scholarly journals Texto encarnado: uma estratégia de Descolonização

Ouvirouver ◽  
2017 ◽  
Vol 13 (1) ◽  
pp. 148
Author(s):  
Renata Bittenourt Meira
Keyword(s):  
Academic Writing ◽  
Creative Process ◽  
The Body ◽  
Free Form ◽  
Significant Movement ◽  
Somatic Education ◽  
The Creation ◽  
And Performance ◽  
Education Academic ◽  
A Performance

As experiências de criação textual juntamente com a criação de performances, apresentadas e analisadas, tem como objetivo central conectar a pesquisa e o corpo. A temática das criações foram as pesquisas acadêmicas desenvolvidas nos programas de pós graduação em artes cênicas do Instituto de Artes da Universidade Federal de Uberlândia. Intimamente vinculados à ecologia de saberes e à interculturalidade os processos de criação se deram no campo da sensibilização somática e do movimento significativo. A metodologia foi experimentar o projeto de mestrado por meio da criação de uma performance e criar um texto de formato livre com espaço para manifestação de subjetividade e poesia. A proposta foi provocar o estudante de pós graduação a perceber que existe um campo invisível no conhecimento, que estrutura ou desestrutura sua pesquisa. Acessar a pesquisa por meio da corporeidade é uma busca por revelar as crenças que atravessam nossas ideias sem que percebamos, nestas crenças se estabelecem processos de colonização. Os textos e as performances resultantes mostraram que as conexões entre corpo e escrita geraram a aproximação entre o pesquisador e sua pesquisa. ABSTRACT Writing and performance were a creative process. The issue was connecting arts academic researchs with the body. The processes of creation occurred through the somatic sensitization and significant movement. The methodology was the experience of the masters project through the creation of a performance and create a free form text. The goal was to notice an invisible field in knowledge, which structures their research. The texts and performances criated by fourty students showed that the connections between body and writing approximed the researcher and his research. KEYWORDS Creative process, somatic education, academic writing.

scholarly journals Performatywne rozpoznania medialności polityki w myśli Judith Butler

2020 ◽  
Vol 2020 (55) ◽  
pp. 212-225
Author(s):  
Marcin Sanakiewicz
Keyword(s):  
Public Sphere ◽  
Michel Foucault ◽  
Judith Butler ◽  
The Body ◽  
Political Activities ◽  
Media Technologies ◽  
And Performance ◽  
Visibility Politics ◽  
A Performance

Judith Butler, an American philosopher and performance theorist, sees the transformations of public sphere and democracy in the possibilities of making visible the human bodies. Butler interprets a performance as a setting boundary for belonging to a community. Public appearance requires the existence of the body and media technologies. In this way, the performative nature of political activities acquires the characteristics of biopower, according to Michel Foucault: control over the coupling of social and biological existence of man, taking into account his public visibility. Politics, by merging with what is media, obtains a performative (discursive/event) character.

Mirror As Inspiration In The Creation Of Artworks

2021 ◽  
Vol 7 (3) ◽  
pp. 1009
Author(s):  
Kerine Claudya Wijaya ◽  
Ariesa Pandanwangi ◽  
Belinda Sukapura Dewi
Keyword(s):  
Qualitative Study ◽  
Experimental Method ◽  
Creative Process ◽  
The Body ◽  
Inner Life ◽  
Work Of Art ◽  
Creation Process ◽  
Works Of Art ◽  
The Creation ◽  
Relationship Of

