scholarly journals “Ich Bin Ein Schauspieler”: Making Crip Performance in Toronto with Theater HORA’s Disabled Theater

2018 ◽  
Vol 7 (3) ◽  
pp. 1-30
Author(s):  
Stephen Fernandez
Keyword(s):  
Popular Music ◽  
Everyday Life ◽  
Physical Disabilities ◽  
Persons With Disabilities ◽  
Theatre Company ◽  
And Performance

This paper attends to the making of crip performance in the 2015 production of Disabled Theater in Toronto, where eleven performers with intellectual and physical disabilities took to the stage to perform a series of dance solos set to popular music. The performance was directed by the French choreographer Jérôme Bel and produced by the Zurich-based Theater HORA, a professional theatre company that is fully comprised of performers with disabilities. As an experienced choreographer, Bel is portrayed in the performance program as the “brains” behind Disabled Theater. It seems as though the performers were simply executing Bel’s artistic ideas through the embodied materiality of their dance performances. As such, the performers’ desire to be seen as proper artists exists amid the specter of an ableist ideology in “normative” culture that could potentially influence the audience members’ interpretation of their dance solos. Drawing on the work of Rosemarie Garland-Thomson, Carrie Sandahl, and Robert McRuer on the intersection of disability and performance, as well as the Italian dramaturge Eugenio Barba’s concept of the “pre-expressive state” of the actor’s body, I argue that the inclusion of persons with disabilities who confidently describe themselves as “actors” through the German phrase, “Ich Bin Ein Schauspieler”, unfolds the possibility of crip performance in Disabled Theater, which, unlike an ableist conception of performance, acknowledges disability as a reality that is constitutive of everyday life. Through crip performance, persons with disabilities do not need to downplay their disability in order to be publicly acknowledged as artists.

scholarly journals »Heimat im Koffer.« – »Oder über das Emigrantendasein. (Falls nicht zu traurig).«

Aschkenas ◽  
2014 ◽  
Vol 24 (2) ◽  
Author(s):  
Joachim Schlör
Keyword(s):  
United States ◽  
New York ◽  
Popular Music ◽  
Everyday Life ◽  
The United States ◽  
National Socialist ◽  
Weimar Germany ◽  
Musical Traditions ◽  
German Jewish ◽  
Insight Into

AbstractThe idea to create and stage a play called »Heimat im Koffer« – »A home in the suitcase« – emerged, I presume, in Vienna shortly before Austria became part of National Socialist Germany in 1938: the plot involved the magical translocation of a typical Viennese coffeehouse, with all its inhabitants and with the songs they sang, to New York; their confrontation with American everyday life and musical traditions would create the humorous situations the authors hoped for. Since 1933, Robert Gilbert (Robert David Winterfeld, 1899–1978), the son of a famous Jewish musician and himself a most successful writer of popular music for film and operetta in Weimar Germany, found himself in exile in Vienna where he cooperated with the journalist Rudolf Weys (1898–1978) and the piano artist Hermann Leopoldi (1888–1959). Whereas Gilbert and Leopoldi emigrated to the United States and became a part of the German-Jewish and Austrian-Jewish emigré community of New York – summarizing their experience in a song about the difficulty to acquire the new language, »Da wär’s halt gut, wenn man Englisch könnt« (1943) – Weys survived the war years in Vienna. After 1945, Gilbert and Weys renewed their contact and discussed – in letters kept today within the collection of the Viennese Rathausbibliothek – the possibility to finally put »Heimat im Koffer« on stage. The experiences of exile, it turned out, proved to be too strong, and maybe too serious, for the harmless play to be realized, but the letters do give a fascinating insight into everyday-life during emigration, including the need to learn English properly, and into the impossibility to reconnect to the former life and art.

