performing arts in Brazil, with attention to feminist theatrical production. It provides a description of the context of this branch of Brazilian political theatre, between the civil–military coup of 1964 and the present, focusing on 2015, a period named the Brazilian ‘Feminist Spring’. This historical arc of almost sixty years celebrates groups and artists which represent the dissemination of feminist discussion and poetics in all kinds of performative events in the theatrical field, as well as revealing the backlash represented by the anti-feminist policies of the Bolsonaro government, elected in late 2018.

Political Theatre in Present-Day Chile: a Duality of Approaches

1990 ◽  
Vol 6 (22) ◽  
pp. 119-127
Author(s):  
Enzo Cozzi
Keyword(s):  
Popular Culture ◽  
Latin American ◽  
Military Coup ◽  
Political Theatre ◽  
American Popular Culture ◽  
Rich Variety ◽  
Theatre Company ◽  
Puppet Theatre ◽  
The Military

In NTQ15 (1988) Catherine Boyle surveyed the paradoxically rich variety of theatrical practices that have come to life in Chile under conditions of extreme hardship since the military takeover of 1973. She concluded that ‘there is more to be said about Chilean theatre and other interpretations to be made’. The following piece puts forward one such interpretation, by examining some of those practices in terms of the larger social and political questions at stake, and by drawing theatrical and historical parallels between the work of the two most important dramatists of the period – Juan Radrigán and Marco Antonio de la Parra – and the work and thought of Piscator. This article was written well before the developments that have brought Chile to the brink of a re-establishment of some kind of democracy, with the elections of December 1989 won by the opposition to Pinochet: but it still reaches an optimistic conclusion, which we can only hope is borne out by events. Enzo Cozzi is a Chilean who came to exile in Britain in the aftermath of the military coup. He now teaches in the Department of Drama at Royal Holloway and Bedford New College. University of London, and runs a puppet theatre company. Travesura, devoted to Latin American popular culture.

E-Commerce Opportunities in the Nonprofit Sector

2009 ◽  
pp. 226-240 ◽  
Author(s):  
Ayman Abuhamdieh ◽  
Julie E. Kendall ◽  
Kenneth E. Kendall
Keyword(s):  
New York ◽  
Performing Arts ◽  
Nonprofit Sector ◽  
Business Practices ◽  
Arts Organizations ◽  
Theatrical Production ◽  
Web Presence ◽  
Performing Arts Organizations ◽  
Brick And Mortar ◽  
Demographic Attributes

To what extent does having a Web presence reflect on an organization’s e-commerce operations? Will a mere brick-and-mortar organizational Web site guarantee online success? This case presents the experience of the New York Theatre Group (NYTG), a nonprofit performing arts organization, in integrating e-commerce in its business practices. The case begins with a very broad overview of the nonprofit sector, the performing arts industry, its delivery channels, and the theatrical production process in general. Then attention turns to NYTG itself in terms of its history, organizational structure, its market segmentation, market trends, and forecasted growth. The strategic planning at NYTG, and the programs put in place to help it achieve its objectives and mission, are detailed. A survey that maps the demographic attributes of NYTG’s patrons and subscribers is discussed. The case concludes with the current e-commerce challenges facing NYTG in particular and the nonprofit performing arts organizations in general.

Being and Becoming: Children as Audiences

2011 ◽  
Vol 27 (1) ◽  
pp. 60-70 ◽  
Author(s):  
Katya Johanson ◽  
Hilary Glow
Keyword(s):  
Case Studies ◽  
Performing Arts ◽  
Cultural Policy ◽  
Management Program ◽  
Educational Goals ◽  
Political Theatre ◽  
Senior Lecturer ◽  
Arts Policy ◽  
Children's Theatre ◽  
Rights Of The Child

In this article, Katya Johanson and Hilary Glow examine the ways in which performing arts companies and arts policy institutions perceive the needs of children as audiences. Historically, children have been promoted as arts audiences. Some of these represent an attempt to fashion the adults of the future – as audiences, citizens of a nation, or members of a specific community. Other rationales focus on the needs or rights of the child, such as educational goals or the provision of an antidote to the perceived corrupting effect of electronic entertainment. Drawing on interviews with performing arts practitioners, the authors explore some of these themes through case studies of three children's theatre companies, identifying the development of policy rationales for the support of practices directed at children which are primarily based on pedagogical principles. The case studies reveal a shift away from educational goals for children's theatre, and identify a new emphasis on the importance of valuing children's aesthetic choices, examining how these trends are enacted within the case-study organizations, and the implications of these trends for company programming. Hilary Glow is Senior Lecturer and Director of the Arts Management Program at Deakin University, Victoria. She has published articles on cultural policy and the audience experience in various journals, and in a monograph on Australian political theatre (2007). Katya Johanson lectures and researches in the School of Communication and Creative Arts at Deakin University. She has published on Australian cultural policy and on the relationship between art, politics and national identity. With Glow she is the author of a monograph on Australian indigenous performing arts (2009).

