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.

Distance and Reflexivity: Creating the Stage World of Pantoland

2005 ◽  
Vol 21 (4) ◽  
pp. 331-339
Author(s):  
Millie Taylor
Keyword(s):  
Performing Arts ◽  
Financial Support ◽  
Extended Version ◽  
Senior Lecturer ◽  
Arts And Humanities ◽  
Forthcoming Book ◽  
The World ◽  
Commercial Theatre ◽  
And Performance ◽  
The University

In pantomime the Dame and comics, and to a lesser extent the immortals, are positioned between the world of the audience and the world of the story, interacting with both, forming a link between the two, and constantly altering the distance thus created between audience and performance. This position allows these characters to exist both within and without the story, to comment on the story, and reflexively to draw attention to the theatricality of the pantomime event. In this article, Millie Taylor concludes that reflexivity and framing allow the pantomime to represent itself as unique, original, anarchic, and fun, and that these devices are significant in the identification of British pantomime as distinct from other types of performance. Millie Taylor worked for many years as a freelance musical director in repertory and commercial theatre and in pantomime. She is now Senior Lecturer in Performing Arts and Music Theatre at the University of Winchester. An earlier version of this article was presented at the Conference on Arts and Humanities in Hawaii (2005), and an extended version will appear in her forthcoming book on British pantomime. Her research has received financial support from the British Academy.

From the Streets to the Stage: Disability and the Performing Arts

PMLA ◽  
2005 ◽  
Vol 120 (2) ◽  
pp. 620-625 ◽  
Author(s):  
Carrie Sandahl
Keyword(s):  
Lived Experience ◽  
Performing Arts ◽  
Liberal Arts ◽  
Theory And Practice ◽  
Live Performance ◽  
Artistic Practice ◽  
Theater Studies ◽  
Suitable Site ◽  
And Performance ◽  
The University

Despite its newness, disability-theater studies is an incredibly rich area of inquiry that is exploding in artistic practice and scholarship. The university is a particularly suitable site for a meeting of disability and the theater; after all, we theater scholars think of our classrooms and productions as laboratories not only for showcasing knowledge but for producing, rehearsing, and revising it. As the theater scholar Jill Dolan points out, live performance, especially in the liberal arts setting, has the unique power to test, on bodies willing to try them, academic theories that are otherwise purely theoretical. The feedback loop that oscillates between theory and practice in theater studies is necessarily changed by the inclusion of disability perspectives in the classroom, research programs, and performance offerings. Interestingly, an underlying theme of disability perspectives is that the lived experience of disability is always already performative; indeed, many of us with disabilities understand our disabilities as performance, not exclusively in an aesthetic or theoretical sense, but as an actual mode of living in the world. Consider what the playwright and wheelchair user John Belluso told me in a recent interview: “Any time I get on a public bus, I feel like it's a moment of theater. I'm lifted, the stage is moving up, and I enter, and people are along the lines, and they're turning and looking, and I make my entrance. It's theater, and I have to perform. And I feel like we as disabled people are constantly onstage and we're constantly performing.” The perspective of disability as performance undergirds and permeates disability art and scholarship. Thus, my own development as a disability-theater scholar and artist frames my perception of how disability challenges both the practical and the theoretical aspects of theater studies and points to the role universities play in fostering further development of the field.

Masked Interaction: The Case for an Enactive View of Commedia dell’Arte (and the Italian Renaissance)

2019 ◽  
pp. 153-170
Author(s):  
Jan Söffner
Keyword(s):  
Performance Studies ◽  
Performing Arts ◽  
Actor Network Theory ◽  
Cultural Analysis ◽  
Italian Renaissance ◽  
Commedia Dell'arte ◽  
Renaissance Humanism ◽  
Renaissance Studies ◽  
And Performance

This chapter presents a case study for the use of enactivist phenomenology as a paradigm for Cultural Analysis and Renaissance Studies. It begins by describing a mask used in commedia dell’arte, first as a simple object and then as embedded in an acting praxis. The focus then turns to Renaissance cultures of the performing arts, fiction, and the constitution of subjectivity. Finally, the chapter considers what the mask has to say about sixteenth-century Italy, comparing the outcomes of this analysis with those of more conventional approaches, which are mostly focused on Renaissance humanism. The line of argumentation follows a bottom-up methodology based on enactivist assumptions. By the end the chapter will render the adopted approach theoretically explicit and offer closing remarks about the use of enactivist phenomenology for cultural analysis, by comparing it with neighbouring theories and methods in Cultural Studies (especially Praxeology, Actor-Network-Theory, studies on Material Cultures, and Performance Studies).

