Structure and Methodologies of Research in the Arnoldo Foà Archive

2021 ◽  
Vol 66 (2) ◽  
pp. 83-94
Author(s):  
Rosa Carbone
Keyword(s):  
Twentieth Century ◽  
Performing Arts ◽  
Historical Memory ◽  
High Potential ◽  
Main Study ◽  
Contemporary Theatre ◽  
Documentary Sources ◽  
Fundamental Information ◽  
Depth Study ◽  
History Of

"The focus of this paper is the presentation and description of the Arnoldo Foà archive and its importance as the main documentary source for studying the contemporary actor: through the analysis of the sources contained therein, in fact, it was possible to conduct an in-depth study of theatrical career of Arnoldo Foà. The work is part of the Phd in Storia delle Arti e dello Spettacolo (History of Cinema, Music, Fine and Performing Arts) in Florence, a context in which I carry out a research dedicated to the artistic profile of Arnoldo Foà, protagonist of the theater from the second half of the twentieth century. Starting from the description of the archive in which the research was conducted, some significant examples are examined that can demonstrate how archival sources have managed to reveal unpublished and fundamental information for the study. Furthermore, the value and the high potential that the archive assumes as the main study tool for the performing arts are highlighted. Keywords: contemporary theatre; performing arts; archiving systems; acting; artistic biography; documentary sources; recitative style; historical memory. "

Andres Neumann’s Theatrical Archive. Sources for the History of Contemporary Performing Arts

2021 ◽  
Vol 66 (2) ◽  
pp. 95-110
Author(s):  
Andrea Giovanni Strangio
Keyword(s):  
Twentieth Century ◽  
Performing Arts ◽  
First Year ◽  
Research Project ◽  
Contemporary Theatre ◽  
Peter Brook ◽  
History Of ◽  
University Of Florence ◽  
The University ◽  
Pina Bausch

"The paper, at the conclusion of the work conducted during the first year of the PhD course in Storia delle Arti e dello Spettacolo (History of Cinema, Music, Fine and Performing Arts) at the University of Florence, briefly describes the structure and content of the theatrical archive of Andres Neumann, preserved at the il Funaro Centro Culturale of Pistoia. The fund is a precious instrument of historiography, because it contains documents relating to the main plays of the international theatre of the last thirty years of the twentieth century. After having presented and discussed some examples of documentary types contained in the archive, in particular regarding Tadeusz Kantor and Anatoly Vasiliev, the paper illustrates the prospects for development of this research project. Keywords: Andres Neumann, contemporary theatre, Tadeusz Kantor, Peter Brook, Pina Bausch, Anatoly Vasiliev, il Funaro Centro Culturale, Rondò di Bacco. "

scholarly journals La institucionalización de la danza en la Facultad de Bellas Artes en Valdivia: Una historia desde la experiencia de sus bailarines, 1954-1976

2018 ◽  
pp. 125
Author(s):  
Carla Mella Barrientos
Keyword(s):  
Twentieth Century ◽  
Civil Society ◽  
Performing Arts ◽  
Fine Arts ◽  
University Funding ◽  
History Of ◽  
Personal Archives ◽  
Sociedad Civil ◽  
Siglo Xx ◽  
General Secretary

