On self-extraction

2021 ◽  
Vol 12 (1) ◽  
pp. 11-28 ◽  
Author(s):  
Nevarez Encinias
Keyword(s):  
Live Performance ◽  
Art Form ◽  
And Performance ◽  
At Home

Written under a pandemic stay-at-home order, this article conceives of flamenco choreography and performance as an artisanal craft, likening several of the tradition’s practices to the act of making a coffee. Drawing upon historical descriptions of the art form, theoretical debates from the postmodern shift in dance-making and personal anecdote, the article scrutinizes the notion of ‘self-expression’ and confronts flamenco’s enduring reputation as a dance of extravagant emotion, passion, spontaneity and authenticity. The article experiments with experiential and poetic modes of address to ruminate broadly on artisanship as a creative model for dance-makers, and proposes an interdisciplinary frame-of-mind for choreographers, from a time when traditional live performance was on pause.

scholarly journals Fishnets & desire: performing the neoburlesque

2021 ◽  
Author(s):  
Jessica Thorp
Keyword(s):  
Gender Stereotypes ◽  
Creative Process ◽  
Live Performance ◽  
Primary Research ◽  
Gender Performativity ◽  
Art Installation ◽  
Art Form ◽  
And Performance ◽  
Gender Presentation ◽  
Societal Expectations

Fishnets & Desire: Performing the Neoburlesque is a reflection upon the art installation and performance piece of the same name, and reflects upon neoburlesque performance genre, through the lens of the author's primary research of creating these works. Written as a piece of per formative scholarship, this paper outlines the creative process of the author's project, and the theatrical history, theory, and methodology behind it. Fishnets & Desire is a reflection of performance and queer theories, meditating upon the specific art forms of burlesque striptease and drag, and how they enact gender performativity. Neoburlesque is a tongue-in-cheek and satirical form of expression, which lampoons gender stereotypes, and societal expectations. The current art form draws upon cultural nostalgia for the kitsch of burlesque striptease that was performed in theatres, and gentleman's clubs from the 1920s-60s. Through the use of comedic exaggeration and hyperbolic gender presentation, burlesque seeks to undermine conventional notions of femininity, and deconstruct them. The author's performance piece also sought to engage with the energetic relationship between the audience and the burlesque performer's reciprocal gaze; and neoburlesque as a genre of carnivalesque spectacle. As an integration of live performance, projected video, and photography, Fishnets & Desire created a space in which the audience simultaneously experienced the feeling of being on stage, as well as actively watched (and thus, participating in) a burlesque striptease.

scholarly journals Fishnets & desire: performing the neoburlesque

2021 ◽  
Author(s):  
Jessica Thorp
Keyword(s):  
Gender Stereotypes ◽  
Creative Process ◽  
Live Performance ◽  
Primary Research ◽  
Gender Performativity ◽  
Art Installation ◽  
Art Form ◽  
And Performance ◽  
Gender Presentation ◽  
Societal Expectations

Fishnets & Desire: Performing the Neoburlesque is a reflection upon the art installation and performance piece of the same name, and reflects upon neoburlesque performance genre, through the lens of the author's primary research of creating these works. Written as a piece of per formative scholarship, this paper outlines the creative process of the author's project, and the theatrical history, theory, and methodology behind it. Fishnets & Desire is a reflection of performance and queer theories, meditating upon the specific art forms of burlesque striptease and drag, and how they enact gender performativity. Neoburlesque is a tongue-in-cheek and satirical form of expression, which lampoons gender stereotypes, and societal expectations. The current art form draws upon cultural nostalgia for the kitsch of burlesque striptease that was performed in theatres, and gentleman's clubs from the 1920s-60s. Through the use of comedic exaggeration and hyperbolic gender presentation, burlesque seeks to undermine conventional notions of femininity, and deconstruct them. The author's performance piece also sought to engage with the energetic relationship between the audience and the burlesque performer's reciprocal gaze; and neoburlesque as a genre of carnivalesque spectacle. As an integration of live performance, projected video, and photography, Fishnets & Desire created a space in which the audience simultaneously experienced the feeling of being on stage, as well as actively watched (and thus, participating in) a burlesque striptease.

