Truth Be Told: The Aesthetics of Lying in Contemporary Theater

2021 ◽  
pp. 265-282
Author(s):  
Daniel Morgenroth
Keyword(s):  
Contemporary Theater

There Will Be Trouble

TURBA ◽  
2022 ◽  
Vol 1 (1) ◽  
pp. 95-102
Keyword(s):  
Visual Art ◽  
National Level ◽  
Political Theater ◽  
Public Funds ◽  
Post Colonial ◽  
Urban India ◽  
Theater Festivals ◽  
Contemporary Theater ◽  
New Theater ◽  
Pedagogical Discussion

It is perhaps more relevant now than ever before to prepare the ground for a pedagogical discussion on theater curation. Theater festivals have recently become prominent in India. It is true that India has cherished a ubiquitous tradition of festivals—utsavs and mahotsavs—for hundreds of years. Take, for example, the staging of Kudiyattam at ancient Sanskrit koothambalams, which would last several weeks in a festival atmosphere; the touring circuit of Assam mobile theater, which has created festival-like events since the 1950s; or the Marathi (political) theater, which has an active culture of more than a century of traveling and festival-like events. These are not the kind of festivals I am interested in for the purpose of this article—they have a “traditional” logic built into their purpose—but the kind that have emerged along secular lines in post-independent and urban India. These “new” theater festivals are primarily sponsored by the state, are supported by public funds at the regional and national level, and are therefore open to public participation and scrutiny. These festivals, wherever they are held, commonly include a multilingual and multicultural itinerary of plays. The intent behind the selection is largely driven by the post-colonial project, which is to “put together” an idea of modern India by including plays that have a critical outlook—these could be contemporary scripts, modern adaptations of classical plays, and works that explore contemporary vocabularies of performance (body-based, post-dramatic, experimental, etc.). Currently, India has over a dozen of these new theater festivals of varying scale; each running annually, each claiming to show the best of contemporary theater. In the absence of a touring circuit, these festivals provide artists with the opportunity to travel, to seek new audiences, to mingle with peers and masters, to be written about, and to woo award committees. Festivals are now doing for theater what exhibitions have done for visual art; they are highly visible events that offer immense resources and the promise of further influence. Festivals seem to bestow legitimacy on artistic work of a kind not seen before.

Editorial: The afterlives of performances

Maska ◽  
2015 ◽  
Vol 30 (172) ◽  
pp. 28-33
Author(s):  
Daniela Hahn
Keyword(s):  
Performing Arts ◽  
The Political ◽  
Economic Implications ◽  
Epistemological Understanding ◽  
Contemporary Theater ◽  
The Relationship

How do documents matter in theatre performances? Do documents perform? How do ‘events’ become documents? What can be known about those events through documents? And what are the political and economic implications of acts and regimes of documentation? – By taking up these questions, this issue investigates performative practices of collecting, displaying, reconstructing and disseminating documents in order to reconsider the relationship between performance and documents as well as to examine the role documents play in shaping artistic modes of writing history. The contributions by scholars, artists, and curators assembled in this issue manifest that exploring documents in and through performance as well as exploring performance in and through documents is not primarily about reconnecting to and preserving a past that is irretrievably lost or displaced. Instead, they advance an epistemological understanding of the relations between performance and documents – characterised by constant translations and shifting constellations – as the basis for outlining a contemporary theater of documents and for bringing into view the processes of historicisation within the performing arts.

Contemporary Theater in Puerto Rico: The Decade of the Seventies

1983 ◽  
Vol 57 (3) ◽  
pp. 436
Author(s):  
Mark S. Finch ◽  
J. A. Collins ◽  
Río Piedras
Keyword(s):  
Puerto Rico ◽  
Contemporary Theater

scholarly journals The theater of Jan Klata. Struggling for a new audience

2020 ◽  
Vol 1 (2) ◽  
pp. 125-138
Author(s):  
Aleksandra Konopko
Keyword(s):  
Social Context ◽  
Social Background ◽  
Political Theater ◽  
Literary Canon ◽  
Short Text ◽  
Political Discourses ◽  
Contemporary Theater ◽  
New Theater

This short text presents the characteristics of theater works by the director, Jan Klata. I attempt to investigate the changes in contemporary Polish theatrical language. The evolution of theater perception, the expressive aesthetics of Klata’s performances and topics that began the fight not only over the new theater that would be a place of socio-political discourses but also for the new audience. In the introduction I present J. Klata and describe the circumstances that accompanied his theater debut. Thereafter, referring to J. Klata’s staging of classical works, I point out the characteristics of his theater and describe how the phenomenon of reinterpretation functions in contemporary theater. I then try to question the explicit labeling of J. Klata’s works as “post drama theater” or “political theater” by paying special attention to analyzing the director’s works in a social context. This political and social background of J. Klata’s performances contributes to the fact that his work is perceived as one of the leading examples of “engaged theater”. The staging means of expression applied by the director and his often radical interference in the texts of works from the literary canon have encouraged younger directors to make their own daring experiments . What was perceived as “revolutionary” and controversial at the time of J. Klata’s debut, today, only seven years later, has become standard in Polish theater.

scholarly journals Dnipropetrovsk Ukrainian academic youth theater in the contemporary sociocultural context