En el artículo se analiza el proceso de institucionalización universitaria de la danza disciplinaria en Valdivia a mediados del siglo XX. El objetivo es demostrar que su desarrollo surgió debido a la preocupación por la apertura de la cultura a la sociedad civil, entendida aquella como aquellos elementos educativos y artísticos de interés para el Estado chileno, los agentes privados y las municipalidades.El proceso de institucionalización de la danza corresponde a un periodo de transformaciones en torno a la comprensión de la necesidad de integrar en la academia valdiviana el arte escénico, lo que no estuvo alejado de problemas relativos al financiamiento universitario, desastres naturales e interés por parte de las autoridades de mantener el área. Las fuentes utilizadas corresponden a relatos orales de tres destacadas bailarinas vinculadas al campo de la danza en Valdivia, testimonios de carácter principal que encarnan las influencias de escuelas, corrientes y estéticas; documentos vinculados con la historia de la Facultad de Bellas Artes, extraídos del Archivo de la Secretaría General de la Universidad Austral de Chile, archivos personales y notas periodísticas del diario El Correo de Valdivia.Institutionalization of Dance in the Fine Arts faculty in Valdivia: A history from its dancers’ experience 1954-1976AbstractThis article analyzes the process of university institutionalization of disciplinary dance in Valdivia in the middle of Twentieth Century. The objective is to show that its development emerged due to the concern about the cultural opening to the civil society known as those educational and artistic elements of interest for the Chilean State, private agents, and municipalities. Such process of institutionalization takes place when people were transforming their understanding about the necessity to integrate Performing Arts in the Academy of Valdivia, which was not far away from problems as university funding, natural disasters, and the interest from authorities to maintain the area. Used sources correspond to verbal stories by three distinguished dancers connected to the dance field in Valdivia, important testimonies personifying influences of schools, trends, and aesthetics; documents related to the history of the Fine Arts Faculty and extracted from the General Secretary Archive of the Universidad Austral de Chile, personal archives, and journalist notes from El Correo de Valdivia newspaper.Keywords: Disciplinary dance, institutionalization, Faculty of Fine Artes, Universidad Austral de Chile.A institucionalização da dança na Faculdade de Belas-Artes em Valdivia: Uma história desde a experiência de seus bailarinos, 1954-1976ResumoNo artigo analisa-se o processo de institucionalização universitária da dança disciplinar em Valdivia em meados do século XX. O objetivo é demonstrar que seu desenvolvimento surgiu devido à preocupação pela abertura da cultura à sociedade civil, entendida como aqueles elementos educativos e artísticos de interesse para o Estado chileno, os agentes privados e as prefeituras. O processo de institucionalização da dança corresponde a um período de transformações ao redor da compreensão da necessidade de integrar na academia valdiviana a arte cénica, o que não esteve alheio aos problemas relacionados com financiamento universitário, desastres naturais e interesse por parte das autoridades de manter a área. As fontes utilizadas correspondem a relatos orais de três destacadas bailarinas ligadas ao campo da dança em Valdivia, testemunhos de caráter principal que encarnam as influências de escolas, correntes e estéticas; documentos ligados à historia da Faculdade de Belas-Artes, extraídos do Arquivo da Secretaria Geral da Universidade Austral do Chile, arquivos pessoais e recortes da imprensa pertencentes ao jornal O Correio de Valdivia.Palavras-chave: dança disciplinar, institucionalização, Faculdade de Belas-Artes, Universidade Austral do Chile

scholarly journals Introduction

2019 ◽  
Vol 44 (3) ◽  
pp. 291-295
Author(s):  
SEDA ILTER
Keyword(s):  
Performing Arts ◽  
Artistic Expression ◽  
Recent History ◽  
Political Environment ◽  
Contemporary Theatre ◽  
Performance Culture ◽  
Complex Picture ◽  
History Of ◽  
And Performance

The sociopolitical turbulence in the recent history of Turkey has radically affected the theatre and performance scene. In a climate of fear and repression, performing arts have been fighting for survival and developing ways to endure the dark times, to achieve freedom of artistic expression and open platforms for critical communication. This collection of articles considers contemporary theatre and performance in Turkey, reflecting on some of the complex issues that practitioners, academics and institutions have faced in the current political environment. Each author presents a part of the complex picture of theatre and performance culture in Turkey, and hopes to start a conversation about this oppressed, yet fertile, artistic landscape.

scholarly journals La institucionalización de la danza en la Facultad de Bellas Artes en Valdivia: Una historia desde la experiencia de sus bailarines, 1954-1976

2018 ◽  
pp. 125
Author(s):  
Carla Mella Barrientos
Keyword(s):  
Twentieth Century ◽  
Civil Society ◽  
Performing Arts ◽  
Fine Arts ◽  
University Funding ◽  
History Of ◽  
Personal Archives ◽  
Sociedad Civil ◽  
Siglo Xx ◽  
General Secretary