A Conversation on Directing Opera

2021 ◽  
Vol 37 (3) ◽  
pp. 246-255
Author(s):  
Katie Mitchell ◽  
Mario Frendo
Keyword(s):  
Performing Arts ◽  
Musical Score ◽  
Senior Lecturer ◽  
Contemporary World ◽  
Art Form ◽  
Don Giovanni ◽  
National Opera ◽  
Dramatic Text ◽  
Theatre Studies ◽  
And Performance

Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.

scholarly journals Performing with Plants in the Ob-scene Anthropocene

2020 ◽  
Vol 32 (1) ◽  
pp. 121-142
Author(s):  
Annette Arlander
Keyword(s):  
Performance Analysis ◽  
Performance Art ◽  
Performance Studies ◽  
Research Project ◽  
Performance Practices ◽  
Art Form ◽  
And Performance ◽  
Performance As Research ◽  
Artistic Research

Is there a way for the anthropocentric and anthropomorphic art form par excellence, the theatre, or performance art for that matter, to expand beyond their human and humanist bias? Is the term Anthropocene in any way useful for theatre and performance studies or performance-as-research? In the anthology Anthropocene Feminism (Grusin 2017) Rosi Braidotti proposes four theses for a posthumanist feminism: 1) feminism is not a humanism, 2) anthropos is off-center, 3) zoe is the ruling principle, 4) sexuality is a force beyond gender. These assertions can undoubtedly be put on stage, but do they have relevance for developing or understanding performance practices off-stage and off-center, such as those trying to explore alternative ways and sites of performing, like performing with plants? In this text, I examine Braidotti’s affirmative theses and explore their usefulness with regard to performance analysis, use some of my experiments in the artistic research project “Performing with plants” as examples, and consider what the implications and possible uses of these theses are for our understanding of performances with other-than-human entities, which we share our planet with.

The Multimedia Bard: Plugged and Unplugged

1998 ◽  
Vol 14 (53) ◽  
pp. 20-42 ◽  
Author(s):  
Lizbeth Goodman ◽  
Tony Coe ◽  
Huw Williams
Keyword(s):  
New Technologies ◽  
Interactive Media ◽  
Open University ◽  
Live Performance ◽  
Research Project ◽  
Moving Image ◽  
Multimedia Technologies ◽  
And Performance ◽  
Multimedia Performance ◽  
The Relationship

The relationship between live theatre and the rapidly developing multimedia technologies has been ambiguous and uneasy, both in the practical and the academic arena. Many have argued that such technologies put the theatre and other live arts at risk, while others have seen them as a means of preserving the elusive traces of live performance, making current work accessible to future generations of artists and scholars. A few performance and production teams have entered the fray, deliberately pushing the technology to its limits to see how useful it may (or may not) be in dealing with the theatre. One such team – comprising Lizbeth Goodman, Tony Coe, and Huw Williams – forms the Open University BBC's Multimedia Shakespeare Research Project, and on 4 September 1997 they presented their work as the annual BFI Lecture at the Museum of the Moving Image on London's South Bank. What follows is an edited and updated transcript of the lecture – which was itself a ‘multimedia performance’ – intended to spark debate about the possibilities and limitations of using multimedia in creating and preserving ‘live’ theatre. Lizbeth Goodman is Lecturer in Literature at the Open University, where she chairs both the Shakespeare Multimedia Research Project and the new ‘Shakespeare: Text and Performance’ course. Tony Coe is Senior Producer at the OU/BBC, where Huw Williams was formerly attached to the Interactive Media Centre, before becoming Director of Createc for the National Film School, and subsequently Director of Broadcast Solutions, London. Together the team has created a range of multimedia CD-ROMs designed to test the limits and possibilities of new technologies for theatre and other live art forms – beginning with Shakespeare

