scholarly journals Teatralność procesu sądowego: kilka uwag o profesjonalizmie

2021 ◽  
Vol 43 (2) ◽  
pp. 227-240
Author(s):  
Przemysław Kaczmarek
Keyword(s):  
Professional Role ◽  
Victor Turner ◽  
Theatrical Performance ◽  
Anthropological Research ◽  
Theatrical Practice ◽  
Professional Ethos ◽  
Jerzy Grotowski ◽  
Court Hearing ◽  
A Performance

The aim of the paper is to answer the question: what image of a professional role does the vision of a court trial as a theatre contain? In carrying out such a task, first of all, I will present the reasons that justify comparing the theatrical practice to a court hearing. When carrying out this procedure, I will pay attention to the concept of role, the ritualization of activities, the architecture of space, and functions of the role performers’ clothing. From these findings, a dramatical vision of a court trial emerges, modelled on a theatrical performance. It assumes that the performing of a role by the actor and the judge or the lawyer is largely defined by factors external to the interpreter. Such an approach to the exercise of the profession can be related to the dramatic vision of the role in Erving Goffman’s theatrical metaphor. In this perspective, it is assumed that exercising a role is a performance that can lead to two images of the professional ethos. They are characterized by an attitude of identification with the role and an instrumental distance to the profession. I intend to question both of these views. By carrying out this task, I will show that presenting a court trial as a theater does not have to assume the image of a judge, a lawyer whose task is to develop the ability to adapt to the rules of the profession and faithfully reproduce them in the cases under consideration. In presenting this position, I use the findings of theatrologist Jerzy Grotowski and the anthropological research of Victor Turner, focusing on the idea of liminality.

Artaud and the Plague: A Posthumanist Theatre?

2020 ◽  
pp. 204-234
Author(s):  
Hedwig Fraunhofer
Keyword(s):  
Sensory Perception ◽  
Theoretical Work ◽  
Theory And Practice ◽  
The Bible ◽  
Theatrical Practice ◽  
A Performance

Artaud’s theatrical vision differs markedly from the representationalism and anthropocentrism of the “dramatic” theatrical tradition. Given the close relationality between theory and practice in Artaud’s work, this chapter puts his theatrical practice in conversation with his ground-breaking theoretical statements in The Theatre and its Double (1938), generally considered “the bible of modern theatre”. Sensory perception and affect are central to Artaud’s theatre. As the host of immunological tropes in his theoretical work shows, in Artaud’s theatre affect reaches the intensity of an epidemic. Instead of trying to fend off the anxiety that pervades modernity with dramatic representations, Artaud aims to physically and affectively immerse his audience in the sensory materiality and perpetual movement of the performance, co-producing spectators that experience themselves as physically and ontologically vulnerable. With Artaud’s notion of theatre as plague, the theatre as a performance of the spectators’ bourgeois politeness comes to an end. The immunitarian border shielding the spectators from contagion and violence or cruelty collapses. It is in his view of life as a universal force and in the use of heterogeneous theatrical tools that Artaud arguably becomes posthumanist.

The costume of MoCap: A spatial collision of velcro, avatar and Oskar Schlemmer

Scene ◽  
2014 ◽  
Vol 2 (1) ◽  
pp. 221-232
Author(s):  
Matt Delbridge
Keyword(s):  
Motion Capture ◽  
The Body ◽  
Human Form ◽  
Mathematical Properties ◽  
Victor Turner ◽  
Spatial Discourse ◽  
Screen Space ◽  
Contemporary Practice ◽  
A Performance

The rationale that governs motion of the organic in the cubical leans towards a transformation of the body in space, emphasizes its mathematical properties and highlights the potential to measure and plot movement – this is the work of a Motion Capture (MoCap) system. The translation in the MoCap studio from physical to virtual is facilitated by the MoCap suit, a device that determines the abstract cubical representation that drives first the neutral, and then the characterized avatar in screen space. The enabling nature of the suit, as apparatus, is a spatial phenomenon informed by Schlemmer’s abstract ‘native’ costume and his vision of the Tanzermensch as the most appropriate form to occupy cubical space. The MoCap suit is similarly native. It bridges the physical and virtual, provides a Victor Turner like threshold and connection between environments, enacting a spatial discourse facilitated by costume. This collision of Velcro, Avatar and Oskar Schlemmer allows a performance of space, binding historical modernity to contemporary practice. This performance of activated space is captured by a costume that endures, in Dorita Hannah’s words, despite the human form.