En el artículo se analiza el proceso de institucionalización universitaria de la danza disciplinaria en Valdivia a mediados del siglo XX. El objetivo es demostrar que su desarrollo surgió debido a la preocupación por la apertura de la cultura a la sociedad civil, entendida aquella como aquellos elementos educativos y artísticos de interés para el Estado chileno, los agentes privados y las municipalidades. El proceso de institucionalización de la danza corresponde a un periodo de transformaciones en torno a la comprensión de la necesidad de integrar en la academia valdiviana el arte escénico, lo que no estuvo alejado de problemas relativos al financiamiento universitario, desastres naturales e interés por parte de las autoridades de mantener el área. Las fuentes utilizadas corresponden a relatos orales de tres destacadas bailarinas vinculadas al campo de la danza en Valdivia, testimonios de carácter principal que encarnan las influencias de escuelas, corrientes y estéticas; documentos vinculados con la historia de la Facultad de Bellas Artes, extraídos del Archivo de la Secretaría General de la Universidad Austral de Chile, archivos personales y notas periodísticas del diario El Correo de Valdivia.Palabras clave: danza disciplinaria, institucionalización, Facultad de BellasArtes, Universidad Austral de ChileInstitutionalization of Dance in the Fine Arts faculty in Valdivia: A history from its dancers’ experience 1954-1976AbstractThis article analyzes the process of university institutionalization of disciplinary dance in Valdivia in the middle of Twentieth Century. The objective is to show that its development emerged due to the concern about the culturalopening to the civil society known as those educational and artistic elementsof interest for the Chilean State, private agents, and municipalities. Such process of institutionalization takes place when people were transforming their understanding about the necessity to integrate Performing Arts in the Academy of Valdivia, which was not far away from problems as university funding, natural disasters, and the interest from authorities to maintain the area. Used sources correspond to verbal stories by three distinguished dancers connected to the dance field in Valdivia, important testimonies personifying influences of schools, trends, and aesthetics; documents related to the history of the Fine Arts Faculty and extracted from the General Secretary Archive of the Universidad Austral de Chile, personal archives, and journalist notes from El Correo de Valdivia newspaper.Keywords: Disciplinary dance, institutionalization, Faculty of Fine Artes, Universidad Austral de ChileA institucionalização da dança na Faculdade de Belas-Artes em Valdivia: Uma história desde a experiência de seus bailarinos, 1954-1976ResumoNo artigo analisa-se o processo de institucionalização universitária da dança disciplinar em Valdivia em meados do século XX. O objetivo é demonstrar que seu desenvolvimento surgiu devido à preocupação pela abertura da cultura à sociedade civil, entendida como aqueles elementos educativos e artísticos de interesse para o Estado chileno, os agentes privados e as prefeituras. O processo de institucionalização da dança corresponde a um período de transformações ao redor da compreensão da necessidade de integrar na academia valdiviana a arte cénica, o que não esteve alheio aos problemas relacionados com financiamento universitário, desastres naturais e interesse por parte das autoridades de manter a área. As fontes utilizadas correspondem a relatos orais de três destacadas bailarinas ligadas ao campo da dança em Valdivia, testemunhos de caráter principal que encarnam as influências de escolas, correntes e estéticas; documentos ligados à historia da Faculdade de Belas-Artes, extraídos do Arquivo da Secretaria Geral da Universidade Austral do Chile, arquivos pessoais e recortes da imprensa pertencentes ao jornal O Correio de Valdivia.Palavras-chave: dança disciplinar, institucionalização, Faculdade de Belas-Artes, Universidade Austral do Chile

scholarly journals An Electronic Сatalogue of Slobozhanshchina Icons of the Late 18th – Early 20th Centuries: Prerequisites for Creation, Purposes, Functions

2021 ◽  
pp. 109-117
Author(s):  
И.В. Краснова
Keyword(s):  
Twentieth Century ◽  
Cultural Heritage ◽  
Significant Part ◽  
History Museum ◽  
Documentary Sources ◽  
Great Patriotic War ◽  
History Of ◽  
The Creation ◽  
Private Collections ◽  
The Way

