scholarly journals Books about postdramatic theatre

2020 ◽  
Vol 5 (1) ◽  
pp. 158-171
Author(s):  
Vera V. Kotelevskaya
Keyword(s):  
Aesthetic Experience ◽  
Point Of View ◽  
Transformative Power ◽  
Binary Oppositions ◽  
Per Se ◽  
The Spectator ◽  
The Times ◽  
Radical Theatre ◽  
Bodily Contact ◽  
Self Reference

The review considers three books on post-dramatic theatre (in various studies it is also called anti-mimetic, radical, post-modern theatre, metatheatre, etc.). Different concepts of post-dramatic theatre are brought together by what may be considered as experiments per se, overcoming or problematizing genre and media boundaries, neutralizing binary oppositions, such as subject – object, playwright – director, platform – hall, actor – character, etc. I analyze the concept of H.-T. Lehmann (“Postdramatic theatre: 1999), who argues concerning the main feature of the “radical theatre” in weakening the connection with the text of the play, “re-theatricalization”, and rejection of the mimesis. For E. Fischer-Lichte (“Ästhetik des Performativen”, 2004 / “The Transformative Power of Performance: A New Aesthetics”, 2008), the main feature of the newest theatre is “performativity” – the production of aesthetic meaning within the event of a performance, and not in the perception of an artifact by an observing subject. The criteria for the so called “performative turn” in drama and theatre, which, according to Fischer-Lichte, are self-reference, materiality, bodily contact, the liminality of aesthetic experience, and the transformation of the spectator. The neoconservative point of view of G. Stadelmaier (“Director’s Theatre. On the Scenes of the Spirit of the Times”, 2016), which expresses nostalgia for the tradition, is considered as polemic in respect to the innovations of the post-drama

Graphic design practice of an image for the Chinese character for "鼓 Drum"

2019 ◽  
Author(s):  
POHSUN WANG
Keyword(s):  
Design Thinking ◽  
Chinese Character ◽  
Science And Technology ◽  
Point Of View ◽  
Learning Design ◽  
Design Practice ◽  
Cultural Issues ◽  
Artistic Value ◽  
The Status ◽  
The Times

Basic shape is one of the most important components of the learning design process. Using Western design thinking to understand shape, color and composition layout and attempting to reinterpret the application of traditional calligraphy from a design point of view—whether it is the expression of form or the meaning of content—are both important aspects of design thinking. The writing patterns of traditional calligraphy and the design creation of modern experiments may have different biases. If the artistic value of "the brush and ink of the time" is compared to the science and technology of innovation as the main appeal, the expressiveness of the traditional writing mode is obviously difficult to achieve. Using science and technology as an option for design creation is a difficult way to proceed; however, technology, ideas and thinking can still be in sync with the cultural issues of an entire era. This is also the test of the times to which contemporary creations are subjected. There are infinite possibilities for development, and it is worthwhile to explore these possibilities together with artistic aspirants. On the other hand, if we follow the well-beaten path of the status quo, the creativity of traditional calligraphic art will wither, it will deviate from the larger environment of the era in which it operates, and it will inevitably be neglected and pushed out by other art categories. The design and creation process uses the traditional calligraphy characters and drums as the theme, assisted by digital tools in the creation, and finally transforms the traditional calligraphy visual form into an expression of the art of science and technology.

LOGICAL FATALISM AS A PSYCHOLOGICAL FEATURE OF THE ARCHETYPE OF DARGINTS

Globus ◽  
2020 ◽  
Author(s):  
I. Bagandova ◽  
Keyword(s):  
Folk Art ◽  
Point Of View ◽  
Historical Events ◽  
Psychological Feature ◽  
The People ◽  
The Times

This study is devoted to the study of the features of the archetype of the Dargins, the formation of which dates back to the times of paganism and, which was imprinted by both religious ideas and historical events that had a significant impact on the worldview and worldview of the people. This work is the first attempt to analyze the archetype of the Dargins from the point of view of its inherent fatalism on the basis of proverbs, sayings and legends of the Dargin people, which represent the wealth of oral folk art and reflect the specifics of the psychological formation of the people that have been taking shape for millennia

Co-Composing an Aesthetic Self Through Play: Towards a Transformative Framework for Dementia Care

2021 ◽  
Author(s):  
Bing Yu Li
Keyword(s):  
Older Adults ◽  
Aesthetic Experience ◽  
Participatory Action ◽  
Transformative Power ◽  
Play Intervention ◽  
Innovative Program ◽  
Diverse Backgrounds ◽  
Caring Relationship ◽  
Design And Methods ◽  
New Phase

Abstract Background and Objectives Aging and deterioration mark a new phase in many older adults’ life, highlighting the importance of creativity and imagination. This article introduces the implementation of an innovative program, Play Intervention for Dementia (PID), at a nursing home in Hong Kong, with emphasis on its contribution to the conceptual framework for understanding selfhood of older adults with dementia. Research Design and Methods As a community-based participatory action research (CBPAR) project, this study democratized knowledge production by integrating voices of practitioners with diverse backgrounds through video-based methods. Results Play, as an activity replete with free expressions and impulsive interactions, is an ideal realm for exploring and establishing selfhood with older adults with dementia. It has been found that “aesthetic self”, an alternative self emerging from immediate aesthetic experience and carrying transformative power within the caring relationship, is a necessary element of self-construction in life with dementia. Discussion and Implications Integrating theories and practice, this framework provides a new lens for understanding and responding to selfhood, disease, and life.