‘Reading’ the Actor: Performance, Presence, and the Synesthetic

1995 ◽  
Vol 11 (42) ◽  
pp. 135-146 ◽  
Author(s):  
Ian Watson
Keyword(s):  
Literary Text ◽  
Similar Relationship ◽  
Literary Reading ◽  
Theatrical Performance ◽  
A Performance ◽  
Performance Text

Despite the recognized value of semiotics in opening-out our perceptions of what constitutes the text of a performance, its literary associations have meant that most theatre semioticians concerned with reception cling to analogies between the literary reading act and the spectator's reception of a theatrical performance. For them, there is a conceptual as well as a metaphorical relationship between a literary text and what they term the performance text — and so, by implication, a similar relationship between how both are ‘read’. Taking these semioticians at their word, in the following article Ian Watson isolates the actor in the performance text, examines how s/he is read, and questions the attempts of scholars to ignore quality as an important component of this reading.

scholarly journals USE AND EFFECT OF COLORS IN THEATRICAL PERFORMANCE OF INDIAN CLASSICAL DANCES

2014 ◽  
Vol 2 (3SE) ◽  
pp. 1-2
Author(s):  
Bhavna Grover
Keyword(s):  
Life Style ◽  
Human Life ◽  
Daily Routine ◽  
Word Form ◽  
Special Significance ◽  
Theatrical Performance ◽  
The World ◽  
Theater Performances ◽  
A Performance

If seen in word form, the color is very small, but if it is thought, then it is contained in everything in the world. If there is no color then our life style does not exist. If there is color, then human life exists. It is believed that all colors are originally made from white color and the number of colors is calculated. Which is an important part of our daily routine. 'Rang' which gives an idea of ​​the personality of any person. Sometimes the image of a person gets imprinted on our brain due to color. Similarly, the theater of our Indian classical dances, in which colors have been used very beautifully. Whether it is the color of the dancer's costumes at the theater or the adjustment of colors by lighting, the colors together complete a performance. Therefore, color has a special significance in theater performances. रंग’ अगर शब्द रूप में देखा जाये तो बहुत छोटा है परन्तु यदि इसे सोचा जाए तो दुनिया की प्रत्येक वस्तु में निहित है। अगर रंग नही है तो हमारी जीवनचर्या का अस्तित्व ही नही है। रंग है तो मानव जीवन का अस्तित्व है। माना जाता है कि सभी रंग मूल रूप से श्वेत रंग से ही बने है और रंगों की संख्या अंगणित है। जो हमारी दैनिक दिनचर्या का महत्वपूर्ण हिस्सा है।‘रंग’ जिससे किसी भी व्यक्ति के व्यक्तित्व का आभास होता है। कभी-कभी तो व्यक्ति की छवि ही हमारे मस्तिष्क पर रंग के कारण अंकित हो जाती है। इसी प्रकार हमारे भारतीय शास्त्रीय नृत्यों की रंगमंचीय प्रस्तुति जिनमें रंगो का प्रयोग बहुत ही खूबसूरती से किया जाता रहा है। रंगमंच पर चाहे वह नर्तक की वेशभूषा के रंग हो अथवा प्रकाश व्यवस्था द्वारा रंगों का समायोजन, रंग ही मिलकर एक प्रस्तुति को पूर्ण करते हैं। अतः रंगमंच प्रस्तुति में रंग अपना एक विशेष महत्व रखते है।

‘I remember little. Almost nothing’. Participatory theatre as a means to access subjugated memories