В статье обосновывается необходимость создания виртуального каталога слобожанских икон и ставится цель разработки основных характеристик проектируемой электронной коллекции. Проведен анализ документальных источников, использованы результаты исследований российских и украинских ученых. Исследована история музеев Слободской Украины, собиравших произведения иконописи, изучено влияние событий ХХ в. на иконописное наследие Слобожанщины, которое вследствие атеистической кампании 1930-х гг. и действий оккупантов в период Великой Отечественной войны утратило единство и оказалось раздробленным между многочисленными музейными и частными коллекциями. Данный фактор, а также несомненная уникальность региональной иконописной традиции стали предпосылками к разработке концепции электронного каталога, который призван объединить все сохранившиеся на сегодняшний день произведения слобожанской иконописи. The article substantiates the need to create a virtual catalogue of Slobozhanshchina (Sloboda Ukraine) icons and sets the aim of developing the main characteristics of the projected electronic collection. Based on the use of systemic-historical and historical-genetic methods, documentary sources were analysed, the results of research of Russian and Ukrainian historians and culture scientists were studied. The history of museums in Sloboda Ukraine, which collected works of icon painting, is considered; special attention is paid to the Historical and Church Museum. Until the revolutionary events of 1917, this museum’s collections were constantly replenished with new exhibits. The history of the creation of the Museum of Ukrainian Art and the Central Art and History Museum named after Gregory Skovoroda (Museum of Sloboda Ukraine) is analysed. The influence of the events of the twentieth century on the icon-painting heritage of Sloboda Ukraine is considered. This heritage, as a result of the atheistic campaign of the 1930s and the actions of the occupiers during the Great Patriotic War, lost unity and was fragmented between numerous museum and private collections. The consequences of the German fascist invaders’ plunder of the museums of Sloboda Ukraine were especially grave: hundreds of thousands of exhibits were destroyed or taken out of the country. The fact of huge and often irreparable losses in the cultural heritage of Sloboda Ukraine by the middle of the twentieth century is stated. At present, the museums of Sloboda Ukraine have already collected a significant part of icon-painting works (about 500), but this number is not comparable with the richest heritage of Sloboda Ukraine of the beginning of the twentieth century. The author emphasises that a certain number of Slobozhanshchina icons continue to remain in churches and private collections in both Ukraine and Russia. Information about icons received from individuals is insufficient for attribution and museum documentation compilation, so many of the icons have not yet been fully introduced into museum circulation. The way out of this situation, according to the author, is to create an electronic catalogue of Slobozhanshchina icons, which will be a database of icon-painting works from museum and private collections with texts and images. The concept of the electronic catalogue has been developed. The catalogue is designed to unite all the works of Slobozhanshchina icon painting that have survived to date.

Return to the City of Joseph

2018 ◽  
Author(s):  
Scott C. Esplin
Keyword(s):  
Twentieth Century ◽  
Social History ◽  
Jesus Christ ◽  
Mississippi River ◽  
Historical Memory ◽  
Latter Day Saints ◽  
Community Members ◽  
Joseph Smith ◽  
History Of ◽  
The City

In the 1840s, Nauvoo, Illinois, was a religious boomtown, the headquarters for The Church of Jesus Christ of Latter-day Saints (Mormonism), a controversial religion whose theology, social practices, and solidarity led to cultural conflict. By the mid-1840s, Joseph Smith, the religion’s prophet-leader, was killed, and thousands of Mormons relocated west to Utah. During the twentieth century, the Latter-day Saints returned to their former headquarters in Nauvoo, Illinois, in a dramatic way. Acquiring nearly half of the property in the city, the faith transformed the sleepy Mississippi River town into a historical re-creation of its earlier splendor. However, as it did in the nineteenth century, Mormonism’s presence in western Illinois in the twentieth century created conflict. Competing groups, including the religion’s sister faith, the Reorganized Church of Jesus Christ, offered a rival interpretation of Nauvoo’s past. Additionally, community members without a connection to either branch of Mormonism sought to preserve their own rich history in the city. Return to the City of Joseph: Modern Mormonism’s Contest for the Soul of Nauvoo examines the conflicts over historical memory that have developed as Mormonism returned to western Illinois. It focuses on the social history of the community, examining interactions between groups impacted by Mormonism’s touristic takeover. In a broader way, it also intersects with studies of historical tourism and pilgrimage.

