Interview with Milla Cozart Riggio, Angela Marino, and Paolo Vignolo

2022 ◽  
Vol 3 (1) ◽  
pp. 282
Author(s):  
Emily Ruth Allen
Keyword(s):  
Performance Studies ◽  
Trinity College ◽  
Associate Professor ◽  
University Of California ◽  
National University ◽  
And Performance ◽  
The University

Emily Ruth Allen interviews Milla Cozart Riggio, Angela Marino, and Paolo Vignolo on Festive Devils of the Americas (2015). Interview date: Feb 4, 2021 Milla Cozart Riggio is James J. Goodwin Professor of English Emerita at Trinity College. Angela Marino is Associate Professor in the Department of Theater, Dance, and Performance Studies at the University of California Berkeley. Paolo Vignolo is Associate Professor of History at the National University of Colombia, Bogota

scholarly journals Hanging Out with Cyclists

2016 ◽  
Vol 6 (3) ◽  
pp. 84-88
Author(s):  
Noam Shoked
Keyword(s):  
Los Angeles ◽  
Performance Studies ◽  
Art History ◽  
Architectural History ◽  
Associate Professor ◽  
Field Trips ◽  
University Of California ◽  
Art Practice ◽  
Art Students ◽  
And Performance

In 2014, architecture Professor Margaret Crawford and Associate Professor of Art Practice Anne Walsh taught the first University of California, Berkeley, Global Urban Humanities Initiative research studio course, called “No Cruising: Mobility and Identity in Los Angeles.” What occurred during the course had both varied and unexpected interpretations as ten students majoring in art practice, art history, architecture, and performance studies each selected a dimension of mobility they wished to identify on field trips to LA. One goal of these field trips, or research studios, was to get students out of their comfort zones to explore new approaches and methods. We encouraged students to draw on each others’ disciplines, so art students undertook archival research while architectural history students, like Noam Shoked, used interviews and photography to investigate contemporary conditions. The stories here are from Shoked as he comes to interpret and interact with the cyclist of LA.

The Childhood of Theatre: The Errant Method for an ‘Infant Public’

2021 ◽  
Vol 37 (1) ◽  
pp. 71-81
Author(s):  
Chiara Guidi ◽  
Dominika Laster
Keyword(s):  
New Mexico ◽  
Performance Studies ◽  
Associate Professor ◽  
University Of New Mexico ◽  
Experimental Activity ◽  
Artistic Experience ◽  
And Performance ◽  
Embodied Memory ◽  
The University ◽  
The Relationship

Chiara Guidi, along with Romeo and Claudia Castellucci, was one of the founders in 1981 of Societas Raffaello Sanzio (now renamed Societas), the Italian company that, above any other, has been at the forefront of the international theatre scene since the early 1980s. She was the soul of dramatic rhythm and vocal composition for the company’s productions, directing numerous plays and researching each actor’s spoken part. Author and producer of sound theatre since the 1990s, she has also created an intense artistic experience with children as part of her research and analysis of the relationship between voice and childhood, which has earned her several awards, including an Ubu Prize in 2013. In this interview1 she discusses the early projects of Societas Raffaello Sanzio, which explored immersive, environmental performances for and with children – a line of research within the company’s multidirectional and overlapping experimental activity that she led. Dominika Laster is Associate Professor of Theatre and Performance Studies at the University of New Mexico. She is the author of Grotowski’s Bridge Made of Memory: Embodied Memory, Witnessing and Transmission in the Grotowski Work (2016), and is Executive Co-Director of the ‘Performance in the Peripheries’ initiative (see https://www.performanceperipheries.com).

Design and Construction of the Concrete Canoe California II

1986 ◽  
Vol 23 (03) ◽  
pp. 271-275
Author(s):  
R. Cengiz Ertekin ◽  
Bradford A. Porter
Keyword(s):  
University Of California ◽  
And Performance ◽  
American Society ◽  
The University ◽  
Design Construction ◽  
Design And Construction ◽  
Civil Engineers

Student chapters of the American Society of Civil Engineers participate annually in a competition for the design, construction and performance of concrete canoes that meet certain minimum rule restrictions. This paper reports on the craft entered in the 1984 competition by students at the University of California/ Berkeley. The Berkeley team came in second in the men's and women's races and placed first in both design and construction.