Exception and the Rule: Agamben, Stuff Happens, and Representation in the Post-Truth Age

2020 ◽  
Vol 36 (1) ◽  
pp. 56-72
Author(s):  
Alex D. Wilson
Keyword(s):  
Performing Arts ◽  
The State ◽  
State Of Exception ◽  
Political Theatre ◽  
Theatre Studies ◽  
Ethical Authorship ◽  
State Of Affairs ◽  
The University ◽  
Artistic Director ◽  
Invasion Of Iraq

The contemporary post-truth environment imposes limitations and ethical consid erations upon the political theatre-maker’s ability to highlight political leaders’ exceptional acts of deception. By unpacking and applying Giorgio Agamben’s writing on the State of Exception to post-truth political performances, Alex D. Wilson discusses in this article how political deception is an exceptional act of sovereign power and how the state of exception is an inherently performative phenomenon. The inherent challenges this state of affairs presents to the theatre are discussed with particular reference to David Hare’s Stuff Happens (2004), which, it is argued, falls into its own state of exception in terms of its approach to truth. Alex D. Wilson is a PhD candidate in Theatre Studies at the University of Otago, who recently completed an MA which explored ethical authorship of British theatrical work produced in response to the 2003 Invasion of Iraq. He is the artistic director of Arcade, a Dunedin-based performing arts company.

Emerging patterns of artistic organizations in Portugal: A three case studies analysis

2020 ◽  
pp. 84-107
Author(s):  
Vera Borges ◽  
Luísa Veloso
Keyword(s):  
Labour Market ◽  
Economic Crisis ◽  
Performing Arts ◽  
Work Organization ◽  
The Arts ◽  
Emerging Patterns ◽  
New Models ◽  
Organizational Patterns ◽  
New Forms Of Work ◽  
Anal Yses

In the wake of the 2008 global financial and economic crisis, new forms of work organization emerged in Europe. Following this trend, Portugal has undergone a reconfiguration of its artistic organizations. In the performing arts, some organiza-tions seem to have crystalized and others are reinventing their artistic mission. They follow a plurality of organizational patterns and resilient profiles framed by cyclical, structural and occupational changes. Artistic organizations have had to adopt new models of work and seek new opportunities to try out alternatives in order to deal, namely, with the constraints of the labour market. The article anal-yses some of the restructuring processes taking place in three Portuguese artistic organizations, focusing on their contexts, individual trajectories and collective missions for adapting to contemporary challenges of work in the arts. We conclude that organizations are a key domain for understanding the changes taking place.

Bir güvensizlik ülkesi olarak Türkiye’nin mültecileri, Suriyeliler ve Türk mülteciler

2017 ◽  
Vol 4 (1) ◽  
pp. 21-40 ◽  
Author(s):  
Ibrahim Sirkeci
Keyword(s):  
European Union ◽  
Asylum Seekers ◽  
Military Coup ◽  
Syrian Refugees ◽  
Member States ◽  
Refugee Population ◽  
Syrian Crisis ◽  
Syrian Refugee ◽  
Generous Support ◽  
The Eu

Doğu ve güney komşuları üzerinde gelen göç akınlarının ve üye ülkeler arasındaki göçlerin artışıyla Avrupa Birliği (AB) en büyük krizlerinden birini yaşamaktadır. Avrupa’daki en ana tartışma konuları arasında Avrupa’ya göçü ve AB içindeki göçü sınırlamak ve üye ülkeler arasında mülteci kotası ve külfet paylaşımına yapılan itirazlar yer aldı. Bu krizde Türkiye anahtar ülke olarak ortaya çıktı ve ülkedeki büyük Suriyeli mülteci nüfusu ve bu nüfusun Avrupa’ya gitmesini engellemesi karşılığında vaat edilen milyarlarca Avro nedeniyle tartışmaların odağında yer aldı. Suriye krizi 4,8 milyon mülteci yarattı ve 2016 yılı sonu itibariyle bunların 2,8 milyonu Türkiye’de ikamet etmekteydi. Suriyeli mültecilere karşı cömert tavrıyla Türkiye güvenli bir ülke olarak tescil edilmiş oldu. Bu, hikayenin daha karanlık bir başka yüzünü gölgelemektedir. Çünkü aynı ülkenin vatandaşları 1980 askeri darbesinden bu yana milyonu aşkın sığınma başvurusu yaptılar. Ülkenin bugünkü şartları ve yeni veriler, Türkiye’den AB’ye yönelen daha çok mülteci akını olacağını gösteriyor. ABSTRACT IN ENGLISHTurkey’s refugees, Syrians and refugees from Turkey: a country of insecurityThe European Union (EU) has faced one of its biggest crises with the rise of population inflows through its Eastern and Southern neighbours as well as movements within the Union. In 2016, the main debate that dominated Europe was on restricting migration within and into the EU along with concerns and objections to the refugee quota systems and the sharing of the burden among member states. Turkey emerged as a ‘gate keeper’ in this crisis and has since been at the centre of debates because of the large Syrian refugee population in the country and billions of Euros it was promised to prevent refugees travelling to Europe. The Syrian crisis produced over 4.8 million refugees with over 2.8 million were based in Turkey by the end of 2016. Turkey with its generous support for Syrian refugees has been confirmed as a ‘country of security’. This shadows the darker side of affairs as the very same country has also produced millions of asylum seekers since the 1980 military coup. Current circumstances and fresh evidence indicate that there will be more EU bound refugees coming through and from Turkey. 

A Study on Increasing Profits of Performing Arts Merchandise via Online Platforms

2020 ◽  
Vol 42 (11) ◽  
pp. 403-443
Author(s):  
Seungweon Chung ◽  
Sunyoung Kim
Keyword(s):  
Performing Arts ◽  
Online Platforms
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