Between the pure and the impure: The peculiar case of the homo sacer

2021 ◽  
Vol 60 (3-4) ◽  
pp. 219-228
Keyword(s):  
Point Of View ◽  
International Treaties ◽  
Homo Sacer ◽  
The World ◽  
Per Se ◽  
Peculiar Case

Abstract According to Durkheim, the notion of ‘sacred’ is per se ambivalent, because it includes antinomic notions such as the pure and the impure. This theory would be justified by the original ambiguity of the Latin sacer. Only one case is always quoted: the peculiar condition of the homo sacer, a criminal consecrated to the gods. But the ambiguity of the sacer is not a problem for the Romans. The uncertainties of modern interpretation stem from the fact that this consecratio of a criminal is often explained as a sacrifice, but the destiny of the homo sacer is more analogous to the fate reserved for the violators of international treaties: on the profane side, the culprit is deprived of his citizenship and becomes a foreigner. Nor, however, is he accepted by enemies. In the same way, from an anthropological point of view, the consecrated person stays on a liminal stage: he remains forever in an uncertain gap between the sphere of men and the world of the gods. There is no ambiguity of the sacred because the homo sacer could not really reach the gods or pollute them.

Spectator View: Enabling Asymmetric Interaction between HMD Wearers and Spectators with a Large Display

2021 ◽  
Vol 5 (ISS) ◽  
pp. 1-17
Author(s):  
Finn Welsford-Ackroyd ◽  
Andrew Chalmers ◽  
Rafael Kuffner dos Anjos ◽  
Daniel Medeiros ◽  
Hyejin Kim ◽  
...  
Keyword(s):  
Virtual World ◽  
Large Scale ◽  
User Study ◽  
Point Of View ◽  
Virtual Camera ◽  
Head Mounted Display ◽  
Joint Task ◽  
Reference Space ◽  
Collaborative Interaction ◽  
The Spectator

In this paper, we present a system that allows a user with a head-mounted display (HMD) to communicate and collaborate with spectators outside of the headset. We evaluate its impact on task performance, immersion, and collaborative interaction. Our solution targets scenarios like live presentations or multi-user collaborative systems, where it is not convenient to develop a VR multiplayer experience and supply each user (and spectator) with an HMD. The spectator views the virtual world on a large-scale tiled video wall and is given the ability to control the orientation of their own virtual camera. This allows spectators to stay focused on the immersed user's point of view or freely look around the environment. To improve collaboration between users, we implemented a pointing system where a spectator can point at objects on the screen, which maps an indicator directly onto the objects in the virtual world. We conducted a user study to investigate the influence of rotational camera decoupling and pointing gestures in the context of HMD-immersed and non-immersed users utilizing a large-scale display. Our results indicate that camera decoupling and pointing positively impacts collaboration. A decoupled view is preferable in situations where both users need to indicate objects of interest in the scene, such as presentations and joint-task scenarios, as it requires a shared reference space. A coupled view, on the other hand, is preferable in synchronous interactions such as remote-assistant scenarios.

scholarly journals DE NARCISO A ORFEO. ALTERIDAD NARRATIVA Y ESPECTATORIAL EN TWIN PEAKS. THE RETURN DE DAVID LYNCH

2021 ◽  
Vol 30 ◽  
pp. 323
Author(s):  
Víctor ITURREGUI-MOTILOA
Keyword(s):  
Point Of View ◽  
The Other ◽  
David Lynch ◽  
Twin Peaks ◽  
The Spectator

Resumen: Este artículo propone un estudio de la alteridad y la ficción en la serie Twin Peaks. The Return. Realizaremos un estudio de las decisiones formales y narrativas como procesos de significación, con el análisis fílmico y narratológico como herramienta. El trabajo se centra en la construcción del punto de vista y la identificación del espectador. El motivo de los mundos y figuras duplicadas desarrollado por David Lynch en su cine alcanza su acmé en la ficción televisiva. Además, estas ideas se materializan en la revisión de dos de los mitos clásicos sobre la relación con el Otro: Orfeo y Narciso.Abstract: This paper consists on a study of alterity and fiction in Twin Peaks. The Return. It will discuss the formal and narrative decisions as forms of signification, using film and narratological analysis. This research will pay attention to the construction of the point of view and to the identification of the spectator towards these images. The classical themes on lynchean films, such as alternative and duplicate worlds and figures, sublimate in TV fiction. Moreover, these ideas are represented by reinterpreting two myths related to the Other: Orpheus and Narcissus.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

scholarly journals Out of Bounds: Confronting War Crimes and the Breakdown of Justice with Contemporary Art