Text and Stage: Shakespeare, Bibliography, and Performance Studies

1993 ◽  
Vol 9 (34) ◽  
pp. 179-191 ◽  
Author(s):  
Graham Holderness ◽  
Bryan Loughrey
Keyword(s):  
Performance Studies ◽  
Traditional Practices ◽  
Textual Studies ◽  
Stage Directions ◽  
Theatrical Practice ◽  
And Performance ◽  
Harvester Wheatsheaf ◽  
The University ◽  
Comparative Examination ◽  
Research Director

This article continues the debate initiated by Brian Parker, who in NTQ24 (1990) offered a critique of the new Oxford Shakespeare, and one of its editors, Stanley Wells, who responded in NTQ 26 (1991) with a defence of his departure from traditional practices of textual conflation. Here, Graham Holderness and Bryan Loughrey suggest that, on a closer examination, there is evidence that editorial intervention and conflation have been regularly employed in the Oxford edition: and in arguing against all such attempts to reconstruct ‘authoritative’ texts, they propose that, in their inevitable absence, the originals present the closest we are likely to approach to recreating the collaborative theatrical practice of Shakespeare's time. In illustrating the effects of editorial intervention from a close comparative examination of particular passages, they suggest, for example, that the stage directions make a shovel a likelier object of Hamlet's graveside contemplation than Yorick's skull. Graham Holderness, newly-appointed Professor and Dean of Humanities at the University of Hertfordshire, and Bryan Loughrey, Research Director at Roehampton Institute, have recently begun, through the Centre for Textual Studies, a programme of publishing accessible reprints of the important early editions, of which the first three have now appeared from Harvester Wheatsheaf.

scholarly journals Waves of Data

2016 ◽  
Vol 6 (3) ◽  
pp. 80-83
Author(s):  
Greg Niemeyer
Keyword(s):  
Public Health ◽  
Performance Studies ◽  
Human Activities ◽  
City Planning ◽  
University Of California ◽  
National Endowment ◽  
The Arts ◽  
And Performance ◽  
The City ◽  
Positive Effect

With Brittney Silva’s tragic May 2014 death fresh in everyone’s memory, the city of San Leandro began collaboration efforts between them and University of California, Berkeley to do something to make the city safer for pedestrians. A course was developed at UC Berkeley called Sensing Cityscapes, offered Fall 2015, aiming to collect data about human activities too often ignored. As part of the interdisciplinary UC Berkeley Global Urban Humanities Initiative, the class aimed to harness methods not just from city planning, engineering, and architecture, but from the humanistic disciplines, cognitive science, art, public health, and performance studies, bringing students together from each field. We now are bringing the installation back to the streets of San Leandro with the support of a National Endowment for the Arts (NEA) Our Town grant for a project called San Leandro Lights. Transferring the project from the lab back to the street, we hope that the positive effect for individuals we observed in the lab will remain, and that responsive lighting will create a dynamic culture of attention.

Shadows in the Sun: Context, Process, and Performance in Ethiopia

2012 ◽  
Vol 28 (3) ◽  
pp. 272-295
Author(s):  
Thomas Riccio
Keyword(s):  
Alaska Native ◽  
Addis Ababa ◽  
University Of Texas ◽  
The Arts ◽  
National University ◽  
And Performance ◽  
Local Traditions ◽  
National Transformation ◽  
The University ◽  
Artistic Director