<p>Every artist has the goal of creating works of art that cannot be separated from the spiritual feelings experienced daily. The creative process of creating this work of art is initiated from the mirror which will be explored in the work of art. The method used is descriptive qualitative study and experimental method. The problem in this creation process is how the phenomenon that occurs when humans feel unhappy in their inner life so that they feel depressed, even judged between individuals, both physically and non-physically. The result of this creation process is a puzzle arrangement which is a metaphor for the results of reflection as well as the spiritual relationship of the soul with the body that has been experienced in living and contemplating life. The message conveyed through this work is that humans must understand each other.</p><p>Setiap seniman memiliki tujuan menciptakan karya seni yang tidak lepas dari perasaan spiritual yang dialami sehari-hari. Proses kreatif penciptaan karya seni ini digagas dari cermin yang akan dieksplorasikan pada karya seni. Metode yang dipergunakan adalah studi metode deskriptif kualitatif dan metode eksperimental. Permasalahan dalam proses penciptaan ini bagaimana fenomena yang terjadi ketika manusia merasakan perasaan tidak bahagia dalam kehidupan batinnya sehingga merasa tertekan, bahkan dinilai antar individu, baik secara fisik maupun non fisik. Hasil dari proses penciptaan ini adalah susunan puzzle yang merupakan metafora dari dari hasil refleksi sebagaimana hubungan spiritual jiwa dengan tubuh yang telah berpengalaman dalam penjalanan hidup dan perenungan hidup. Pesan yang disampaikan melalui karya ini adalah manusia harus saling memahami antara satu dengan lainnya</p>

edged: Exploring the porous boundaries between teaching philosophy, dance performance and choreographic practice

2020 ◽  
Vol 11 (1) ◽  
pp. 43-57 ◽  
Author(s):  
Louis Laberge-Côté
Keyword(s):  
Creative Process ◽  
Porous Body ◽  
Teaching Philosophy ◽  
Dance Performance ◽  
The Past ◽  
Dance Training ◽  
The Creation ◽  
Guiding Principles ◽  
And Performance ◽  
Porous Boundaries

Over the past four years I have developed The Porous Body, a teaching philosophy that promotes the practice of heightened physical and mental malleability in dance training by following four fundamental guiding principles: flow, playfulness, metaphor and paradox. As my process deepened, I wondered: what would happen if I applied The Porous Body to my choreographic practice? How might this framework prove fruitful during a creative process? What kind of choreographic work would emerge from this experiment? This article is an artist’s reflection on an artistic experiment; it describes the first choreographic process to which I applied The Porous Body’s guiding principles, and which led to the creation and performance of edged, a solo work exploring the porous edges between inner/outer, planned/unplanned, control/surrender, pleasure/struggle and terror/courage.

scholarly journals Construction and Performance Applications of an Augmented Violin: TRAVIS II

2020 ◽  
Vol 44 (2-3) ◽  
pp. 55-68
Author(s):  
Chantelle Ko ◽  
Lora Oehlberg
Keyword(s):  
Real Time ◽  
Creative Process ◽  
The Body ◽  
Electric Signal ◽  
Interactive Performance ◽  
Left Hand ◽  
Performance Space ◽  
Interface System ◽  
Dream State ◽  
And Performance

Abstract We present the second iteration of a Touch-Responsive Augmented Violin Interface System, called TRAVIS II, and two compositions that demonstrate its expressivity. TRAVIS II is an augmented acoustic violin with touch sensors integrated into its 3-D printed fingerboard that track left-hand finger gestures in real time. The fingerboard has four strips of conductive PLA filament that produce an electric signal when fingers press down on each string. Although these sensors are physically robust, they are mechanically assembled and thus easy to replace if damaged. The performer can also trigger presets via four sensors attached to the body of the violin. The instrument is completely wireless, giving the performer the freedom to move throughout the performance space. Although the sensing fingerboard is installed in place of the traditional fingerboard, all other electronics can be removed from the augmented instrument, maintaining the aesthetics of a traditional violin. Our design allows violinists to naturally create music for interactive performance and improvisation without requiring new instrumental techniques. The first author composed two compositions to highlight TRAVIS II: “Dream State” and “Kindred Dichotomy.” Both of these compositions involve improvisation in their creative process and include interactive visuals. In this article we describe the design of the instrument, experiments leading to the sensing fingerboard, performative applications of the instrument, and compositional considerations for the resultant pieces.

