Experimental Dining: Performance, Experience and Ideology in Contemporary Creative Restaurants

2021 ◽  
Author(s):  
Paul Geary
Keyword(s):  
Cultural Studies ◽  
Performance Studies ◽  
Performance Practice ◽  
Experimental Performance ◽  
Aesthetic Practice ◽  
Philosophy And Economics

Considers four of the world’s leading creative restaurants as experimental performance practice. Using ideas from performance studies, cultural studies, philosophy and economics, the book argues that technoemotional restaurants can be understood as both a commodified experience and an artistic and aesthetic practice.

Theatre and Performance at a Time of Shifting Disciplines

2001 ◽  
Vol 26 (2) ◽  
pp. 137-144 ◽  
Author(s):  
Marvin Carlson
Keyword(s):  
Cultural Studies ◽  
Performance Studies ◽  
Academic Discipline ◽  
Historical Context ◽  
Academic Culture ◽  
American Universities ◽  
American Theatre ◽  
Disciplinary Boundaries ◽  
Traditional Organization ◽  
And Performance

The boundaries of theatre as an academic discipline have never been particularly clear, and its relationship to other disciplines has been the focus of constant struggle and negotiation. This essay traces that negotiation, focusing upon its process in American universities. Competing with literature departments for the study of dramatic texts, American theatre departments drew their own new disciplinary model, based primarily on German Theaterwissenschaft, with emphasis upon the staging history and historical context of dramatic texts. More recently such emerging fields as performance studies and cultural studies have sought to transcend such traditional disciplinary boundaries. Despite some resistance from existing academic and publishing structures, the trend towards the breaking down of these traditional boundaries seems clear. Our academic culture seems headed towards a considerably more fluid organization of its materials of study than the traditional organization into fairly discrete disciplines could offer.

Student Theatre in Poland: Vehicles of Revolt, 1954–57 and 1968–71

2010 ◽  
Vol 26 (2) ◽  
pp. 161-172
Author(s):  
Juliusz Tyszka
Keyword(s):  
Cultural Studies ◽  
Communist Party ◽  
Performance Studies ◽  
Political System ◽  
Political Order ◽  
Soviet Bloc ◽  
Political Crisis ◽  
Student Organization ◽  
Democratic Institution ◽  
Post War

Polish student theatre was a unique artistic movement in the Soviet post-war empire, with a liberty of expression unparalleled elsewhere in the Soviet bloc. As in every political system, in any country, its creators and its public were students and young intellectuals. These theatre-makers used the umbrella of the Polish Students' Union – a surprisingly democratic institution in a totalitarian political order – and all attempts at their repression were usually appeased by the activists of the student organization, often the friends and supporters of the theatre-makers. After the creation of the Socialist Union of Polish Students these activists became more dependent on the Communist Party, but the Party establishment decided, in the period of the ‘thaw’ (1954–57), that the student artistic movement would be maintained as a kind of artistic kindergarten for avant-gardists and supporters of artistic and political revolt, to let them manifest their beliefs within the well-guarded, limited territory of student cultural centres. However, the young rebels overcame these restrictions and created a focus of artistic opposition which had a wide social and artistic influence, especially during subsequent periods of political crisis. Juliusz Tyszka was himself an activist in the student theatre movement in the late 1970s and early 1980s. Now an NTQ advisory editor, he is head of the Unit of Performance Studies, Institute of Cultural Studies, Adam Mickiewicz University at Poznań, Poland.