Andegna (The First) was developed and performed during the fall and winter of 2009–10 in Addis Ababa, Ethiopia. This article examines the complex social, political, and cultural contexts that informed the training, workshops, and process of creating an ensemble and performance in a time of national transformation. Urbanization and the crossing currents of Africa, Islam, Christian Orthodoxy, capitalism, the West, and technology prompted the re-conceptualization of performance, its function, and expression. In this article Thomas Riccio highlights the methodologies of reinventing an indigenous performance that is respectful of local traditions yet contemporary and accessible. He discusses how performance provides a forum for revealing social, political, and cultural trauma, and itself becomes an act of affirmation – an assertion of protest and healing that makes visible, immediate, and tactile the histories and unresolved issues haunting modern Ethiopia. Thomas Riccio, is Professor of Performance and Aesthetic Studies at the University of Texas at Dallas, having previously been Professor of Theatre at the University of Alaska Fairbanks, Artistic Director of Chicago's Organic Theater Company, Resident Director and Dramaturg, the Cleveland Play House, Assistant Literary Director at the American Repertory Theatre, Visiting Professor at the University of Dar es Salaam and the Korean National University for the Arts, and Artistic Director of Tuma Theatre, an Alaska Native performance group. He has worked extensively in the area of indigenous performance, ritual, and shamanism, conducting workshops, research, and devising numerous performances in Africa, Russia, Siberia, Korea, China, Vietnam, and Alaska. He was declared a ‘Cultural Hero’ of the Sakha Republic in central Siberia.

Is Race-Based Medicine Good for Us?: African American Approaches to Race, Biomedicine, and Equality

2008 ◽  
Vol 36 (3) ◽  
pp. 537-545 ◽  
Author(s):  
Dorothy E. Roberts
Keyword(s):  
African American ◽  
Social Identity ◽  
Racial Differences ◽  
San Francisco ◽  
Public Discourse ◽  
Associate Professor ◽  
University Of California ◽  
The University ◽  
Based Medicine ◽  
Biological Category

Public discourse on race-specific medicine typically erects a wall between the scientific use of race as a biological category and the ideological battle over race as a social identity. Scientists often address the potential for these therapeutics to reinforce a damaging understanding of “race” with precautions for using them rather than questioning their very development. For example, Esteban Gonzalez Burchard, an associate professor of medicine and biopharmaceutical sciences at the University of California, San Francisco, states, “We do see racial differences between populations and shouldn’t just close our eyes. Unfortunately, race is a politically charged topic, and there will be evildoers. But the fear should not outweigh the benefit of looking.” Although it is recognized that ideology influences the social meaning of race, it is usually assumed that there is a separate, prior scientific understanding of race that is not contaminated by politics.

Making Knowledge/Playing Culture

2020 ◽  
Vol 40 (1-2) ◽  
pp. 83-101
Author(s):  
Antje Budde ◽  
Sebastian Samur
Keyword(s):  
Experiential Learning ◽  
Undergraduate Students ◽  
Performance Studies ◽  
Performing Arts ◽  
Undergraduate Research ◽  
Theoretical Background ◽  
Comparative Approach ◽  
University Of Toronto ◽  
And Performance ◽  
The University

(A project of the Digital Dramaturgy Lab at the Centre for Drama, Theatre and Performance Studies, University of Toronto) This article discusses the 2017 festival-based undergraduate course, “Theatre Criticism and Festival Dramaturgy in the Digital Age in the Context of Globalization—A Cultural-Comparative Approach” as a platform for experiential learning. The course, hosted by the University of Toronto’s Centre for Drama, Theatre and Performance Studies, and based on principles of our Digital Dramaturgy Lab, invited a small group of undergraduate students to critically investigate two festivals—the Toronto Fringe Festival and the Festival d’Avignon—in order to engage as festival observers in criticism and analysis of both individual performances and festival programming/event dramaturgy. We argue that site-specific modes of experiential learning employed in such a project can contribute in meaningful ways to, and expand, current discourses on festivalising/festivalization and eventification through undergraduate research. We focus on three modes of experiential learning: nomadic learning (learning on the move, digital mobility), embodied knowledge (learning through participation, experience, and feeling), and critical making (learning through a combination of critical thinking and physical making). The article begins with a brief practical and theoretical background to the course. It then examines historical conceptions of experiential learning in the performing arts, including theoriesadvanced by Burnet Hobgood, David Kolb and Ronald Fry, and Nancy Kindelan. The importance of the festival site is then discussed, followed by an examination of how the festivals supported thethree modes of experiential learning. Samples of student works are used to support this analysis.

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