Comedias Sueltas as Performance Texts

2019 ◽  
Vol 16 (1) ◽  
pp. 72
Author(s):  
Feit
Keyword(s):  
Performance Texts

Virtual Embodiment as/and the Threshold of Love

2013 ◽  
Vol 3 (2) ◽  
pp. 97-109 ◽  
Author(s):  
Anne Harris
Keyword(s):  
Urban Space ◽  
State Building ◽  
Modern Life ◽  
Space And Time ◽  
Empire State Building ◽  
Arcades Project ◽  
Performance Texts ◽  
And Performance ◽  
The Stranger

This essay draws upon the author’s performance script Fall and Walter Benjamin’s The Arcades Project as a provocation for considering the ways performance texts provide a threshold for somatic inquiry, and for recognizing the limits of scholarly analysis that does not take up performance-as-inquiry. Set at the Empire State Building, this essay embodies the connections and missed possibilities between strangers and intimates in the context of urban modern life. Fall’s protagonist is positioned within a landscape of capitalist exchange, but defies this matrix to offer instead a gift at the threshold of life/death, virtual/real, and love/loss. Through somatic inquiry and witnessing as threshold experiences, the protagonist (as Benjamin’s flaneur) moves through urban space and time, proving that both scholarship and performance remain irrevocably embodied, and as such invariably tethered to the visceral, the stranger, risk, and death.

Poetics

2021 ◽  
Author(s):  
Sarah Dowling
Keyword(s):  
Common Sense ◽  
Art Forms ◽  
Performance Texts ◽  
The Common ◽  
The Senses ◽  
And Performance

Abstract This review examines three books published in the field of poetics in 2020: Candice Amich’s Precarious Forms: Performing Utopia in the Neoliberal Americas; Ren Ellis Neyra’s The Cry of the Senses: Listening to Latinx and Caribbean Poetics; and Anthony Reed’s Soundworks: Race, Sound, and Poetry in Production. I show that these three books, which discuss poetry in connection with other art forms, each call for a reordering of the senses through which we perceive and analyze poetry (and other texts). While Ellis Neyra advocates multisensorial listening and Reed calls for a mode of listening attentive to what remains unnamed within current perceptual and political schema, Amich shows the importance of paying attention to the embodied rhythms and tactility of poetry and performance texts. For all three authors, these alternatives to individualized, detached, and indeed deadened linguistic contemplation proffer strategies for remaking not only common sense, but the common itself. The chapter is structured under the following headings: 1. Introduction; 2. Poetics; 3. Sensoria; 4. Politics.

Die Psalmen als „verbale Bühnen“

2021 ◽  
Vol 65 (1) ◽  
pp. 1-27
Author(s):  
Matthias Hopf
Keyword(s):  
Literary Theory ◽  
Character Development ◽  
Recent Discussion ◽  
Direct Speech ◽  
Performance Texts ◽  
Lyrical Subject ◽  
Communicative Structure

Abstract Many psalms display characteristics that are – in literary theory – associated with performance texts like “dramas”. The criteria for this are that texts feature a “lexis” (direct speech out of the mouth of a discernible character), an “opsis” (elements evoking a scenery etc., often presented in direct speech), and plot structures (not only story plots, but also character development and the like). Many psalms fit this criterology, even though some more than others, as well as partially with some very unique characteristics. Still, this allows for understanding several psalms as miniature “verbally presented stages”. The implications of this basal communicative structure are explored in this contribution, a major of which pertains to the recent discussion on identification potentials: In some psalms the lyrical subject is an offer to identify with, whereas in others – the ones discussed here – it is better understood as opposite to the recipient.

scholarly journals INTERMEDIAL RECODING OF GEO SHKURUPII'S WORKS IN THE VIDEO PERFORMANCES AT THE SEMINAR OF CREATIVE YOUTHS 2020

