scholarly journals Entre a escrita e a pele: a dramaturgia confessional e a encenação de Angélica Liddell redimensionados em devir

Ouvirouver ◽  
2017 ◽  
Vol 13 (1) ◽  
pp. 284
Author(s):  
Mirela Ferreira Ferraz
Keyword(s):  
Performance Art ◽  
Border Zone ◽  
And Performance ◽  
Contemporary Theater ◽  
A Performance

Ao considerar a escrita teatral como ponto nevrálgico do teatro contemporâneo, esse artigo propõe trabalhar com a ideia de uma ligação contínua presente entre a escrita confessional e a encenação na obra “Yo no soy bonita” de Angélica Liddell. Acredita-se que o espetáculo e a língua da autora, encenadora e atriz/performer tornam-se diluídas no próprio acontecimento teatral, em que a ideia de um “devir-cênico” estabelece-se como um dispositivo cênico das novas teatralidades. Analisa-se como a noção de “eu” da artista se mescla ao desfalecimento da ideia de um personagem, criando uma zona de fronteiriça entre o teatro e a performance art, a qual se evidencia pela busca de uma possível experiência-limite da artista. ABSTRACT When considering the theatrical writing as nerve center of contemporary theater, this article proposes working with the idea of a continuous link between the present confessional writing and staging the Angélica Liddell work "Yo no soy bonita". It is believed that the show and the language of the author, stage director and actress / performer become diluted in their own theatrical event, in which the idea of "becoming-scenic" is established as a scenic device of new theatrics. It is analyzed how the notion of "I" of the artist melds the faintness of the idea of a character, creating a border zone between theater and performance art, which is evidenced by the search for a possible artist of limit-experience. KEYWORDS Becoming- scenic; confessional writing; limit-experience; contemporary theater.

scholarly journals ARTS-BASED ACTION RESEARCH ON ENHANCING CHILDREN’S CREATIVITY THROUGH AFFECT WITHIN PARTICIPATORY PERFORMANCE ART AND PERFORMANCE PEDAGOGY

2021 ◽  
Vol 14 (2) ◽  
pp. 577-592
Author(s):  
Marija Griniuk
Keyword(s):  
Action Research ◽  
Performance Art ◽  
Daily Basis ◽  
Video Recordings ◽  
Performance Artists ◽  
Performance Pedagogy ◽  
And Performance ◽  
Participatory Performance ◽  
The Impact ◽  
A Performance

This article presents arts-based action research on enhancing children’s creativity through affect within participatory performance art and performance pedagogy. The study hypothesis was that children’s creativity can be enhanced by affect experienced at a performance site. The purpose of the study was to investigate the impact of children’s involvement in artistic performance on their creativity at a performance site. The impact of interactions at the site, the co-participating children,and the involved artists were monitored on a daily basis to collect qualitative data, which were analyzed using a general inductive approach. Objective themes relating to the variables were retrieved from the collected data and assigned codes, concepts, and keywords extracted from photographs,video recordings, and observation notes. The case under investigation was the “Nomadic Radical Academy 2020: The Good, the Bad, and the Art”, which built on a pilot event held in 2019. This research concluded that performance art can have a social and creative impact during an art event through children’s participation and can be used by performance artists and educators.

scholarly journals Performance, Programa e Cidade: Urbanismos do Chão

Revista Prumo ◽  
2021 ◽  
Vol 6 (9) ◽  
Author(s):  
BARBARA SILVA DA VEIGA CABRAL
Keyword(s):  
Performance Art ◽  
Rio De Janeiro ◽  
Hannah Arendt ◽  
Starting Point ◽  
And Performance ◽  
The City ◽  
A Performance

Articulando práticas artísticas e urbanísticas ao trabalho de autoras dos campos da dança, filosofia, performance e urbanismo, o artigo tem como ponto de partida revisar a colocação de Hannah Arendt (2007) e André Lepecki (2012) de que a arquitetura (o fazer cidade) é fundamentalmente anterior à política (agir cidade). A revisão parte de uma experiência que vivi em TECIDO-NÃO-TECIDO (2018), performance realizada na Barra da Tijuca. O contraponto que a performance traz é matéria para expandir as noções de política e arquitetura — reforçando que agir cidade é, de fato, fazê-la. Ao pensar arquitetura e urbanismo enquanto “políticas do chão” (CARTER, 1996), o texto termina com um breve ensaio sobre a palavra programa, comum aos campos da arquitetura e da performance, e propõe uma espécie de urbanismo imanente e do chão, cujo operador é o “programa performativo” (FABIÃO, 2013), enunciado conciso de performances, de modo a subverter a frequente determinação de usos em arquitetura e urbanismo via programas funcionais. Palavras-chave: Performance; Cidade; Arquitetura e Urbanismo; Programa performativo; Chão. ABSTRACT By articulating artistic and urbanistic practices with the work of authors from the fields of dance, philosophy, performance, and urbanism, the article’s starting point is to review Hannah Arendt’s (2007) and André Lepecki’s (2012) statement that architecture (to make the city) is fundamentally prior to politics (to act the city). This review is based on an experience I have lived in TECIDO-NÃO-TECIDO (2018), a performance art piece held in Barra da Tijuca, Rio de Janeiro. The counterpoint that this performance brings is used as a material to expand the notions of politics and architecture — reinforcing that acting the city is, in fact, making it. Thinking about architecture and urbanism as “ground politics” (CARTER, 1996), the text ends with a brief essay on the word program, common to the fields of architecture and performance art, and proposes a kind of immanent and ground urbanism, whose operator is the “performative program” (FABIÃO, 2013) — subverting the frequent determination of uses in architecture and urbanism via functional programs. Keywords: Performance; City; Architecture and Urbanism; Performative program; Ground.