Pitchfork’s authenticity problem: the critical reception of Vampire Weekend and Lil Wayne

2021 ◽  
Author(s):  
Margaret Murray
Keyword(s):  
Popular Music ◽  
Critical Reception ◽  
Commercial Success ◽  
And Performance ◽  
The Relationship

Abstract This article turns a critical eye on the arguments deployed by Pitchfork, one of the most popular music websites, when reviewing two artists: Vampire Weekend and Lil Wayne. Rhetorically analyzing the reception of these two artists is illuminating because both had indie breakouts in 2008, both release genre-spanning music, and both have had over a decade of commercial success. However, Vampire Weekend’s whiteness enables them to benefit from authenticity tropes that are unavailable to Lil Wayne. The analysis will show how Lil Wayne is essentialized as a rapper who is unauthorized to move beyond that genre. Overall, this article examines authenticity as the rhetorical move by which exclusion is constructed and highlights how assumptions about the relationship between race and performance are key to arguments about artistry.

scholarly journals TRACTION CONCEPT «REHABILITATION» IN THE FRENCH MEDICINE SYSTEM

World Science ◽  
2019 ◽  
Vol 2 (5(45)) ◽  
pp. 4-6
Author(s):  
M. Danylevych ◽  
R. Koval ◽  
B. Ivanytska ◽  
Y. Kazimova
Keyword(s):  
Twentieth Century ◽  
Everyday Life ◽  
Birth Defects ◽  
21St Century ◽  
State Power ◽  
Physical Culture ◽  
Social Phenomenon ◽  
Persons With Disabilities ◽  
Congenital Birth Defects ◽  
Tools And Methods

Given the increase on the planet of the number of people with congenital birth defects, technocratization of society, an increase in the number of persons with disabilities was expected at the beginning of the 21st century to one billion consequently, disability is a worldwide social phenomenon, which should be the focus of every country, its bodies of state power and administration, scientists and physicians, psychologists and educators, specialists in physical culture and sports. So, we see that under the concept «réadaptation» (f) in France, a set of tools and methods used by the relevant specialists to rehabilitate persons with disabilities, as well as simply patients, in order to return them to the maximum possible conditions of everyday life. The twentieth century in France is characterized by the creation of a number of organizations whose activities are aimed at working with such people.

scholarly journals Various Factors that Interfere with the Accurate Assessment of the Three-rods Test and Modified Three-rods Test to Resolve Monocular Cues

2021 ◽  
Author(s):  
Atsuya Takeuchi ◽  
Nami Kawaguchi ◽  
Naofumi Uesaka ◽  
Yukiko Tsujimoto
Keyword(s):  
Everyday Life ◽  
Test Performance ◽  
Visual Function ◽  
Practice Effect ◽  
Accurate Assessment ◽  
Simple Modification ◽  
Multiple Tests ◽  
And Performance ◽  
Short Time ◽  
Occupational Settings

Abstract Binocular stereopsis is a higher-order visual function and is thought to play an important role in spatial cognition in everyday life and many occupational settings. Various stereotests are used clinically to evaluate binocular stereopsis, and the three-rods test is used to assess stereopsis in various occupations in Japan. It is known that there are factors such as monocular cues in various stereotests that make it difficult to accurately evaluate the stereoscopic function, but the existence of such factors in the three-rods test has not been clarified. Here, we show that practice effect and monocular cues exist in the conventional three-rods test and that we devised a modified three-rods test to address the monocular cues. In the conventional three-rods test, performance improved when multiple tests were performed in a short time under binocular condition, and performance was significantly better in the monocular condition compared to the blind condition, indicating the existence of practice effect and monocular cues, respectively. The modified three-rod test with a wider central rod excluded the effect of monocular cues and maintained binocular cues on test performance. Their results suggest that the three-rod test with the simple modification can be a useful method for testing stereoscopic functions.

Waiting for Spring to Come Again: Feminist Theatre, 1978 and 1989

1990 ◽  
Vol 6 (21) ◽  
pp. 43-56 ◽  
Author(s):  
Gillian Hanna
Keyword(s):  
Theory And Practice ◽  
New Yorker ◽  
Royal Court ◽  
Feminist Theatre ◽  
Dario Fo ◽  
Theatre Company ◽  
To Come ◽  
And Performance ◽  
The One ◽  
And Shifts