Artificially Intelligent Physiotherapy

2021 ◽  
Vol 10 (1) ◽  
pp. 77-88
Author(s):  
Sachin Pandurang Godse ◽  
Shalini Singh ◽  
Sonal Khule ◽  
Shubham Chandrakant Wakhare ◽  
Vedant Yadav
Keyword(s):  
Artificial Intelligence ◽  
Machine Learning ◽  
Range Of Motion ◽  
Real Time ◽  
Severe Pain ◽  
User Performance ◽  
Computer Aided ◽  
To Come ◽  
And Performance ◽  
At Home

Physiotherapy is the trending medication for curing bone-related injuries and pain. In many cases, due to sudden jerks or accidents, the patient might suffer from severe pain. Therefore, it is the miracle medication for curing patients. The aim here is to build a framework using artificial intelligence and machine learning for providing patients with a digitalized system for physiotherapy. Even though various computer-aided assessment of physiotherapy rehabilitation exist, recent approaches for computer-aided monitoring and performance lack versatility and robustness. In the authors' approach is to come up with proposition of an application which will record patient physiotherapy exercises and also provide personalized advice based on user performance for refinement of therapy. By using OpenPose Library, the system will detect angle between the joints, and depending upon the range of motion, it will guide patients in accomplishing physiotherapy at home. It will also suggest to patients different physio-exercises. With the help of OpenPose, it is possible to render patient images or real-time video.

From the Streets to the Stage: Disability and the Performing Arts

PMLA ◽  
2005 ◽  
Vol 120 (2) ◽  
pp. 620-625 ◽  
Author(s):  
Carrie Sandahl
Keyword(s):  
Lived Experience ◽  
Performing Arts ◽  
Liberal Arts ◽  
Theory And Practice ◽  
Live Performance ◽  
Artistic Practice ◽  
Theater Studies ◽  
Suitable Site ◽  
And Performance ◽  
The University

Despite its newness, disability-theater studies is an incredibly rich area of inquiry that is exploding in artistic practice and scholarship. The university is a particularly suitable site for a meeting of disability and the theater; after all, we theater scholars think of our classrooms and productions as laboratories not only for showcasing knowledge but for producing, rehearsing, and revising it. As the theater scholar Jill Dolan points out, live performance, especially in the liberal arts setting, has the unique power to test, on bodies willing to try them, academic theories that are otherwise purely theoretical. The feedback loop that oscillates between theory and practice in theater studies is necessarily changed by the inclusion of disability perspectives in the classroom, research programs, and performance offerings. Interestingly, an underlying theme of disability perspectives is that the lived experience of disability is always already performative; indeed, many of us with disabilities understand our disabilities as performance, not exclusively in an aesthetic or theoretical sense, but as an actual mode of living in the world. Consider what the playwright and wheelchair user John Belluso told me in a recent interview: “Any time I get on a public bus, I feel like it's a moment of theater. I'm lifted, the stage is moving up, and I enter, and people are along the lines, and they're turning and looking, and I make my entrance. It's theater, and I have to perform. And I feel like we as disabled people are constantly onstage and we're constantly performing.” The perspective of disability as performance undergirds and permeates disability art and scholarship. Thus, my own development as a disability-theater scholar and artist frames my perception of how disability challenges both the practical and the theoretical aspects of theater studies and points to the role universities play in fostering further development of the field.

