Is Dearth a Little or a Lot?

2021 ◽  
Vol 187 ◽  
pp. 20-25
Author(s):  
Amelia Ehrhardt ◽  
Jenn Goodwin ◽  
Cathy Gordon
Keyword(s):  
The Future ◽  
Art Forms ◽  
Literary Device ◽  
Live Art ◽  
Multidisciplinary Perspective ◽  
A Performance

In the format of an interpolated Zoom transcript, former SummerWorks Curators Amelia Ehrhardt, Jenn Goodwin, and Cathy Gordon discuss the disciplining and undisciplining of SummerWorks Performance Festival between 2015 and 2019. The authors came to SummerWorks as specific curators of the dance and live-art streams and watched the festival grow from being a theatre-focused festival known to invite other art forms to a performance festival focused on a multidisciplinary perspective. Ehrhardt, Goodwin, and Gordon discuss the festival’s transition and specific works that exemplified their curatorial lenses-Ehrhardt and Goodwin from dance and Gordon from live art. "Is Dearth a Little or a Lot?" reads conversationally with an editorial voice interrogating the transcript, checking facts, or chiming in with context like a pop-up-video-style literary device. The authors question the function and outcome of creating discipline-specific streams for artists, audiences, and the structure of the festival and discuss hopes for the future of an undisciplined festival.

The show must go on

2020 ◽  
Vol 22 (5) ◽  
pp. 42-42
Author(s):  
Karen Hart
Keyword(s):  
The Future ◽  
A Performance

As a performance storyteller for children of all ages, Craig Jenkins had to shift his performances online when coronavirus struck. He tells Karen Hart how these sessions swiftly sold out and how this has fuelled his plans for the future.

Like a Girl's Name

2012 ◽  
Vol 56 (1) ◽  
pp. 48-76
Author(s):  
Anna Watkins Fisher
Keyword(s):  
Feminist Art ◽  
The Future ◽  
A Performance

What if the future of feminist art lay not in images of self-mastery, dignity, and maturity but rather in performances of teen regression? Adolescent drag designates a performance of irony, awkwardness, and equivocality that expands the identificatory repertoire available to a generation of women who are said to have inherited from Western feminism.

Work in Progress: Rimini Protokoll's Karl Marx: Capital, First Volume and the Experience of the Future on Stage

2009 ◽  
Vol 34 (2) ◽  
pp. 153-158
Author(s):  
BJÖRN FRERS
Keyword(s):  
Karl Marx ◽  
Work In Progress ◽  
The Past ◽  
Scientific Approach ◽  
The Future ◽  
A Performance

This article examines how the future is expressed and experienced in the theatre. Referring to the performance Karl Marx: Capital, First Volume by the German artistic collective Rimini Protokoll, the article exemplifies the relation between the past, the present and the future, showing how the different layers of time are interrelated. The performers involved are not professional actors but so-called ‘experts’, whose lives are connected to Marx's Capital in different ways. Based on the experts’ biographies, the performance not only offers a rereading of Marx's ideology, but also shows similarities between Rimini Protokoll's artistic and Marx's scientific approach, between the conceptualization of one's life and watching a performance in theatre.

The Third Manifesto: ‘We Shall Come to See’

1988 ◽  
Vol 4 (14) ◽  
pp. 120-121
Author(s):  
John Andreasen
Keyword(s):  
Avant Garde ◽  
The Third ◽  
The Past ◽  
The Future ◽  
Art Forms ◽  
Science And Politics ◽  
The University ◽  
Changing Society

In June 1985, a fortnight's discussions on ‘The Theatre in the Future’ were held as part of the Fools' Festival in Copenhagen. The seminars discussed the position of theatre and its possibilities in a rapidly changing society, often from deeply opposed positions – socially engaged versus wildly avant-garde, verbal versus imagistic, anthropological versus robotic, and so on. Participants were an exciting mix of professional performers of many kinds, plus theatre critics and ‘ordinary’ engaged people, who for two weeks exchanged experiences and visions of theatre in conjunction with other art forms, and with science and politics. The manifesto below was the contribution to these seminars of John Andreasen, a veteran of ‘sixties happenings, who has subsequently concentrated on street and environmental theatre, and for the past twelve years has taught and directed in the Drama Department of the University of Aarhus.