‘So Many Things Can Go Together’: the Theatricality of John Cage

1995 ◽  
Vol 11 (41) ◽  
pp. 72-78 ◽  
Author(s):  
Natalie Crohn Schmitt
Keyword(s):  
Twentieth Century ◽  
Performing Arts ◽  
Japanese Journal ◽  
Performance Theory ◽  
John Cage ◽  
University Of Illinois ◽  
Contemporary Theatre ◽  
The Arts ◽  
Theatrical Performance ◽  
The University

John Cage (1912–1993) is widely regarded as one of the most pervasively influential figures in the arts in the latter half of the twentieth-century. Although best known as a composer, Cage expanded perceptions of what could constitute theatrical performance, and in this essay Natalie Crohn Schmitt assesses the nature and significance of Cage's intermedia performances and their immediate influence on other such work. Natalie Crohn Schmitt's Actors and Onlookers: Theater and Twentieth-Century Scientific Views of Nature (Northwestern UP, 1990) is an analysis of contemporary theatre based on Cage's aesthetics, and essays of hers on Cage have appeared in other journals and in anthologies devoted to the artist. She has previously written in NTQ on Stanislavski (NTQ 8) and on performance theory in its historic moment (NTQ 23). Schmitt is Professor of Performing Arts and Professor of English the University of Illinois at Chicago. This essay was originally published in a slightly different form in Japanese in a Cage commemorative issue of the Japanese journal Music Today.

Bohemian Rhapsodist: Antonín Dvořák's Píseň bohatýrská and the Historiography of Czech Music

2016 ◽  
Vol 40 (2) ◽  
pp. 159-181 ◽  
Author(s):  
Christopher Campo-Bowen
Keyword(s):  
Twentieth Century ◽  
Focal Point ◽  
Late Nineteenth Century ◽  
Program Music ◽  
Symphonic Poem ◽  
Tone Poems ◽  
Czech Music ◽  
Depth Study ◽  
History Of ◽  
Critical Discourses

Standard histories of Antonín Dvořák's life have largely ignored his output in the field of the symphonic poem, especially his final work in the genre, Píseň bohatýrská (Heroic Song). Composed in 1897 after four other tone poems explicitly based on poems by the Czech writer and ethnographer Karel Jaromír Erben, this piece features a much more abstract program and depicts the life, travails, and ultimate victory of a Slavonic bardic hero, assumed by many to be the composer himself. It premiered in late 1898 and early 1899 in Vienna and Prague, respectively, inviting mostly favorable reviews and performances in many other European cities before sliding into obscurity after the turn of the twentieth century. I situate Píseň bohatýrská in both the context of Dvořák's larger output and the critical discourses of the late nineteenth century, using it as a focal point to examine not only Dvořák's mythologized image as a composer at the fin de siècle, but the history of the symphonic poem, the politics of the Vienna-Prague critical axis, and the hardening of critical orthodoxy in the twentieth century. Through an in-depth study of Píseň bohatýrská's reception, I reveal a picture of Dvořák at once familiar and unfamiliar: as the naive, spontaneously creative absolute musician at odds, in the eyes of the critics, with the unfamiliar territory of the symphonic poem, and as a specifically Czech musician who was nevertheless placed in the same masculinized, Germanocentric composer-hero lineage of genius as Beethoven and Liszt. Nevertheless, the understanding of Dvořák as absolute Czech musician par excellence ultimately triumphed, weathering the assaults of his program music to survive into the present. This article provides a new understanding of the complexity of Dvořák's image near the end of his life, inviting a reconsideration of the composer.

scholarly journals La institucionalización de la danza en la Facultad de Bellas Artes en Valdivia: Una historia desde la experiencia de sus bailarines, 1954-1976

2018 ◽  
pp. 125
Author(s):  
Carla Mella Barrientos
Keyword(s):  
Twentieth Century ◽  
Civil Society ◽  
Performing Arts ◽  
Fine Arts ◽  
University Funding ◽  
History Of ◽  
Personal Archives ◽  
Sociedad Civil ◽  
Siglo Xx ◽  
General Secretary