Film and Performance: Intermedial Intersections

2021 ◽  
pp. 11-22
Author(s):  
Stephen Barber
Keyword(s):  
Digital Media ◽  
Live Performance ◽  
Moving Image ◽  
Image Projection ◽  
Media Events ◽  
Performance Events ◽  
And Performance

Film and performance have always been closely interconnected, from the origins of cinematic projection in 1895. This essay, with a theoretical focus, explores how film and moving-image forms work to transform performance when they intersect with it, and vice versa. It examines how film serves to mediate and ‘reframe’ the experience and the time of live performance events, notably through the incorporation of moving-image elements into the space of performance, and through particular forms of projection and audience perception. It also probes how conceptions of intermediality can be traced specifically through the intersection of film and performance. The essay spans the entirety of moving image culture, beginning with an account of the connections between film and performance in the work of the German innovators of moving-image projection, the Skladanowsky Brothers, and ending with an examination of the work of the contemporary Lebanese filmmaker and performance artist, Rabih Mroué, whose work resonates with early cinema’s performative strategies but focuses also on current digital media events such as the dangerous ‘performative’ public filming with iPhones of government snipers in the streets of Syria.

Staging Consciousness: Theater and the Materialization of Mind. By William W. Demastes. Ann Arbor: University of Michigan Press, 2002; pp. 193. $47.50 cloth.

2004 ◽  
Vol 45 (2) ◽  
pp. 294-296
Author(s):  
Mark Pizzato
Keyword(s):  
Fuzzy Logic ◽  
Cognitive Science ◽  
Complexity Theory ◽  
University Of Michigan ◽  
Art Form ◽  
Ann Arbor ◽  
Life Itself ◽  
And Performance

William W. Demastes's new book is a rare find. It shows a new direction for interdisciplinary theatre scholarship, combining drama and performance with cognitive science, fuzzy logic, and complexity theory. With this challenging combination, Demastes extends the significance of theatre beyond its conventional place in the humanities and proposes specific ties between an ancient art form and recent scientific discoveries. He demonstrates a post-postmodern or “neostructuralist” approach that dares to discuss “the emergent essence of life itself,” through a materialist, yet “nonpositivist” science of the drama. He thus offers a glimpse “of ’universal' consciousness” in theatre's “spiritual something more” (7–9).

The Philosophy of Theater

2020 ◽  
Author(s):  
Michael Y. Bennett
Keyword(s):  
Performance Studies ◽  
Ancient Greece ◽  
Audience Reception ◽  
The Past ◽  
Art Form ◽  
Theatrical Performance ◽  
Ontological Question ◽  
Dramatic Text ◽  
And Performance ◽  
The Relationship

Theater—i.e., traditional text-based theater—is often considered the art form that most closely resembles lived life: real bodies in space play out a story through the passage of time. Because of this, theater (or theatre) has long been a laboratory of, and for, philosophical thought and reflection. The study of philosophy and theater has a history that dates back to, and flourished in, ancient Greece and Rome. While philosophers over the centuries have revisited the study of theater, the past four decades in particular have seen a noted and substantial increase of scholarship investigating this intersection between philosophy and theater. “Philosophy of theater” is, on one hand, a “field” that is just starting to take shape and is barely over a decade old; on another hand, it is a recognized subfield both of aesthetics and of theater and performance studies. And finally, it is also an amorphous concept, either not yet fleshed out, or intentionally amorphous and proudly organic. Philosophy of theater is also sometimes referred to—or is argued to be subsumed, more broadly, in—“performance philosophy,” which also refers to a network of academics and practitioners that publishes a book series and a journal of the same name. Regardless of what it is called or how it is classified, scholarship has coalesced around some fundamental preoccupations, which are not too dissimilar to questions that arise in other philosophies of. . . (e.g., art, film, dance, etc.). The debates in philosophy of theater mostly fall into three of the main branches of philosophy: metaphysics, epistemology, and aesthetics. The major metaphysical debates center on an ontological question: What is theater? Epistemological studies tend to focus on audience reception and/or how meaning is made and/or transmitted. Finally, studies in aesthetics focus on two main questions: (1) What is theater as an art form? (2) What is the relationship between dramatic text and theatrical performance? This article is intentionally narrow in its scope, focusing on philosophy and theater traditions that came out of Greek theater and philosophy, in order to ensure a sufficient amount of depth, not (merely) breadth.

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