2020 ◽  
pp. 5-15
Author(s):  
Andrey Tulyantsev
Keyword(s):  
Young People ◽  
Modern Society ◽  
Scientific Activity ◽  
Mutual Cooperation ◽  
Youth Theater ◽  
Scientific Disciplines ◽  
History Of ◽  
Specific Meaning ◽  
Theater Time ◽  
Contemporary Theater

The purpose of this article is concentrated by researcher into revealing of the particularity for modern theater on the example Dnipropetrovsk Ukrainian academic youth theater. The author studies performances for young people that the theater has in its repertoire. The dialogue between the theater and the audience has its own scientific interest for the author. The author uses the most effective methods of scientific research. The author has a need to understand the peculiarities of the style of acting and directing. It is also necessary to understand the general style of the theater. This position is significant, because there is a specificity in the interpretation of theatrical performance. Scientific novelty. This article has its own peculiarity. The author aims to determine for the first time the main provisions of the activities of the Ukrainian academic theater for youth from the Dnieper. To achieve this goal, the author of the article makes an analysis in which there is a specific meaning of the theater's activities, the subject of this research. Theater is analyzed as an artistic value. The author assesses the state of the collective as a theater historian. The activity of the theater is analyzed in the context of the functioning of modern theater culture. This is what makes it possible to understand the features of the historical phenomenon. It combines the present with the past. It aims to understand the perspective of contemporary theater time in the future. Methods. The performances of this theater have the characteristics of a synthetic genre. These performances have the ability to explain the nature of the interaction between theater and music. Therefore, research methods are based on the synthesis of various areas of scientific activity. In which there are various scientific disciplines. Specifically: the structural system of the history of the theater, the use of analytical methods in the analysis of drama, direction, skill of actors, singing, orchestra work, scenography. The author explores their analogies and connections, what unites them and what is opposition. Conclusions. The performances of the Ukrainian academic theater for young people from Dnipro are of different genres. The principles of the dialogue between the theater system and the audience, which exists in mutual exchange, are revealed in these performances. The author notes the real mutual cooperation between the theater and the audience. At the same time, there is an addition of one dramatic tradition to another. You can also observe how professional directors worked with the texts of the plays. The fact of how the structure and style of the performance is changing is significant. The academic professional artistic transformation of vocational performances in modern society is essential relevant.  

scholarly journals La singularité en relation : la performance dans le théâtre et la société contemporains

Symbolon ◽  
2021 ◽  
Vol 22 (1) ◽  
pp. 19-27
Author(s):  
Anna Navrotskaya
Keyword(s):  
Human Being ◽  
Cultural Space ◽  
Active Involvement ◽  
Artistic Production ◽  
The Spectator ◽  
Contemporary Theater ◽  
And Function ◽  
Individual Self ◽  
Creative Capacity ◽  
Relational Network

This article addresses the question of consistent presence of “postdramatic” performative elements in contemporary theater staging. It considers artistic production and everyday behavior as two related processes supported by individual creative capacity inherent to every human being. Both an individual self in its day-to-day exchanges, and a theater character within a play are maintained by this capacity to process the unknown and function in the presence of the unpredictable. In the “postmodern” interrelated and multifaceted world this ability becomes crucial for an individual as well as for the society. It is made possible by a relational network created by continuous performative actions and relies on a cultural space relatively free of codified behavior that can be defined as liminal. Contemporary theater in its staging practices and in its active involvement of the spectator can arguably function as this liminal space indispensable for culture as a whole.

scholarly journals Entre a escrita e a pele: a dramaturgia confessional e a encenação de Angélica Liddell redimensionados em devir

Ouvirouver ◽  
2017 ◽  
Vol 13 (1) ◽  
pp. 284
Author(s):  
Mirela Ferreira Ferraz
Keyword(s):  
Performance Art ◽  
Border Zone ◽  
And Performance ◽  
Contemporary Theater ◽  
A Performance

Ao considerar a escrita teatral como ponto nevrálgico do teatro contemporâneo, esse artigo propõe trabalhar com a ideia de uma ligação contínua presente entre a escrita confessional e a encenação na obra “Yo no soy bonita” de Angélica Liddell. Acredita-se que o espetáculo e a língua da autora, encenadora e atriz/performer tornam-se diluídas no próprio acontecimento teatral, em que a ideia de um “devir-cênico” estabelece-se como um dispositivo cênico das novas teatralidades. Analisa-se como a noção de “eu” da artista se mescla ao desfalecimento da ideia de um personagem, criando uma zona de fronteiriça entre o teatro e a performance art, a qual se evidencia pela busca de uma possível experiência-limite da artista. ABSTRACT When considering the theatrical writing as nerve center of contemporary theater, this article proposes working with the idea of a continuous link between the present confessional writing and staging the Angélica Liddell work "Yo no soy bonita". It is believed that the show and the language of the author, stage director and actress / performer become diluted in their own theatrical event, in which the idea of "becoming-scenic" is established as a scenic device of new theatrics. It is analyzed how the notion of "I" of the artist melds the faintness of the idea of a character, creating a border zone between theater and performance art, which is evidenced by the search for a possible artist of limit-experience. KEYWORDS Becoming- scenic; confessional writing; limit-experience; contemporary theater.

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