scholarly journals Tokoh Kabayan Sebagai Inspirasi Torotot Heong the Song of Kabayan

2013 ◽  
Vol 9 (1) ◽  
Author(s):  
DEDEN HAERUDIN
Keyword(s):  
Creative Process ◽  
Cultural Resources ◽  
Creation Process ◽  
Communicative Performance ◽  
Mise En Scene ◽  
The Creation ◽  
Identification Stage ◽  
And Performance

Kabayan as an Inspiration of Torotot Heong The Song Of Kabayan. The theater art creation of Torotot Heongthe Song of Kabayan is a process that is inspired by the characters of folklore in Sundanese literature, Kabayan. InSundanese society, Kabayan is a stunt character from parable, a symbolic story, in the community as a media tonotify precept or wisdom. Kabayan is regarded as character with characteristic of Sundanese culture that hold on to“Cageur jeung Bageur” living guide (hale and healthy, and kind hearted). The creation process of Torotot Heongthe Song of Kabayan is performing into several stages and working methods according to Patri Pavis. It is startedby selecting the Kabayan’s Story to under take into the script. The next stage is doing some preparation for StagingProcess. The creating process is conducted through the mise en scene show’s appearance, perform into idea identification stage, artistic observation of cultural resources, the artist perspective and performance realization. TorototHeong the Song of Kabayan performances are the ultimate stage for the creative process of the hardworking teamwith a lot of effort to accomplish a communicative performance and appreciate well by the audience.

scholarly journals Choreography and sounding wearables

Scene ◽  
2014 ◽  
Vol 2 (1) ◽  
pp. 197-220 ◽  
Author(s):  
Michèle Danjoux
Keyword(s):  
Real Time ◽  
The Body ◽  
Significant Part ◽  
The Sun ◽  
Creation Process ◽  
New Methods ◽  
The Creation ◽  
The Impact ◽  
A Performance

This article explores the role of ‘sounding costumes’ and body-worn technologies for choreographic composition, with real-time interactional elements (such as microphones, speakers, sensors) potentially integrated into movement and expressive behaviour. Sounding garments explore the interactions between dancer/performer, the costume and the environment in the generation and manipulation of sonic textures. Briefly discussing historical precedents of integrated composition, the article will mainly refer to sounding prototypes in DAP-Lab’s latest production, For the time being [Victory over the Sun] (2012–2014), for which I designed the wearables, highlighting new methods for building sensual wearable electro-acoustic costumes to create kinaesonic choreographies. The article analyses the multi-perspectival potentials of such conceptual garments/wearable artefacts to play a significant part in the creation process of a performance, focusing on how wearable design can influence and shape movement vocabularies through the impact of its physical material presence on the body, distinctive design aesthetics and sound-generating capabilities. Choreographically, garments and body-worn technologies act as amplifying instruments as well as sculptural constraints or conversely enablers of new movement and ways of sounding/listening that affect different kinetic and acoustic awareness (both in the performers and in the audience).

scholarly journals INTERACTIVE FASHION AS A PERFORMANCE

2019 ◽  
Vol 31 (3) ◽  
pp. 771-776
Author(s):  
Milena Savić ◽  
Dragana Frfulanović-Šomođi
Keyword(s):  
The Body ◽  
Communication Strategy ◽  
Fashion Design ◽  
Physical Factors ◽  
Interdisciplinary Approaches ◽  
The Common ◽  
The Creation ◽  
And Performance ◽  
Fashion Designers ◽  
Common Understanding