Most of the heavily-quoted interviews available on feminist theatre are in serious need of updating. A current account is needed of ‘feminism and theatre’ as experienced by feminist theatre practitioners, and as perceived by feminist theatre students, critics, players and their audiences. To meet this need, NTQ plans a series of interviews with women involved in the British feminist theatre movement today, whose career paths trace developments and shifts in the feminist theory and practice of the past fifteen years. The first interview is with Gillian Hanna, who worked with the 7:84 Theatre Company and with Belt and Braces from 1971 to 1975, before co-founding the Monstrous Regiment feminist theatre group in 1975. Hanna worked exclusively within the Regiment from 1975 until 1981–82. and is one of the three original members who still actively participate in Regimental management, production, and performance, though she now works extensively outside the group as well, having acted in repertory at the Liverpool Everyman and in Newcastle, Sheffield and Derby. Recently, Hanna spent the best part of a year playing in The House of Bernardo Alba. which opened at the Lyric. Hammersmith, and ran in the West End, and in the Spring of 1989 she played in Caryl Churchill's Ice Cream at the Royal Court. Her acting credits include work in TV and film, and her interests extend to translation of playtexts from French and Italian: she translated Dario Fo's Elizabeth, and is currently on a commission to translate (and re-translate) the complete oeuvre of the one-woman plays of Franca Rame and Dario Fo. Three of the Rame/Fo plays – under the joint title A Common Woman – were recently produced at the Sheffield Crucible and at the Half Moon in London, for which performance Hanna won the 1989 Time Out ‘01 for London’ Award. Projects currently under way within the Regiment include an adaptation of a Marivaux play (The Colony), and possible plans to tour both A Common Woman and Beatrice. She is interviewed by Lizbeth Goodman, originally a New Yorker, and currently a junior member and scholar of St. John's College and a graduate researcher in the English Faculty of Cambridge University, where she is working on a doctoral thesis on feminist theatre since 1968, and a book on the politics of theatre funding.

‘Feeling Brazilian’: The search for authenticity in drum kit playing

2021 ◽  
Vol 5 (2) ◽  
pp. 211-226
Author(s):  
Daniel Marcondes Gohn
Keyword(s):  
Everyday Life ◽  
Analytical Approach ◽  
Spoken Language ◽  
Percussion Instruments ◽  
Online Searches ◽  
And Performance

The influence of Brazilian rhythms is pervasive in modern drum kit practices. Information about them can be accessed through drumming books or online searches, with ostinatos for the feet and sticking combinations for the hands, which usually are adaptations from patterns traditionally played with hand percussion instruments. Those patterns instruct drummers on what to play; however, the discussion on how to play them to sound authentic is scarce. This article explores this topic and suggests that timing nuances and performance gestures are fundamental for its comprehension. In that sense, an exclusively analytical approach to the rhythmic nuances, in which grooves are described in terms of milliseconds, is not considered sufficient. In order to fully grasp the ‘Brazilian feel’, it is suggested that a broader spectrum of elements of expression should be observed, as dancing, religion, spoken language and other aspects of everyday life might have effects on musical outcomes.

Malay Women Singers of Colonial Malaya

2017 ◽  
Author(s):  
Tan Sooi Beng
Keyword(s):  
Popular Music ◽  
Women Performers ◽  
New Music ◽  
British Colonialism ◽  
Performing Artists ◽  
Political Transformations ◽  
New Type ◽  
And Performance ◽  
And Gender ◽  
Experiences Of Women

Popular Malay music developed in Malaya in tandem with socio-political transformations which took place as a result of British colonialism. It was at this time that a new type of local commodified urban popular music known as lagu Melayu (Malay song) emerged to entertain the multiethnic urban audiences from different social and class backgrounds. This new music was shaped by the convergence of the new social conditions, technology such as print, gramophone, radio, film, microphones, cultural forms, and performance sites that emerged. By examining the song styles and texts of 78 rpm recordings of Lagu Melayu, oral interviews with performers, and published texts of the colonial period, this chapter illustrates how the new popular music accorded women performing artists voice and agency to negotiate dominant discourses regarding modern colonial subjectivity and gender. Women singers promoted a type of vernacular modernity that was not defined solely in European terms butwas characterized by continuity, difference, and hybridity. The musical recordings and stories of their lives reveal the complex polyvocal and sometimes contradictory experiences of women performers in colonial Malaya.

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