Music as Performance: Living in the Immaterial World

2006 ◽  
Vol 47 (2) ◽  
pp. 261-269 ◽  
Author(s):  
Philip Auslander
Keyword(s):  
Cultural Studies ◽  
Performance Studies ◽  
Musical Performance ◽  
Musical Form ◽  
Theatre History ◽  
Actual Performance ◽  
Theatrical Representation ◽  
History Of ◽  
And Performance ◽  
Performance Behavior

As a performance scholar and music lover, I find it strange that the fields of theatre and performance studies historically have been reluctant to engage with musical performance. Even as theatrical a musical form as opera is generally excluded from the history of theatre, on the grounds that “the predominant force in opera was the music rather than the words,” as Vera Mowry Roberts, my theatre history professor, puts the case.1 Roberts points to the nonliterary character of music as the reason for the exclusion; I speculate that the perception of music not only as nonliterary but, more broadly, as nonmimetic may seem to place it outside the realm of theatrical representation. While performance-oriented scholars spurn music, music-oriented scholars generally spurn performance. Traditional musicologists remain focused on the textual dimensions of musical compositions, whereas scholars who look at music from the perspective of cultural studies are generally more concerned with audience and reception than with the actual performance behavior of musicians.

scholarly journals Experimental performance studies of small wall room air conditioner for R410A retrofitted with R290

2018 ◽  
Vol 159 ◽  
pp. 01051 ◽  
Author(s):  
Berkah Fajar TK ◽  
Geraldus Nicolas Dipto I
Keyword(s):  
Performance Studies ◽  
Air Conditioning ◽  
Air Conditioner ◽  
Experimental Performance ◽  
Better Than

An original R410A wall room air conditioner was retrofitted with R290 for performance experiments. The R410A wall room air conditioner has a COP and a refrigerating capacity 6.0597and 1929.3 W respectively. In this study, the compressor R410A wall room air conditioner compressor was replaced with an R22 which is compatible. Mass R290 charged into the wall room air conditioner was 33.88%, 38.12% and 42.35%. Refrigerating capacity obtained was 1837 W, 1848.2 W and 2008.4W, while the COP was 5.2014, 5.0294, and 5.3275. The results obtained the R410A wall room air conditioner performance better than if the air conditioning machine retrofitted with R290.

Finding Your Own Voice

2017 ◽  
Author(s):  
Helen Phelan
Keyword(s):  
Performance Studies ◽  
Performance Practice ◽  
Practice Theory ◽  
Core Values ◽  
Cultural Space ◽  
And Performance ◽  
The Impact

Chapter 3 introduces the Irish World Academy of Music and Dance and its emergence as a key site of cultural debate and performance in the 1990s. It explores ways in which mythology, symbol, and ritual are constantly evoked within the Academy to reinforce, contest, and perform its core values of inclusivity, creativity, and respect for diversity. It examines the impact of practice theory on understandings of performance. Practice theory and performance studies have helped singers, dancers, and musicians recast their activities, not as passive “inscriptions” onto their bodies in socially structured rituals, but as active, intelligent practices, influencing social and cultural space through performance. It suggests that the Academy continuously ritualizes and performs its ethos of creative belonging.

scholarly journals THE MUSIC OF LAURENCE CRANE AND A POST-EXPERIMENTAL PERFORMANCE PRACTICE

Tempo ◽  
2015 ◽  
Vol 70 (275) ◽  
pp. 5-21 ◽  
Author(s):  
Philip Thomas
Keyword(s):  
Performance Practice ◽  
Experimental Approach ◽  
Experimental Music ◽  
Experimental Performance ◽  
Selection Of ◽  
Music Tradition

AbstractLaurence Crane's music is often described as experimental or considered as a continuation of the English experimental tradition. In this first extended examination of Crane's music it is proposed that, instead of relying upon associations and aesthetic alignments, the music might be considered as experimental through a particularly experimental approach to performance. After a brief overview of Crane's output his position as a composer is considered within the context of the experimental music tradition. This tradition is then considered in relation to performance practice, both historical and contemporary. A selection of Crane's music is examined in the light of that practice, whilst aspects of the composer's approaches to tonality, instrumentation, form and notation are also highlighted.