By exploring performance, body and clothing as a visual and communication strategy, fashion reveal a hybrid practice that has emerged and is being considered in the context of fashion shows. Focusing on the common understanding of clothing and body and similarity in methodologies both in experimental fashion and in performance and communication, the area of this work lies between interaction, fashion, and performance, mainly observed through the notion of fashion shows.The methodology relies on the analysis of the practice and theory of contemporary fashion, design, and performance, exposing interdisciplinary approaches and exchanging ideas that point to hybrid practice between these two disciplines. Putting clothes at the heart of this debate it is possible to take into account how emotional and physical factors, as well as the body itself, contribute to the creation, intentions, and reading of such a work. It is suggested that this area of work can be viewed as a body that is self-contained in scenographic practice.The paper concludes that there is a whole series of embodied practices in which fashion designers work with clothing and body and any attempt to categorize within formal fashion designs can limit creative advancement.

scholarly journals Máquina Curupirá: dispositivos de um corpo em criação na fronteira entre o xamanismo amazônico e o teatro

2019 ◽  
Vol 4 (7) ◽  
pp. 86
Author(s):  
Andréa Flores
Keyword(s):  
Creative Process ◽  
The Body ◽  
Political Attitude ◽  
Deep Forest ◽  
The Creation

ResumoTenho denominado de Máquina Curupirá o processo criativo que desenvolvo como pesquisa poética acerca das comicidades indígenas da Amazônia, que tem a imagem do lendário Curupira com os pés virados para trás como atitude poética e política de um corpo que se quer deformado, fora da forma, do comportamento e do pensamento colonizado. Neste artigo, cartografo três intensidades do acontecimento cênico em processo, a saber, a multiplicidade do corpo por economia da alteridade; a adoção da atitude de atriz-xamã; e a negação do acontecimento como espetáculo, aproximando-o da noção de Máquina. Em cada intensidade, atravesso a criação pelo meio, reconhecendo os dispositivos com os quais opero, em cena, o transver, o riso entre indígenas amazônicos em ficções e fabulações contaminadas de trapaças, malinagens e epistemologias xamânicas da floresta profunda, que questionam o caminhar com os pés virados para frente.AbstractI have named as Curupirá Machine the creative process that I develop as poetic research about indigenous comicalities from the Amazon, which has the image of the legendary Curupira with his feet facing back as poetic and political attitude of a body that recognizes itself as deformed, out of colonized shape, behavior and thought. In this article, I map three intensities of the scenic happening in process: the multiplicity of the body by economy of otherness; the adoption of the attitude of actress-shaman; and the denial of the happening as a spectacle, bringing it closer to the notion of Machine. On each intensity, I cross the creation from the middle of it, recognizing the devices with which I run, on the scene, the act of transver the laughter among Amazonian indigenous into fictions and fabulations contaminated with cheating, tricks and shamanistic epistemologies of the deep forest, that question the walking with the feet facing forward.

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

The Divivacities of Cixous and Derrida (with a Bracketed Response

Somatechnics ◽  
2014 ◽  
Vol 4 (1) ◽  
pp. 9-38
Author(s):  
Michael O'Rourke ◽  
Kamillea Aghtan
Keyword(s):  
Jacques Derrida ◽  
Keynote Lecture ◽  
Helene Cixous ◽  
The Creation ◽  
A Performance

This pair of texts, article and response – a performance poem of sorts – focuses on the sexual and textual erotics which circulate in the texts written by Jacques Derrida and Hélène Cixous for and about each other. It is based on Michael O'Rourke's ‘The Divivacities of Cixous and Derrida’, a keynote lecture delivered at the Bodies in Movement conference at Edinburgh in May of 2011 and Kamillea Aghtan's response to O'Rourke. It seeks to discuss the textual intimacies of Hélène Cixous, Jacques Derrida (and by reflection Michael O'Rourke and Kamillea Aghtan) and the various sensual bodies of text created between them. As O'Rourke enfolds his textual subjects, Aghtan repositions O'Rourke's conception of textual friendship and love in terms of her response and, by doing so, suggests a new kind of (un)balanced relationship in its writing, the creation of different amalgams and further bodies of text that are thoroughly contingent, multiplying and obstinately open-ended.

Sign in / Sign up

Export Citation Format

Share Document