En el artículo se analiza el proceso de institucionalización universitaria de la danza disciplinaria en Valdivia a mediados del siglo XX. El objetivo es demostrar que su desarrollo surgió debido a la preocupación por la apertura de la cultura a la sociedad civil, entendida como aquellos elementos educativos yartísticos de interés para el Estado chileno, los agentes privados y las municipalidades. El proceso de institucionalización de la danza corresponde a un periodo de transformaciones en torno a la comprensión de la necesidad de integrar en la academia valdiviana el arte escénico, lo que no estuvo alejado de problemas relativos al financiamiento universitario, desastres naturales e interés por parte de las autoridades de mantener el área. Las fuentes utilizadas corresponden a relatos orales de tres destacadas bailarinas vinculadas al campo de la danza en Valdivia, testimonios de carácter principal que encarnan las influencias de escuelas, corrientes y estéticas; documentos vinculados con la historia de la Facultad de Bellas Artes, extraídos del Archivo de la Secretaría General de la Universidad Austral de Chile, archivos personales y notas periodísticas del diario El Correo de Valdivia.Institutionalization of Dance in the Fine Arts faculty in Valdivia: A history from its dancers’ experience 1954-1976AbstractThis article analyzes the process of university institutionalization of disciplinary dance in Valdivia in the middle of Twentieth Century. The objective is to show that its development emerged due to the concern about the cultural opening to the civil society known as those educational and artistic elements of interest for the Chilean State, private agents, and municipalities. Such process of institutionalization takes place when people were transforming their understanding about the necessity to integrate Performing Arts in the Academy of Valdivia, which was not far away from problems as university funding, natural disasters, and the interest from authorities to maintain the area. Used sources correspond to verbal stories by three distinguished dancers connected to the dance field in Valdivia, important testimonies personifying influences of schools, trends, and aesthetics; documents related to the history of the Fine Arts Faculty and extracted from the General Secretary Archive of the Universidad Austral de Chile, personal archives, and journalist notes from El Correo de Valdivia newspaper.Keywords: Disciplinary dance, institutionalization, Faculty of Fine Artes, Universidad Austral de Chile.A institucionalização da dança na Faculdade de Belas-Artes em Valdivia: Uma história desde a experiência de seus bailarinos, 1954-1976ResumoNo artigo analisa-se o processo de institucionalização universitária da dança disciplinar em Valdivia em meados do século XX. O objetivo é demonstrar que seu desenvolvimento surgiu devido à preocupação pela abertura da cultura à sociedade civil, entendida como aqueles elementos educativos e artísticos de interesse para o Estado chileno, os agentes privados e as prefeituras. O processo de institucionalização da dança corresponde a um período de transformações ao redor da compreensão da necessidade de integrar na academia valdiviana a arte cénica, o que não esteve alheio aos problemas relacionados com financiamento universitário, desastres naturais e interesse por parte das autoridades de manter a área. As fontes utilizadas correspondem a relatos orais de três destacadas bailarinas ligadas ao campo da dança em Valdivia, testemunhos de caráter principal que encarnam as influências de escolas, correntes e estéticas; documentos ligados à historia da Faculdade de Belas-Artes, extraídos do Arquivo da Secretaria Geral da Universidade Austral do Chile, arquivos pessoais e recortes da imprensa pertencentes ao jornal O Correio de Valdivia.Palavras-chave: dança disciplinar, institucionalização, Faculdade de Belas-Artes, Universidade Austral do Chile

Stage visions and strategies of contemporary performing practices – a broadly conceived analysis of the phenomena at the intersection of theory and practice: Valentina Valentini, Worlds, Bodies, Matters: Theatre of the Late Twentieth Century

Maska ◽  
2015 ◽  
Vol 30 (175) ◽  
pp. 146-149
Author(s):  
Nika Arhar
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Performing Arts ◽  
Visual Art ◽  
The Body ◽  
Theory And Practice ◽  
Complex Field ◽  
Contemporary Theatre ◽  
Late Twentieth ◽  
Late Twentieth Century

The first book in the new series Thinking Through Performance offers a mental feat of a concise survey of numerous performances by various artists and theatrical and philosophical concepts, which the author, Valentina Valentini, also observes within the fields of other disciplines. Three basic lines of investigation bring forth the visions of contemporary theatre worlds, their images and the strategies of their establishment, the expansion of the field while blurring the boundaries between visual art, the performative and new media, as well as the transformation of the actor into the autonomous body of the performer and the body that becomes plural, open, hybrid, space itself. With its in-depth and wide-ranging probing of the key phenomena in contemporary performing arts, its taking into account diverse perspectives, and its fragmentary approach within a complex field, the author has created a productive foundation for new starting-points and understandings in the dialogue between theory and practice.

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