scholarly journals Investigación en el entorno de la pandemia: un ejercicio de reflexión

2021 ◽  
Vol 1 (12) ◽  
pp. 40-46
Author(s):  
Leonel De Gunther Delgado ◽  
Arturo Valencia Ramos ◽  
Diana Brenscheidt Gennant Jost
Keyword(s):  
Performance Studies ◽  
Complex Phenomenon ◽  
The Arts ◽  
Access To Knowledge ◽  
Ways Of Being

En este artículo se ofrece una reflexión sobre las consecuencias de la pandemia en la investigación en las humanidades y las artes. Se analiza como un fenómeno complejo, es decir, tejido en conjunto con otros datos, hechos o fenómenos, cuyas características visibles lo colocan como un fenómeno que no hemos pensado bien, sin nombre conocido, fuera de las disciplinas y sin normas conocidas, cuyo abordaje requiere algo más que la sola cognición disciplinada. Seguimos para su desarrollo una estrategia dialéctica, como un medio de acceso al conocimiento, no lógico; sino como dispositivo epistemológico. Se analizan en forma de preguntas las bifurcaciones que derivan de las condiciones de la pandemia y ejemplificamos a partir de los estudios de performance y sociológicos, como dispositivos teóricos, una variedad de manifestaciones artísticas en línea que nos permiten preguntarnos por el surgimiento de nuevas formas de ser (fenómenos humanos o artísticos) e, incluso, de un nuevo modo de ser investigador en las humanidades y las artes.   Abstract This paper reflects the consequences of the pandemic on research in the humanities and the arts. First, it is analyzed as a complex phenomenon woven together with other data, facts, or phenomena. Its visible characteristics place it as a phenomenon that we have not thought of well, without a known name, outside disciplines, and without known norms, whose approach requires more than just disciplined cognition. Second, we follow a dialectical strategy for its development, as a means of access to knowledge, not logical but as an epistemological device. Third, we analyze in the form of questions the bifurcations that derive from the conditions of the pandemic. Finally, we exemplify from performance studies and sociological ones, as theoretical devices, various artistic manifestations online. Both allow us to ask about the emergence of new ways of being (human or artistic phenomenons) and new ways of being a researcher in the humanities and the arts.

A Performative Memoric Investigation of YoungGiftedandFat

2016 ◽  
Vol 5 (1) ◽  
pp. 51-62
Author(s):  
Sharrell D. Luckett ◽  
Audrey Edwards ◽  
Megan J. Stewart
Keyword(s):  
African American ◽  
Performance Studies ◽  
African American Females ◽  
Stage Manager ◽  
The Arts ◽  
Assistant Director ◽  
Power Negotiations ◽  
Research Collective

In 2013, Sharrell D. Luckett formed the Performance Studies & Arts Research Collective, which encourages members to explore their identities through the arts. Around this time, Audrey Edwards and Megan J. Stewart—both African American females and Collective members—became interested in autoethnography, and Luckett invited them to study closely with her. In this performative essay, Luckett, Edwards, and Stewart implicitly highlight various power negotiations enacted as professor/student, actress/stage manager, actress/assistant director, and mentor/mentee, while all working on their own autoethnographies, and while working collectively on Luckett's autoethnographic performance: YoungGiftedandFat.

Positionality and Performance: Staging Antony and Cleopatra for South African schools in the context of decolonisation imperatives

2020 ◽  
Vol 33 ◽  
Author(s):  
Néka Da Costa
Keyword(s):  
South African ◽  
Performance Studies ◽  
Antony And Cleopatra ◽  
Pedagogical Strategies ◽  
Short Supply ◽  
Children's Theatre ◽  
The Arts ◽  
Dialogic Approach ◽  
African Context ◽  
And Performance

Since the start of the #RhodesMustFall and #FeesMustFall campaigns in 2015–16, decolonisation has been a prominent topic in the South African academy. Yet practical guidance as to how one might start to apply decolonisation and transformation strategies tangibly, both in education and pedagogy – and, more precisely for the purposes of this article, in theatre and performance spaces – has been in short supply. By adopting a dialogic approach which prioritises the voices of her collaborators, the author contextualises and critiques some of the key creative, philosophical and pedagogical strategies employed while rehearsing and performing a school’s touring production of Antony and Cleopatra for the National Children’s Theatre in 2018. Shakespeare is a symbol of colonial and imperial legacies, and the relevance of his work in both English and Performance Studies curricula merits scrutiny, as does the way in which we discuss, teach, perform and value it. Through an unfolding acknowledgement of the author’s own positionality in relation to the text and its performance in a contemporary South African context, this article exemplifies some of the contradictions and productive discoveries of the Antony and Cleopatra process, in the hopes of contributing to a more action-based approach to decolonisation and social justice in practising the arts and in arts education.