‘An Old Man Emanating Kindness’: Dario Fo at ISTA, 1996

2017 ◽  
Vol 33 (2) ◽  
pp. 179-187
Author(s):  
Juliusz Tyszka
Keyword(s):  
Cultural Studies ◽  
Performance Studies ◽  
International School ◽  
Multicultural Society ◽  
Universal Language ◽  
Dario Fo ◽  
Adam Mickiewicz

In 1996 the Polish theatre scholar Juliusz Tyszka was present at the gathering of the International School of Theatre Anthropology (ISTA) in Copenhagen. Here, Dario Fo – in company with his wife and theatrical partner Franca Rame, also a contributor – was among the few invited to participate in both sessions of the conference: ‘Performers’ Bios: Whispering Winds of Theatre and Dance’ and ‘Theatre in a Multicultural Society’. Though already seventy years old and still in recovery from a recent stroke, Fo was incapable of confining himself to a conventional lecture, but (against his doctor's advice) combined his talk with performing the points he was making, whether imitating the curves of a voluptuous girl or enacting a speech in his universal ‘language’ of ‘gramelot’. He was to live on for another twenty years before his death at the age of ninety on 13 October 2016, outliving Franca Rame by just three years. Juliusz Tyszka, an advisory editor of NTQ and a regular contributor to the journal, is head of the Unit of Performance Studies, Institute of Cultural Studies, Adam Mickiewicz University at Poznań, Poland.

Breathing beyond Embodiment: Exploring Emergence, Grieving and Song in Laboratory Theatre

2020 ◽  
Vol 26 (2) ◽  
pp. 106-129 ◽  
Author(s):  
Caroline Gatt
Keyword(s):  
Performance Studies ◽  
Performance Practice ◽  
A Priori ◽  
Semantic Meaning ◽  
Social Psychological ◽  
Explicit Analysis ◽  
And Performance ◽  
Physical Phenomena ◽  
Ways Of Being

Due to the simultaneous linguistic and musical quality of voicing, voiced breath poses theoretical challenges to notions of ‘embodiment’, especially as they are used in theatre practice/studies. In this article, I make two intertwining arguments to address questions of the place of semantic meaning and conscious thought in performance practice/theories as they arose in my anthropological engagement with laboratory theatre. Firstly, theatre and performance practice/theories keen to embrace ‘embodiment’ often leave out things like explicit analysis, reflexivity, referential or semantic meaning and so on because, as my ethnography shows, they are judged as secondary, and thus belonging implicitly more closely to disembodied ‘mind’. I engage in anthropological comparison to show how other ways of being/knowing complicate any sense in which practices labelled ‘embodied’ can be seen as primary in contrast to conscious, linguistic or explicit knowing. Instead I outline an onto/epistemology of emergence that offers an alternative imaginary in which no binaries exist a priori. Rather all is a matter of ongoing mutual constitution. Secondly, while the discourses of embodiment in performance practice/theory that I critique may continue to reproduce dualist assumptions, theatre approaches influenced by Grotowski’s anti-method, focusing on continual revision of practice, offer insights for scholarship concerned with the ontological indistinguishability of social, psychological and physical phenomena. Laboratory theatre practices offer a prospective way of knowing, enabling an exploration of the ontological equality of breath, in this case in song, and the sorts of meaningfulness associated with language and analysis. In 2011, my Nanna (grandmother in Maltese) passed away in circumstances that remain traumatic to me. I turned with to my daily practices to find ways to scream, to grieve: to anthropology and to a particular practice of song in laboratory theatre, where encounter is actively sought. Arising from ethnographic and analytic engagement with such practices, in this article, I offer an anthropologically inflected critique of notions of embodiment in performance studies and performance philosophy. I present the alternative imaginary of emergence onto/epistemologies and the prospective investigative practices of laboratory theatre. I do this by weaving autobiographical, ethnographic and anthropological threads to explore my own practice relating to the work of my collaborator Gey Pin Ang, a Singaporean director, actor and pedagogue.

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