Caccini’s Stages: Identity and Performance Space in the Late Cinquecento Court

2012 ◽  
Author(s):  
MICHAEL MARKHAM
Keyword(s):  
Abstract Space ◽  
Musical Work ◽  
Performance Space ◽  
Physical Transformation ◽  
And Performance

Celebrated performer Giulio Caccini's life as a court musician throws light on the ways in which the soloist formulated and reformulated his/her own identity in order to fit within each of the spaces used for music. Tracing the documented performances associated with Caccini, one can map them onto a continuum of spaces from the most public to the most private. Caccini's successful passage into the more intimate spaces required him to re-form himself as the inheritor of the century-old tradition of the intimate vocal improvvisatori, a stylistic and physical transformation that was, in a sense, his life's work. This performative conception of his musical work is a potent reminder of the ambiguous status of solo song at the beginning of the Seicento, perched between the abstract space of the printed score and the traditional space of the court chamber.

The Masks of Greek Tragedy as Point of Departure for Modern Performance

2001 ◽  
Vol 17 (3) ◽  
pp. 254-272 ◽  
Author(s):  
Chris Vervain ◽  
David Wiles
Keyword(s):  
Greek Tragedy ◽  
Research Programme ◽  
Cambridge University ◽  
Performance Space ◽  
And Performance ◽  
The University ◽  
Near Future ◽  
Point Of Departure ◽  
Valuable Point ◽  
New Comedy

In this article, David Wiles and Chris Vervain stake out the ground for a substantial programme of continuing research. Chris Vervain, coming from a background in visual and performance art, is in the first instance a maker of masks. She is also now writing a thesis on the masks of classical tragedy and their possibilities in modern performance, and, in association with the University of Glasgow, working on an AHRB research programme that involves testing the effect of Greek New Comedy masks in performance. David Wiles, Professor of Theatre at Royal Holloway, University of London, has published books on the masks of Greek New Comedy and on Greek performance space, and lectured on Greek masks. Most recently, his Greek Theatre Performance: an Introduction (Cambridge University Press, 2000) included an investigation of the classical mask and insights provided by the work of Lecoq. He is now planning a book on the classical Greek mask. Wiles and Vervain are both committed to the idea that the mask was the determining convention which gave Greek tragedy its identity in the ancient world, and is a valuable point of departure for modern practitioners engaging with the form. They anticipate that their research will in the near future incorporate a symposium and a further report on work-in-progress.

The Oxford Handbook of Time in Music

2021 ◽  
Keyword(s):  
Cultural Studies ◽  
Music Theory ◽  
Musical Work ◽  
Musical Practice ◽  
Musical Time ◽  
Music Making ◽  
Nature Of Time ◽  
And Performance ◽  
Insight Into ◽  
Profound Insight

As the art that calls most attention to temporality, music provides us with profound insight into the nature of time, and time equally offers us one of the richest lenses through which to interrogate musical practice and thought. In this volume, musical time, arrayed across a spectrum of genres and performance/compositional contexts is explored from a multiplicity of perspectives. The contributions to the volume all register the centrality of time to our understanding of music and music-making and offer perspectives on time in music, particularly though not exclusively attending to contemporary forms of musical work. In sharing insights drawn from philosophy, music theory, ethnomusicology, psychology of performance and cultural studies, the book articulates a range of understandings on the metrics, politics and socialities woven into musical time.

scholarly journals Dancing in the 'Contact Zone'

2006 ◽  
Vol 3 (2) ◽  
Author(s):  
Monica Wulff
Keyword(s):  
Contact Zone ◽  
The West ◽  
Cultural Encounters ◽  
Performance Space ◽  
Arts Festival ◽  
And Performance ◽  
Complex Relationships ◽  
Multicultural Arts ◽  
Embodied Practice