Experiencing Expectation: Perceiving the Future in Performance

2009 ◽  
Vol 34 (2) ◽  
pp. 166-172
Author(s):  
JOY KRISTIN KALU
Keyword(s):  
Complex System ◽  
Aesthetic Experience ◽  
Wooster Group ◽  
The Past ◽  
Emergent Phenomena ◽  
The Future ◽  
The Aesthetic ◽  
A Performance ◽  
The Hamlet

This article examines the realization of the future in performance through aesthetic experience. Following the historian Reinhardt Koselleck, who introduces the category of ‘experience’ as the present past, and ‘expectation’ as the present future, in order to formulate a theory of possible histories, I examine the interconnection of different time layers and the potentiality of a performance. I argue that every performance constitutes a space of possibility, defined by a permeation of traces of the past and the future, emergent phenomena characteristic of performance, and a dimension of future inherent in the performative materiality. Hamlet by New York's Wooster Group serves as an example for an analysis focusing on the aesthetic experience of the future in performance. The Hamlet performance proves exceptionally suitable, since the staging is based on a theatrical repetition of the film document of a Hamlet performance long past, and unfolds a complex system of past and future bound time layers.

scholarly journals The future of technology and marketing: a multidisciplinary perspective

2019 ◽  
Vol 48 (1) ◽  
pp. 1-8 ◽  
Author(s):  
Dhruv Grewal ◽  
John Hulland ◽  
Praveen K. Kopalle ◽  
Elena Karahanna
Keyword(s):  
The Future ◽  
Multidisciplinary Perspective

Beyond Religious Studies? The Future of the Study of Religion in a Multidisciplinary Perspective

2017 ◽  
Vol 71 (1) ◽  
pp. 74-85 ◽  
Author(s):  
David Chidester
Keyword(s):  
Religious Studies ◽  
Historical Contingency ◽  
Multidisciplinary Research ◽  
Spatial Sense ◽  
The Future ◽  
Multidisciplinary Perspective ◽  
Material Religion

Abstract Looking beyond religious studies, not in a temporal but in a spatial sense, this brief essay identifies openings for multidisciplinary research and reflection in the study of material religion. The discussion focuses on categories, formations, and circulations—the historical contingency of basic categories of religion, the colonial and imperial forces in formations of religion, and the mobility of materiality in circulations of religion. By attending to these dynamics and highlighting recent publications in the field, this essay indicates some of the ways in which the ‘beyond’ is already present in the study of religion.

Response: Men with a past

2007 ◽  
Vol 19 (1) ◽  
pp. 85-89
Author(s):  
THOMAS W. LAQUEUR
Keyword(s):  
Nineteenth Century ◽  
Paris Opera ◽  
The Future ◽  
The Voice ◽  
A Performance

It seems a very long way from a dog howling in pain on François Magendie’s laboratory table in 1816 to Gilbert-Louis Duprez’s more-or-less novel accomplishment at the Paris Opéra two decades later: the tenor’s high C from the chest; the darkened voice; the sound of the future first heard in a performance of Guillaume Tell. Most obviously, the sounds of the dog were horrible and horrifying. When Magendie’s teacher, the great Xavier Bichat, tried the experiment some years earlier, his cleaning lady asked to move her chambers from near the scene because she could not bear the dog’s cries. Duprez’s sound was, arguably, beautiful; at least some people thought so, even if two doctors, driven to study the physiology of singing by the occasion, claimed that most people thought the voice was forced and false. Whether it was ‘pathological’ or not – I’d prefer, at worse, ‘pathogenic’ in the sense that so many unnatural new activities of the nineteenth century, like sitting long hours at a desk or riding on a train, were thought to make one ill – the tenor’s high C did, even its detractors admitted, ‘transport and dominate with its power’. It was musical and in the minds of many opened up radically new interpretative possibilities.

Anticipating the End: Thoughts on the Spectator and the Temporality of Dasein.

2009 ◽  
Vol 34 (2) ◽  
pp. 109-115 ◽  
Author(s):  
BENJAMIN WIHSTUTZ
Keyword(s):  
Forced Entertainment ◽  
Live Art ◽  
The Spectator ◽  
A Performance

This article examines the relation between the anticipating spectator and the transitoriness of theatre from an existentialist viewpoint. Referring to Heidegger's concept of ‘the anticipation of death’ (Vorlaufen), it is argued that any anticipation of the end of a performance is capable of reflecting temporality as a whole. In this regard, the performances of the English live art group Forced Entertainment exemplify how to bring the temporality of Dasein into the limelight.

scholarly journals The problem of artistic image creating in the process of a teacher artist training

2021 ◽  
Vol 113 ◽  
pp. 00028
Author(s):  
V.A. Vardanyan ◽  
S.V. Shishkina ◽  
N.V. Matveeva
Keyword(s):  
Life Experience ◽  
Future Teacher ◽  
Art Form ◽  
Pedagogical Development ◽  
The Future ◽  
Art Forms ◽  
University Training ◽  
Artistic Image

The article deals with the problem of artistic image creating in the students’ creative works as a productive source of an artistic-pedagogical development of the future teacher artist. An artistic image is the basis of any art form and occupies the leading part in the artwork as it has a vast and significant esthetic value, demonstrating the result of an artist life experience display. The analysis of the theoretical sources, university training internship and the process of creative works fulfillment in different art forms brought to light the undervaluation of the necessity of scientifically grounded pedagogical grounds creation which will allow to the utmost prepare the students to the artistic image creating. This determines the relevance of the ways developing of students’ readiness to create an artistic image and its implementation in creative activities.

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