Under my Thumb?

2020 ◽  
Vol 52 (02) ◽  
pp. 49-49
Author(s):  
Peter Holzhauer
Keyword(s):  
Live Performance ◽  
Hells Angels ◽  
Rolling Stones

Der Inhalt dieses Songs aus dem Jahre 1966 beschreibt die wechselseitigen Abhängigkeiten und kleinen Grausamkeiten eines jungen Paares. Im gleichen Jahr wurde während einer Live Performance dieses Stücks durch die Rolling Stones im kalifornischen Altamont das gewaltsame Ende der vorher eher beschaulichen Hippie-Ära eingeleitet. Durch den Mord eines Zuschauers durch das „Security-Personal“ der Hells Angels erlangte dieser Song traurige Berühmtheit. Begleitet sein Thema heute als Soundtrack unser neues aktuelles Leben?

Effects of lead on live performance due to its accumulation in tissue

2003 ◽  
Vol 107 ◽  
pp. 997-1000
Author(s):  
D. Ozcelik ◽  
M. C. Akyolcu ◽  
S. Dursun ◽  
S. Toplan ◽  
R. Kahraman ◽  
...  
Keyword(s):  
Live Performance

A guerra do Vietnã na música: um estudo a partir da canção Era um garoto que como eu amava os Beatles e os Rolling Stones

2019 ◽  
Vol 13 (26) ◽  
pp. 23-41
Author(s):  
Fábio Alexandre da Silva
Keyword(s):  
Rolling Stones

Este artigo objetivou compreender a Guerra do Vietnã (1955-1975) a partir da ótica musical, tentando enxergar na subjetividade do compositor os reflexos do confronto apresentados na canção. Em termos teórico-metodológicos, o texto está estruturado em três momentos. Inicialmente se faz um estudo da história a partir da música como documento histórico. Na sequência são tecidas análises sobre o contexto da guerra, suas motivações, vicissitudes e direcionamentos. E em seguida é tomada a canção Era um garoto que como eu amava os Beatles e os Rolling Stones como documento de análise. O referencial teórico contempla os estudos de Marcos Napolitano (2002), Eric Hobsbawm (1995), Rodrigo Pedroso (2015) e outros. Como resultados, percebeu-se que a guerra representou interesses do governo norte-americano que, ao buscar combater e frear o avanço do socialismo pela Eurásia, apropriou-se da vida comum de jovens soldados, dizimando-a. Por outro lado, o estudo demonstrou que trabalhar com outros documentos históricos amplia as possibilidades de pesquisa e permite ao pesquisador lançar outros olhares sobre a história e, no caso específico da música, perceber as particularidades do olhar do sujeito que a compõe/canta.

Zaskia Gotik (live performance Jawa Tengah)

2020 ◽  
Author(s):  
Adib Rifqi Setiawan
Keyword(s):  
Live Performance

Zaskia Gotik (live performance Jawa Tengah) https://www.youtube.com/playlist?list=PLKcI-GhA_IdgYuX61faYe_c6n_YA5wvSC

Fail Better

2018 ◽  
Author(s):  
Janet O'Shea
Keyword(s):  
Martial Arts ◽  
Live Performance ◽  
And Gender

This chapter examines martial arts practice as an encounter with failure, in which a practitioner withstands both getting hit and launching shots that do not land. Martial arts practice signals the possibilities of failure but also admits its painful consequences, literally and metaphorically. Therefore, this chapter suggests, martial arts provide an opportunity to rethink cultural associations of failure in a society that would deny it. Even the current celebration of failure in the form of “failing up” and “soft landings” focuses only on instances when failure becomes transmuted into success, disavowing its consequences and ignoring the conditions from which it emerges. This chapter includes a consideration of the differing race, class, and gender associations with failure. It also puts forward a theory of the live—as in live training and live weapon but also live performance—as predicated upon failure.

Diversifying Greek Tragedy on the Contemporary US Stage

2018 ◽  
Author(s):  
Melinda Powers
Keyword(s):  
Cross Section ◽  
Performance Studies ◽  
Greek Tragedy ◽  
Live Performance ◽  
Greek Drama ◽  
The Us ◽  
Social Concerns ◽  
Performance Context ◽  
Historical Identity ◽  
Ancient Drama

Demonstrating that ancient drama can be a powerful tool in seeking justice, this book investigates a cross section of live theatrical productions on the US stage that have reimagined Greek tragedy to address political and social concerns. To address this subject, it engages with some of the latest research in the field of performance studies to interpret not dramatic texts in isolation from their performance context, but instead the dynamic experience of live theatre. The book’s focus is on the ability of engaged performances to pose critical challenges to long-standing stereotypes that have contributed to the misrepresentation and marginalization of under-represented communities. Yet, in the process, it also uncovers the ways in which performances can inadvertently reinforce the very stereotypes they aim to challenge. This book thus offers a study of the live performance of Greek drama and its role in creating and reflecting social, cultural, and historical identity in contemporary America.

Beyond Sculpture

2017 ◽  
Author(s):  
John Stokes
Keyword(s):  
Georg Wilhelm Friedrich Hegel ◽  
Walter Pater ◽  
Live Performance ◽  
Dramatic Theory ◽  
Theatrical Space ◽  
Classical Training ◽  
John Addington Symonds

In the 1880s, Wilde responded with enthusiasm to reconstructions of classical Greek theatre staged in Oxford, Cambridge, and London, and his published reviews draw extensively on his own classical training together with ideas taken from Georg Wilhelm Friedrich Hegel, Walter Pater, and John Addington Symonds. He took a similar interest in contemporary plays based on classical subjects, such as Alfred Lord Tennyson’s The Cup and John Todhunter’s Helena in Troas. This chapter describes how Wilde’s experience of Greek theatre and its offshoots in live performance contributed to his fascination with the art of the actor, with theatrical space, with the deployment of scenery, and with the relation of archaeology to architecture. It concludes by tracing an underlying shift in his dramatic theory from ‘plasticity’ to ‘psychology’.

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