2021 ◽  
pp. 52-65
Author(s):  
Daryna Gladun
Keyword(s):  
Political Context ◽  
Live Performance ◽  
Face To Face ◽  
Scotch Tape ◽  
The Future ◽  
Performance Texts ◽  
General Program ◽  
Future Self ◽  
First Time

The paper focuses on poetry-based video performances conducted by the participants of the “Creative Youths Seminar” (CYS), which was founded in 1995. Adaptability is one of the most essential features of all seminar clusters. It leads to constant transformations in a general program and within poetry performance laboratory (existing as a part of CYS since 2015) in particular, due to socio-cultural and political context. In 2020, because of the quarantine restrictions, CYS for the first time changed its regular face-to-face form to a remoteone and took place online. Live performance cluster transformed into a three-day marathon of video performances. During that time 24 participants made over 70 video performances that lasted for more than 100 minutes in total (there was a record number in every category of a CYS performance cluster). Nearly half of the performances were poetry-based. Almost a third part was based on the poems by Ukrainian Futurist writers Oleksa Vlyzko, Mykhail Semenko, Oleksa Slisarenko, Andrii Chuzhyi, Geo Shkurupii, and Yulian Shpol. The article analyzes five poetry-based video performances that refer to the poems by Geo Shkurupii as pretexts: “A Talk with a Future Self ” by Yaroslav Boruta, “I Want to Be a Furniture” by Vladyslava Demianchuk (Dadi), “Oh Little Boy” by Natalia Matsybok-Starodub, “Czech Scotch Tape” by Iryna Pavlenko (Ira Pamiatai), and “The Future of Cherry Orchards” by Viktoriia Feshchuk. The pretexts, poetry performance texts (if any), and their intermedial connections with video performances have been examined. The researcher concludes that poetry-based performances let the artists not only experience the text traditionally but also ‘live through the text’, or, in other words, create a personal physical experience of the pretext and offer the audience another perspective on the pretext with the help of non-literary media.

scholarly journals and as Performance Texts

2012 ◽  
Vol 48 (1) ◽  
pp. 119-138
Author(s):  
이용은
Keyword(s):  
Twelfth Night ◽  
Performance Texts

scholarly journals Linguistic Aspects of Sound Design for Theatre: A View from the Fringe

2018 ◽  
Vol 36 (1-2) ◽  
pp. 327-346
Author(s):  
Rick Cousins
Keyword(s):  
Spoken Language ◽  
Special Focus ◽  
Preliminary Survey ◽  
Sound Design ◽  
Radio Drama ◽  
Linguistic Communication ◽  
The World ◽  
Performance Texts ◽  
Roman Jakobson ◽  
Creating Meaning

Although sound design is a well-established part of the toolkit for creating theatre, its function in creating meaning for performance texts is often overlooked in discussions of the relative semiotic importance of various scenic arts. Many of the most cogent observations and theories concerning the use of sound as a parallel to spoken language in performed narrative come from scholars and practitioners whose specialty is not theatre, but radio drama. Using these theories, and the deeper analyses of linguistic structure proposed by Roman Jakobson as benchmarks, this is a preliminary survey of the resemblances between sound design and conventional forms of linguistic communication. The territory mapped is the world of small-venue touring fringe theatre, with a special focus on the roles that time and timing play in determining the semiotic content of designed sound in a performative setting.

scholarly journals MENGUSUNG PEMBELAJARAN SASTRA LISAN GAMBANG RANCAG BETAWI MENUJU PEMBELAJARAN INOVATIF

LOKABASA ◽  
2013 ◽  
Vol 4 (2) ◽  
Author(s):  
SITI GOMO ATTAS
Keyword(s):  
Higher Education ◽  
Subject Matter ◽  
Teaching Method ◽  
Teaching Model ◽  
Oral Literature ◽  
Local Content ◽  
Innovative Model ◽  
Oral Form ◽  
Performance Texts