What if we think of the classroom as a work of art? Performance, collaboration, and social engagement considered as pedagogic practices

2020 ◽  
pp. 147402222096694
Author(s):  
Theron Schmidt
Keyword(s):  
Performance Studies ◽  
Social Engagement ◽  
Visual Art ◽  
Art Practice ◽  
Work Of Art ◽  
Performance Practices ◽  
Arts And Humanities ◽  
Socially Engaged Art ◽  
The Arts ◽  
Pedagogic Practices

This article brings into relation critical perspectives and practical tactics from a range of different fields—performance studies, visual art practice, pedagogy and educational theory, and activism and community organising—in order to create some space for re-imagining what might be possible within the dynamics of the Higher Education classroom. It proceeds through a series of speculative modes: ‘what if we think of the classroom as a market?’, which for many is the currently dominant metaphor under neoliberalist economies; ‘what if we think of the work of art as a classroom?’, which traces the recent ‘pedagogical’ or ‘educational’ turn in visual art practice; and finally, ‘what if we think of the classroom as a work of art?’, in which the creative impulses and tactics drawn from performance practices, activism and community organising, and socially engaged art are speculatively applied to the arts and humanities classroom.

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.

Preparing Students to Engage the Arts in the 21st Century

2015 ◽  
pp. 188-204
Author(s):  
Jeffrey M. Morris
Keyword(s):  
21St Century ◽  
Performance Studies ◽  
Interdisciplinary Collaboration ◽  
Stem Fields ◽  
Public Performance ◽  
Human Element ◽  
Science Technology ◽  
The Arts ◽  
And Mathematics ◽  
The University

The Department of Performance Studies at Texas A&M University is building a culture of innovation through strategic facility development, a focus on students sharing work through public performance, and interdisciplinary collaboration. The department has embraced the celebrated strengths of our university in STEM fields (Science, Technology, Engineering, and Mathematics) by developing interdisciplinary experiences and inspiring facilities (through technology and curriculum grants). These experiences contribute to the university at large by demonstrating how technology can connect with the human element and how technology impacts human expression. Students benefit by joining faculty in exploring the new and also rediscovering the traditional.

Class and Performance in the Age of Global Capitalism

2012 ◽  
Vol 37 (1) ◽  
pp. 49-62 ◽  
Author(s):  
PAUL MURPHY
Keyword(s):  
Identity Politics ◽  
Performance Studies ◽  
Gender And Sexuality ◽  
Global Capitalism ◽  
Arts And Humanities ◽  
Economic Stratification ◽  
The Arts ◽  
Raymond Williams ◽  
And Performance ◽  
Sociological Approaches

This article addresses the relative absence of class-based analysis in theatre and performance studies, and suggests the reconfiguration of class as performance rather than as it is traditionally conceived as an identity predicated solely on economic stratification. It engages with the occlusion of class by the ascendancy of identity politics based on race, gender and sexuality and its attendant theoretical counterparts in deconstruction and post-structuralism, which became axiomatic as they displaced earlier methodologies to become hegemonic in the arts and humanities. The article proceeds to an assessment of the development of sociological approaches to theatre, particularly the legacy of Raymond Williams and Pierre Bourdieu. The argument concludes with the application of an approach which reconfigures class as performance to the production of Declan Hughes's play Shiver of 2003, which dramatizes the consequences of the dot.com bubble of the late 1990s for ambitious members of the Irish middle class.

scholarly journals Theatrical Scrawls. The Aesthetic Creations of Young Girls and Young Boys Scribble the Scene

2021 ◽  
Vol 19 (2) ◽  
pp. 169-177
Author(s):  
Flávio Santiago ◽  
Ana Lúcia Goulart de Faria
Keyword(s):  
Early Childhood ◽  
Early Childhood Education ◽  
Young Children ◽  
Teaching Methods ◽  
Aesthetic Movement ◽  
Childhood Education ◽  
The Arts ◽  
Education And Care ◽  
The Aesthetic ◽  
Ways Of Being

The paper discusses the purpose of early childhood theater, as a possibility to establish horizontal relationships between children and adults. The article thus explores the potential solutions offered by the aesthetic movement of the arts, in the creation of “theatrical scribbles” by tiny young children. In this paper, it is highlighted the training work carried out by the theater Company “La Baracca” together with Early Childhood Education and Care (ECEC) educators from Bologna, Italy. Much emphasis it is also given to how imaginative approaches through arts are proposed, thus shaping new ways of being an educator, without making use of formal teaching methods.