2021 ◽  
pp. 52
Author(s):  
Catherine Bernard
Keyword(s):  
Aesthetic Experience ◽  
War Crimes ◽  
The Political ◽  
Embodied Experience ◽  
International Conflicts ◽  
Administration Of Justice ◽  
Collective Remembering ◽  
The Spectator ◽  
Marc Quinn ◽  
The Aesthetic

Recent art has turned to judiciary and extra-judiciary practices, specifically in the context of international conflicts, in order to assert art’s political accountability and relevance to our capacity to historicise the present. The war in Iraq inspired works that directly address issues of representation and remediation, such as Marc Quinn’s Mirage (2008), in which the aesthetic experience opens onto an ambiguous experience of the breakdown of justice. Other works have chosen to turn carceral space itself into the site of a collective remembering that harnesses affect to a critical reflection on the administration of justice, on assent and dissent. This article will turn to key works by Marc Quinn and Trevor Paglen that confront extra-judiciary malpractices, but also to recent collective art projects involving an interdisciplinary take on the experience of imprisonment, such as Inside. Artists and Writers in Reading Prison (2016), in which artists of all backgrounds responded to Oscar Wilde’s De Profundis on the very premises of Wilde’s incarceration, as well as the work of 2019 Turner Prize co-recipient: Jordanian sound artist Lawrence Abu Hamdan whose recent works rely on testimonies from Syrian detainees and probe the political pragmatics of aural art. All these works have turned to the document—literary, visual, aural—to reflect on the process of experiential mediation. How does the experience of imprisonment, or extra-judiciary malpractices, come to the spectator? How are they read, heard, interpreted, remediated? The article ponders the remediation and displacement of aesthetic experience itself and the “response-ability”—following Donna Haraway’s coinage—of such a repoliticised embodied experience. It will assess the way by which such interdisciplinary works rethink the poetics of the documentary for an embodied intellection of justice—and injustice—in the present.

scholarly journals Arte interativa: quem é o autor e onde está o espectador?

2020 ◽  
Author(s):  
António Cardoso
Keyword(s):  
Linear Structure ◽  
Global Dimension ◽  
Point Of View ◽  
Interactive Art ◽  
Traditional Role ◽  
External Observer ◽  
Theatrical Performance ◽  
Symbolic Meanings ◽  
The Spectator

This article examines how the emergence of interactive art brought about the necessity of re-positioning the traditional role of the spectator and led to the re-formulation of the notion of authorship. The non-linear structure of interactive artworks empowers the spectator with the (apparent) control of its narrative and creates a relational space filled with an input-output dynamic. It is suggested that this elevates the spectator to the realm of co-authorship of the work of art that he/she is interacting with, because the specificity of each interaction generates symbolic meanings that the original author cannot anticipate.It is also argued that the input required from the spectator to interact with the artwork could be compared to a theatrical performance. Thus, an analogy between the spectator-in-action of an interactive artwork and the figure of an actor is established. This brings us to the question concluding the article: as the reception of interactive art implies an action from its spectator, the compatibility between action and contemplation is questioned.Finally, the article concludes that the corpus of an interactive artwork has to include the spectator that acts and creates the input needed for the interaction to be established. Therefore, only from the point of view of an external observer one can gain access to its global dimension, that is, as meta-spectators.

Between Law and Society: Mahariq's Responsum on The “Ways of the Gentiles” (Ḥuqqot Ha-‘Akkum)

AJS Review ◽  
2001 ◽  
Vol 25 (1) ◽  
pp. 45-69
Author(s):  
Jeffrey R. Woolf
Keyword(s):  
Case Studies ◽  
Closed System ◽  
General Assumption ◽  
Point Of View ◽  
Law And Society ◽  
Jewish Law ◽  
Late Professor ◽  
History Of ◽  
Per Se

The late Professor Jacob Katz was wont to observe that the student seeking to properly study and evaluate rabbinic responsa must read his sources twice. First, he must examine the text from the point of view of the halakhist, and evaluate it as an integral part of halakhic literature and tradition, respecting the general assumption of the halakhist that Jewish law is a closed system, which operates according to its own rules. After this, he must don the spectacles of the historian and evaluate, as best he can, the degree to which contemporary circumstances had an impact (if any) upon or are reflected in the decisor's ruling. This dual challenge is quite daunting in so highly nuanced and idiomatically opaque a literature as the halakhah. Caution and sensitivity must be the hallmark of all efforts to achieve both of the aims posited by Katz, especially the latter. As a result of the sagacity of Katz's admonition, halakhic historiography in recent years has made heavy use of the medium of case studies (carried out within specific periods and geographical areas). Recourse to these has proven fruitful in advancing the historian's goal of carefully and responsibly reconstructing the history of halakhah per se and the annals of the societies and cultures within which halakhic traditions were developed and which, in turn, left their impact thereupon.

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