In October 2002 I performed and exhibited Troppo Obscura: A Peepshow of Historical Perversity at the Performance Space as part of the multicultural Arts festival, Carnivale, in Sydney, Australia. Troppo Obscura is a multimedia installation that explores some aspects of the complex relationships between the West and Asia. The work looks at a large range of possibilities, from the colonial gaze through to personal relationships forged through artistic endeavor. This paper—the first of two extended mediations on the topic—focuses on one such personal relationship addressed in the installation, namely that between traditional master mask dancer Ibu Sawitri from Cirebon on the West coast of Java, Indonesia and myself, a Sydney based contemporary dancer and performance artist. Between 1992 and 1999, the year Ibu Sawitri passed away, I spent many long-term visits learning dance and living in Ibu Sawitri’s house in Losari. This essay focuses on Ibu Sawitri’s family and dance background and how she, the younger generation of dancers, the dance context, and the dance itself, have been transformed over time as a result of rapidly changing socio-historical conditions. In the second half of this paper I move the discussion to the broader issues of cross-cultural encounters in what Pratt terms the ‘contact zone’ (1992). This includes looking at dance as an embodied practice and its function in the ‘contact zone’ as well as dealing with Spivak’s debates about the subaltern voice in reference to my telling of Ibu Sawitri’s story, both in the installation and in text. A closer analysis of the dynamics of my dance with Ibu Sawitri in the ‘contact zone’ is addressed here.

Main results of the DAMPE space detector after 4 years in orbit

2020 ◽  
Vol 35 (36) ◽  
pp. 2044024
Author(s):  
Piergiorgio Fusco
Keyword(s):  
Gamma Rays ◽  
High Performance ◽  
Angular Resolution ◽  
Dark Matter Particle ◽  
Electromagnetic Calorimeter ◽  
Performance Space ◽  
Scientific Institutions ◽  
Chinese Academy Of Sciences ◽  
And Performance ◽  
Academy Of Sciences

The DArk Matter Particle Explorer (DAMPE) is a high-performance space particle detector launched in orbit in 2015 by a collaboration of Chinese, Italian and Swiss scientific institutions, coordinated by the Chinese Academy of Sciences. It consists of a high-resolution segmented BGO electromagnetic calorimeter with a depth of 32 radiation lengths, a silicon-tungsten tracker-converter with an angular resolution below [Formula: see text], an anti-coincidence shield and ion detector, and a neutron detector. The detector characteristics and performance, and the latest observations of cosmic electrons up to 5 TeV, protons and nuclei up to 100 TeV and gamma-rays up to 10 TeV are presented.

Data-driven impact assessment of multidimensional project complexity on project performance

2020 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Abroon Qazi
Keyword(s):  
Hybrid Approach ◽  
Bayesian Belief Networks ◽  
Project Performance ◽  
Performance Criteria ◽  
Data Driven ◽  
Ann Model ◽  
Content Type ◽  
Performance Space ◽  
Project Complexity ◽  
And Performance

PurposeThe purpose of this paper is to propose a data-driven scheme for identifying critical project complexity dimensions and establishing the trade-off across multiple project performance criteria.Design/methodology/approachThis paper adopts a hybrid approach using Bayesian Belief Networks (BBNs) and Artificial Neural Networks (ANNs). The output of the ANN model is used as input to the BBN model for prioritizing project complexity dimensions relative to multiple project performance criteria. The proposed process is demonstrated through a real application in the construction industry.FindingsWith a number of nonlinear interactions involved within and across project complexity and performance, it is not feasible to model and assess the strength of these interactions using conventional techniques. The proposed process helps in effectively mapping a “multidimensional complexity” space to a “multidimensional performance” space and makes use of data from past projects for operationalizing this mapping scheme by means of ANNs. This obviates the need for developing a parametric model that is both challenging and computationally cumbersome. The mapping function can be used for generating all possible scenarios required for the development of a data-driven BBN model.Originality/valueThis paper introduces a data-driven process for operationalizing the mapping of project complexity to project performance within a network setting of interacting complexity dimensions and performance criteria. The results of the application study manifest the importance of capturing the interdependency across project complexity and performance. Ignoring the underlying interdependencies and relying exclusively on conventional correlation-based techniques may lead to making suboptimal decisions.