Mengusung Pembelajaran Sastra Lisan Gambang Rancag Betawi Menuju Pembelajaran Inovatif. Tujuan menulis makalah ini adalah untuk mengembangkan pembelajaran sastra lisan agar tidak terkungkung pada pembelajaran teks. Selain itu, bertujuan untuk mebuat pembelajaran sastra lisan lebih kreatif dan inovatif. Diketahui bahwa pembelajaran sastra lisan selama ini, baik di sekolah maupun di perguruan tinggi para pembelajar tidak digiring pada pembelajaran model kelisanan sebuah materi sastra lisan, termasuk memaknai teks lisan itu dengan konteksnya sehingga teks lisan yang dimaknai kehilangan maknanya secara utuh karena hanya memaknai objek (materi) sebagian. Metode pembelajaran sastra lisan gambang rancag Betawi seutuhnya diarahkan pada pembelajaran yang inovatif, yaitu menggunakan media teks pertunjukan untuk mengenali konteks sebuah materi pembelajaran. Pendekatannya dengan teori Joice dan Weil (1986), sebagai langkah pembelajaran sastra lisan dengan objek teks pertunjukan dikenali bentuk kelisanannya, sementara melalui konteks, pembelajar bisa menandai makna isi cerita sesuai konteksnya, termasuk fungsi dari cerita yang di tampilkan. Berdasarkan bentuknya akan ditunjukkan sebuah pertunjukan cerita rakyat Betawi sehingga secara utuh pemaknaan pembelajaran sastra lisan sebagai muatan lokal akan tertanam dalam diri pembelajar sebgai karakter.The objective of this paper is to develop the oral literary teaching in order to supplement textual teaching. In addition, the paper aims to create a more creative and innovative oral literary teaching method. It has been assumed that in the context of teaching oral literature in school or higher education to date, students are not exposed to a teaching model of oral literature, including interpreting oral texts within their contexts. This leads to the loss of whole meaning of oral texts due to partial interpretation. The teaching model of Gambang Rancag Betawi is an innovative model, utilizing performance texts as media to recognize contexts of a subject matter. Joice and Weil’s (1986) theory was adopted in order to unpack the oral form of the text. Through contexts, students can comprehend the gist of the story, including the function of the story. In terms of the form, the performance will be conducted so that students can arrive at a whole interpretation of teaching oral literature as local content.

Jump Jim Crow: Lost Plays, Lyrics and Street Prose of the First Atlantic Popular Culture. Edited by W. T. Lhamon. Cambridge, MA: Harvard University Press, 2003; pp. 459. $39.95 cloth.

2005 ◽  
Vol 46 (2) ◽  
pp. 333-335
Author(s):  
Kate Roark
Keyword(s):  
Popular Culture ◽  
Jim Crow ◽  
Harvard University ◽  
Popular Entertainment ◽  
History Of ◽  
Performance Texts ◽  
Blackface Performance

As the first published collection of early blackface-performance texts, W. T. Lhamon's Jump Jim Crow: Lost Plays, Lyrics, and Street Prose of the First Atlantic Popular Culture provides scholars of American popular entertainment with a much-needed sourcebook. These texts are collected in service of the book's larger purpose of evaluating the career of Thomas Dartmouth “Daddy” Rice, the first superstar of blackface performance, who became synonymous with his most popular character, Jim Crow. All the songs and plays gathered in Jump Jim Crow were performed by Rice (with the exception of the “street prose” section, which includes two contemporary, pamphlet biographies of Rice). The texts work with Lhamon's introduction to tell the story of Rice's career, which is a case study of the larger topic: the history of blackface performance before the rise of the minstrel show in the mid-1840s. As the plays collected here reveal, Rice's performance of blackface was fundamentally different from minstrel-show performance on many levels. The most important difference, Lhamon argues in his introduction, is that Rice's performances encouraged the white audience to identify with his blackface character, to laugh with him rather than at him.

Sign in / Sign up

Export Citation Format

Share Document