‘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.

An Invitation from the Displaced: Refuge Restaged in The Jungle and As Far as My Fingertips Take Me

Modern Drama ◽  
2021 ◽  
Vol 64 (3) ◽  
pp. 350-372
Author(s):  
Jeff Casey
Keyword(s):  
Performance Art ◽  
First Century ◽  
Good Chance ◽  
Twenty First Century ◽  
And Performance ◽  
Remedial Strategies ◽  
Mutual Responsibility

Tania El Khoury’s audience-of-one performance piece As Far as My Fingertips Take Me and Joe Murphy and Joe Robertson’s play The Jungle, produced and developed by Good Chance, are twenty-first-century productions that foreground the medial affordances of performance art and drama to foreground Western audiences’ relationships and responses to refugees. I propose a taxonomy of the strategies used in these two works as a model for analyzing theatre and performance about refugees. These strategies are classified in terms of the responses they seek to elicit from the audience, and my analysis explores some of the tactics used to achieve these goals. Remedial strategies counter harmful stereotypes about refugees; transformative strategies challenge and reshape basic conceptions of self, other, nation, and citizenship; and ethotic strategies reorient the audience to consider their relationship with refugees, particularly with respect to their disparate identity positions, mutual responsibility, and interdependence. Fingertips and The Jungle are substantially different artworks but are able to achieve similar results by utilizing the different affordances of their respective mediums. Thus, the taxonomy of strategies provides a more systematic and precise way of analyzing how refugee drama and performance achieve their goals. It avoids being overly prescriptive in how these goals should be achieved and instead recognizes how exploiting different tactics and medial affordances can advocate for refugees and other migrants.

Lower-Limb Speed and Foot Preference in Children

1995 ◽  
Vol 81 (3_suppl) ◽  
pp. 1115-1118 ◽  
Author(s):  
Misaki Iteya ◽  
Carl Gabbard ◽  
Morihiko Okada
Keyword(s):  
Lower Limb ◽  
Environmental Influences ◽  
Statistical Evidence ◽  
Performance Characteristics ◽  
Gross Motor ◽  
Foot Tapping ◽  
And Performance ◽  
The Right ◽  
A Performance

Foot preference and performance characteristics of gross-motor lower-limb speed of tapping were examined in 606 4- to 6-yr.-olds. Analysis indicated no effect for gender; however, speed of foot tapping increased significantly across the three ages, suggesting an association with selected developmental (neuromuscular) processes. Contrary to earlier reports on handedness, there was no statistical evidence that mixed- or left-footers were at a performance disadvantage compared to right-footers. All groups performed best with the right foot, limb differentiation (right versus left) being significant for the right- and mixed-footed groups. Speculation about maturational and environmental influences is given.

scholarly journals CORPO COMO ÂNCORA DE SENTIDOS E PRODUTOR DE SIGNIFICADOS: TENSÕES A PARTIR DA PERFORMANCE ART

2017 ◽  
Vol 18 (39) ◽  
pp. 241
Author(s):  
Jéssica Vitorino da Silva Terra Nova ◽  
Fabio Zoboli
Keyword(s):  
Performance Art ◽  
A Performance

O presente ensaio pretende revisar e argumentar – sob a perspectiva de alguns aspectos da semiótica e da fenomenologia – a crença de que o corpo é central na experimentação do conhecimento. Para tal, faremos uso da Performance Art como instrumento de organização sígnica que opera por intermédio do corpo de um performer que organiza signos com a intensão de propor uma experiência. O texto é fragmento do referencial teórico de uma dissertação de mestrado intitulada “A Performance Art como propedêutica da experiência: construção de sentidos e significados sobre, com e por meio do corpo”. O ensaio insiste na ênfase da necessidade da utilização da Performance Art como forma possível de estruturar e determinar a experiência do sujeito frente a um objeto a ser conhecido no âmbito das práticas pedagógicas de mediação de conhecimento.

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