Timekeepers – Sound Artists – Drum Machines: Studies of Notation and Performance in Contemporary Music for Solo Percussionist

2009 ◽  
Vol 6 (1) ◽  
pp. 63-81 ◽  
Author(s):  
CHRISTA BRÜSTLE
Keyword(s):  
Action Plan ◽  
Contemporary Music ◽  
Musical Score ◽  
Musical Work ◽  
Karlheinz Stockhausen ◽  
Morton Feldman ◽  
And Performance

AbstractWhat are the consequences of understanding a musical score as an ‘action plan’ – a composed set of performance instructions – rather than as a document, a transcript, or a concretization of a composer's idea and, ultimately, of a fixed musical work? This question is discussed through a consideration of four examples of contemporary percussion music – solo pieces by Karlheinz Stockhausen, Morton Feldman, David Lang, and Helmut Lachenmann. Considering the musical text in relation to the dynamics of a work's execution and performance can give us not only a ‘sound picture’ but also a kinaesthetic picture of the performer on stage. Through this shift of perspective the score comes to be viewed as a script or an agent, which then acts as both a foundation and a catalyst for the actions of the performer and his or her production of sound.

scholarly journals Poetic Language and Corporeality in Translations of Greek Tragedy

2008 ◽  
Vol 24 (1) ◽  
pp. 51-64
Author(s):  
Stephe Harrop ◽  
David Wiles
Keyword(s):  
Physical Performance ◽  
Greek Tragedy ◽  
Poetic Language ◽  
Short History ◽  
Performance Space ◽  
Bodily Expression ◽  
Practice Based Research ◽  
History Of ◽  
Linguistic Level ◽  
And Performance

The translation of ancient tragedy is often considered at a linguistic level, as if the drama consisted simply of words being written, spoken, and heard. This article contends that translation for the stage is a process in which literary decisions have physical, as well as verbal, outcomes. It traces existing formulations concerning the links between vocal and bodily expression, and explores the ways in which printed texts might be capable of suggesting modes of corporeality or systems of movement to the embodied performer; and sketches some of the ways in which the range of possible relationships between language and physicality might be explored and understood, drawing upon recent practice-based research into the work of three modern poetic translators of Greek tragedy. Stephe Harrop is a theatre practitioner and academic whose work explores the links between text and physical performance. She originally trained as a dancer, and currently teaches at Royal Holloway, University of London. David Wiles is Professor of Theatre at Royal Holloway. His research interests include Greek theatre, masked performance, and drama in translation. His most recent publications include A Short History of Western Performance Space (2003) and Mask and Performance in Greek Tragedy (2007).

Outdoor oratory and performance space

2015 ◽  
Vol 137 (4) ◽  
pp. 2427-2428
Author(s):  
Braxton B. Boren
Keyword(s):  
Performance Space ◽  
And Performance

W.B. Yeats the Choreographer: Composition in the Manuscripts of At the Hawk's Well and The Only Jealousy of Emer

2020 ◽  
Vol 50 (2) ◽  
pp. 356-372
Author(s):  
Melinda Szuts
Keyword(s):  
Modern Dance ◽  
Main Argument ◽  
Verbal Expression ◽  
Performance Space ◽  
Compositional Technique ◽  
Critical Attention ◽  
And Performance

This article investigates how William Butler Yeats's interest in, and professional engagement with, modern dance affected the dramaturgical composition of his plays. Instead of focusing on individual dancers' contributions to the dance plays' previous performances, the analysis discusses compositional features that have hitherto gained little critical attention: the plays' use of performance space and stage movement. The main argument of the article is that resulting from his practical experimentation with dance and movement in performance, Yeats's dramaturgical technique changed substantially, and acquired a choreographic quality, which made stage movement and corporeality just as important in his plays' composition as verbal expression. To demonstrate how Yeats's compositional technique evolved between the years of 1916 and 1919, the essay discusses the textual development of two of his early dance plays, At the Hawk's Well and The Only Jealousy of Emer, based on the scrutiny of their extant manuscript materials and performance scripts.

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