Dramas of the Performative Society: Theatre at the End of its Tether

2001 ◽  
Vol 17 (3) ◽  
pp. 203-211 ◽  
Author(s):  
Baz Kershaw
Keyword(s):  
Performance Studies ◽  
Extensive Experience ◽  
The Arts ◽  
Theatre Company ◽  
The Creation ◽  
Radical Theatre ◽  
University Of Bristol ◽  
The University ◽  
Drury Lane

The emergence of new performance paradigms in the second half of the twentieth century is only now being recognized as a fresh phase in human history. The creation of the new discipline, or, as some would call it, the anti-discipline of performance studies in universities is just a small chapter in a ubiquitous story. Everywhere performance is becoming a key quality of endeavour, whether in science and technology, commerce and industry, government and civics, or humanities and the arts. We are experiencing the creation of what Baz Kershaw here calls the ‘performative society’ – a society in which the human is crucially constituted through performance. But in such a society, what happens to the traditional notions and practices of drama and theatre? In this inaugural lecture, Kershaw looks for signs and portents of the future of drama and theatre in the performative society, finds mostly dissolution and deep panic, and tentatively suggests the need for a radical turn that will embrace the promiscuity of performance. Baz Kershaw, currently Professor of Drama at the University of Bristol, trained and worked as a design engineer before reading English and Philosophy at Manchester University. He has had extensive experience as a director and writer in radical theatre, including productions at the Drury Lane Arts Lab and with the Devon-based group Medium Fair, where he founded the first reminiscence theatre company Fair Old Times. His latest book is The Radical in Performance (Routledge, 1999). More recently he wrote about the ecologies of performance in NTQ 62.

scholarly journals Field Notes and Reading Notes

Museum Worlds ◽  
2019 ◽  
Vol 7 (1) ◽  
pp. 134-138
Author(s):  
Nélia Dias
Keyword(s):  
New York ◽  
New York City ◽  
Theoretical Analysis ◽  
Performance Studies ◽  
York City ◽  
Social Practices ◽  
Field Trips ◽  
The Arts ◽  
Field Notes ◽  
Opening Up

In this article, I reflect on the experience of attending Barbara Kirshenblatt-Gimblett’s class Performance Studies Issues and Methods at New York University’s Tisch School of the Arts in the 1990s. Recalling the classes and field trips to events and sites in New York City, and the emphasis that she placed on reading texts and taking field notes, I consider the lessons I learned for performance studies, anthropology, and museums, and also for teaching, research, and scholarship in general. Why did this practice of taking notes from the field, from books in particular, and the note-taking practice in general, play such a central role in Kirshenblatt-Gimblett’s teaching? The steady and consistent focus both on theory and on the observation of social practices was a means of opening up new spaces for theoretical analysis or for a “performed theory,” to use Kirshenblatt-Gimblett’s term.

Breathing beyond Embodiment: Exploring Emergence, Grieving and Song in Laboratory Theatre

2020 ◽  
Vol 26 (2) ◽  
pp. 106-129 ◽  
Author(s):  
Caroline Gatt
Keyword(s):  
Performance Studies ◽  
Performance Practice ◽  
A Priori ◽  
Semantic Meaning ◽  
Social Psychological ◽  
Explicit Analysis ◽  
And Performance ◽  
Physical Phenomena ◽  
Ways Of Being

Due to the simultaneous linguistic and musical quality of voicing, voiced breath poses theoretical challenges to notions of ‘embodiment’, especially as they are used in theatre practice/studies. In this article, I make two intertwining arguments to address questions of the place of semantic meaning and conscious thought in performance practice/theories as they arose in my anthropological engagement with laboratory theatre. Firstly, theatre and performance practice/theories keen to embrace ‘embodiment’ often leave out things like explicit analysis, reflexivity, referential or semantic meaning and so on because, as my ethnography shows, they are judged as secondary, and thus belonging implicitly more closely to disembodied ‘mind’. I engage in anthropological comparison to show how other ways of being/knowing complicate any sense in which practices labelled ‘embodied’ can be seen as primary in contrast to conscious, linguistic or explicit knowing. Instead I outline an onto/epistemology of emergence that offers an alternative imaginary in which no binaries exist a priori. Rather all is a matter of ongoing mutual constitution. Secondly, while the discourses of embodiment in performance practice/theory that I critique may continue to reproduce dualist assumptions, theatre approaches influenced by Grotowski’s anti-method, focusing on continual revision of practice, offer insights for scholarship concerned with the ontological indistinguishability of social, psychological and physical phenomena. Laboratory theatre practices offer a prospective way of knowing, enabling an exploration of the ontological equality of breath, in this case in song, and the sorts of meaningfulness associated with language and analysis. In 2011, my Nanna (grandmother in Maltese) passed away in circumstances that remain traumatic to me. I turned with to my daily practices to find ways to scream, to grieve: to anthropology and to a particular practice of song in laboratory theatre, where encounter is actively sought. Arising from ethnographic and analytic engagement with such practices, in this article, I offer an anthropologically inflected critique of notions of embodiment in performance studies and performance philosophy. I present the alternative imaginary of emergence onto/epistemologies and the prospective investigative practices of laboratory theatre. I do this by weaving autobiographical, ethnographic and anthropological threads to explore my own practice relating to the work of my collaborator Gey Pin Ang, a Singaporean director, actor and pedagogue.

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