2021 ◽  
pp. 175069802098204
Author(s):  
Katarzyna Niziołek
Keyword(s):  
Theoretical Concept ◽  
Public Knowledge ◽  
World War ◽  
Historical Discourse ◽  
Theatrical Performance ◽  
The First World War ◽  
History Of ◽  
Theatrical Practice ◽  
First World ◽  
Crucial Part

The article presents and discusses the interdisciplinary, collaborative and participatory research project Bieżenki. Thematically, the project is devoted to the history of the so-called bieżeństwo – a migration of people from eastern Poland during the First World War, forced by the retreating Russian Army, when the Germans broke through the eastern frontline in 1915. The stories of those refugees, among whom were a number of Rus’ peasants, and within that group, women with children (the term bieżenki signifies female war refugees), make up a crucial part of the regional history that has been largely absent from public knowledge and historical discourse. Methodologically, the project is based on participatory theatre that engages non-artists both as content providers, and on-stage performers. Theatrical practice has been used to collect the marginalised memories of bieżeństwo (as they are often kept and transmitted within family circles), and present them to the wider public in the form of theatrical performance. The project has also resulted in a theoretical concept of the assemblage of memory, inspired by and grounded in the creative process, which is briefly sketched out at the end of the article.

The Hidden and the Unspeakable: On Theatrical Culture, Oscar Wilde and Ernst Lubitsch‘s Lady Windermeres Fan

Film Studies ◽  
2004 ◽  
Vol 4 (1) ◽  
pp. 12-47 ◽  
Author(s):  
Charles Musser
Keyword(s):  
Motion Picture ◽  
Oscar Wilde ◽  
Artistic Practice ◽  
Film Exhibition ◽  
Fundamental Feature ◽  
Art Form ◽  
Theatrical Performance ◽  
History Of ◽  
Theatrical Practice ◽  
Theatrical Culture

The cinema is as much a theatrical form of entertainment as performance on the stage, a fact that is crucial to a full appreciation of Ernst Lubitsch‘s Lady Windermere‘s Fan (Warner Brothers, 1925). Particularly in the cinemas silent era (1895-1925), when motion picture exhibition relied on numerous performance elements, theatrical performance and film exhibition interpenetrated. This underscores a basic conundrum: cinema has been integral to, and an extension of, theatrical culture, even though it has also been something quite different - a new art form. Indeed, the unity of stage and screen was so well established that critics, theorists, historians and artists expended large amounts of intellectual energy distinguishing the two forms while paying little attention to what they held in common. One fundamental feature of theatrical practice that carried over into many areas of filmmaking was adaptation. For Lubitsch, adaptation was a central fact of his artistic practice. This article looks at the history of adaptations of Lady Windermere‘s Fan on stage and screen making reference to textual comparisons, public reception, painting, symbolism and queer readings.

Song of the Goat Theatre: Artistic Practice as Life Practice

2010 ◽  
Vol 26 (3) ◽  
pp. 261-272
Author(s):  
Anna Porubcansky
Keyword(s):  
Performance Practice ◽  
Artistic Practice ◽  
Cultural Traditions ◽  
The Social ◽  
Academic Publications ◽  
Experimental Theatre ◽  
Performance Development ◽  
And Performance ◽  
Jerzy Grotowski ◽  
A Performance

In this article Anna Porubcansky discusses the work of Song of the Goat Theatre not only in its artistic practice, but as a life practice. Based in Wrocław in Poland, the group continues a Polish tradition of experimental theatre practice as seen in the work of Juliusz Osterwa, Jerzy Grotowski, and Włodzimierz Staniewski. A fundamental influence on Song of the Goat has been the belief in Buddhism of its co-founders Grzegorz Bral and Anna Zubrzycki, which has shaped a performance practice rooted in the principles of interconnection and compassion. The group focuses its work on ‘coordination’, an approach that seeks to create a profound sense of harmony within and between each actor and every element of his or her work through training, improvising, and research on diverse songs, dances, myths, and rituals. Maintaining connection to the world through this material, Bral and Zubrzycki extend the group's artistic work through social projects such as the Brave Festival, which celebrates lost and dying cultural traditions in an attempt to create a performance practice that is actively integrated with the social world. Few academic publications are available on Song of the Goat, and this article draws on three years of extensive fieldwork with the company, utilizing interviews and personal observations of training, rehearsals, expeditions, and performance development for its most recent production, Macbeth. Anna Porubcansky is currently completing her PhD in the Department of Drama at Goldsmiths, University of London.

scholarly journals Bowling Together? Practices of Belonging and Becoming in a London Ten-Pin Bowling League

Sociology ◽  
2020 ◽  
Vol 54 (3) ◽  
pp. 518-533 ◽  
Author(s):  
Emma Jackson
Keyword(s):  
Urban Space ◽  
Sense Of Self ◽  
Ethnographic Study ◽  
The Body ◽  
Urban Spaces ◽  
Relational Practice ◽  
Theatrical Performance ◽  
A Performance

This article uses the case of an ethnographic study of a London ten-pin bowling alley to propose a framework of ‘practices of belonging and becoming’ for understanding convivial participation in urban space. Drawing insights from the bowling league, the article puts forward four propositions for rethinking belonging through bowling: as a practice that embeds people in place; as a relational practice experienced across time and place; as a performance that acts on the sense of self and the body; and as a theatrical performance that enriches and resonates through a scene. The article proposes that these four intertwined registers can be used beyond this example to advance dynamic theories of belonging and to enrich an understanding of the production of convivial urban spaces in the contemporary city.

scholarly journals Dramaturgia współtworzenia znaczeń wypowiedzi scenicznej. Na marginesie lektury Tekstów dla (Starego) Teatru Pawła Demirskiego

2021 ◽  
pp. 161-173
Author(s):  
Beata Popczyk-Szczęsna
Keyword(s):  
Characteristic Feature ◽  
Human Activities ◽  
Aesthetic Experience ◽  
Broad Sense ◽  
Creative Work ◽  
Starting Point ◽  
Theatrical Performance ◽  
Individual Knowledge ◽  
Mental Spaces ◽  
A Performance

The article deals with dramaturgy in the broad sense of the term – as a written creative work and the characteristic feature of human activities: artistic and social. The starting point for these discussions is the publication of an anthology of Paweł Demirski’s theatrical texts commissioned by the National Stary Theatre in Krakow. The book is an excellent testimony to stage creativity because it contains conversations with the author and actors about the stages of work in the performance. The article presents reflections on the dramaturgy of the process of creating a text and a theatrical performance, the characteristics of Paweł Demirski’s writing and the content arrangement in the anthology. Reading this book is a peculiar aesthetic experience and a challenge for the reader. The dramaturgy of the message leads to the dramaturgy of its reception: the reader updates and co-creates meanings of theatrical texts, according to individual knowledge and sensitivity. Aesthetic experience is shaped by combining different mental spaces: it is reading a text / seeing a performance.

‘Acting in the Real World’: Acting Methodologies, Power and Gender

2018 ◽  
Vol 43 (3) ◽  
pp. 258-271 ◽  
Author(s):  
EMMA WILLIS
Keyword(s):  
New Zealand ◽  
Real World ◽  
Sexual Offending ◽  
Professional Role ◽  
The Real ◽  
The Public ◽  
Abusive Behaviour ◽  
And Gender ◽  
A Performance

What does the #MeToo movement reveal about how acting is understood at the present time, both in practice and by the public at large? The claim of one convicted abuser, New Zealand acting coach Rene Naufahu, was that his sexual offending in the classroom was simply preparing his students for the ‘real world of acting’. Drawing from Elin Diamond's argument that dramatic realism does not simply reflect the real but in fact produces it, I examine how figures like Naufahu promulgate certain notions of acting in order to produce a reality that legitimates abusive behaviour. Furthermore, I suggest that this behaviour is often a performance of acting itself whereby the actor, director or coach, in a selectively self-reflexive manner, exploits their professional ‘role’ in order to exert power over their victim. I argue that one way of contesting real-world practices that rely on hegemonic assumptions of what acting is or should be is to redeploy the critical terminology of acting to analyse and expose such abuses for the acts that they are.

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