Mitterer, Wolfgang (1958--)

2018 ◽  
Author(s):  
Aaron Cassidy
Keyword(s):  
Chamber Music ◽  
Performing Arts ◽  
Electroacoustic Music ◽  
Live Electronics ◽  
Performance Events ◽  
And Performance ◽  
Orchestra Music ◽  
And Function ◽  
Granular Layers ◽  
The University

Wolfgang Mitterer (1958--) is an Austrian composer and organist noted for his work with live electronics and improvisation. Born on 6 June, 1958 in Lienz, East Tyrol, Mitterer studied organ and composition at the University of Music and the Performing Arts Vienna, followed by a year-long residency at the studio for electroacoustic music (EMS) in Stockholm. An exceptionally prolific composer, Mitterer’s output spans a staggeringly broad range of approaches to music making, including works for tape, chamber music of various formations, experimental pop songs (Sopop), works for large orchestra, music for theatre and opera, music for film, and sprawling site-specific installations and performance events (turmbau zu babel, for example, is scored for 4,200 singers, 22 drums, 48 brass players, and 8-channel tape). His works list includes over 200 entries and demonstrates a particularly catholic, pluralistic, non-dogmatic approach to instrumentation, duration, venue, scale, and function. Despite this diversity, Mitterer’s work maintains several important central tendencies: stylistically, the music is often characterized by layers of crackles, twitches, clicks, and pops (both electronic and acoustic), with a rustling, flickering, chirping, gestural energy. These more fragmented, granular layers are quite often combined with gradual, elongated, atmospheric, and lyrical material, though generally a sense of instability and unpredictability remains.

scholarly journals Answering Huxley: “now” students take a “then” exam

2019 ◽  
Vol 43 (3) ◽  
pp. 397-400
Author(s):  
P. K. Rangachari
Keyword(s):  
Undergraduate Students ◽  
Learning Experience ◽  
Average Score ◽  
Anatomy And Physiology ◽  
University Of Toronto ◽  
Thomas Henry Huxley ◽  
History Of ◽  
Second Year ◽  
The University ◽  
Insight Into

Twenty-eight undergraduate students in a health sciences program volunteered for an exercise in the history of examinations. They had completed a second-year course in anatomy and physiology in which they studied modern texts and took standard contemporary exams. For this historical “experiment,” students studied selected chapters from two 19th century physiology texts (by Foster M. A Textbook of Physiology, 1895; and Broussais FJV. A Treatise on Physiology Applied to Pathology, 1828). They then took a 1-h-long exam in which they answered two essay-type questions set by Thomas Henry Huxley for second-year medical students at the University of London in 1853 and 1857. These were selected from a question bank provided by Dr. P. Mazumdar (University of Toronto). A questionnaire probed their contrasting experiences. Many wrote thoughtful, reflective comments on the exercise, which not only gave them an insight into the difficulties faced by students in the past, but also proved to be a valuable learning experience (average score: 8.6 ± 1.6 SD).

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.

Industry-Academia Computer Aided Engineering Undergraduate Research Projects

2006 ◽  
Author(s):  
Alexandra Schonning ◽  
Daniel Cox
Keyword(s):  
Undergraduate Students ◽  
National Science Foundation ◽  
Undergraduate Research ◽  
Computer Aided Engineering ◽  
Research Projects ◽  
Resource Center ◽  
Manufacturing Innovation ◽  
Computer Aided ◽  
National Science ◽  
The University

Florida’s First Coast Manufacturing Innovation Partnership (MIP), sponsored by the National Science Foundation (NSF), promotes collaboration between academia and local industry members by providing a shared resource center. The local industry provides the university with research opportunities for its undergraduate students in areas of mechanical engineering design, manufacturing, and analysis and the university provides the local industry with technical resources. This paper outlines how this collaborative effort is structured, what types of projects are undertaken, and what the benefits are to academia, industry, and society in general. In particular, the paper describes three computer aided engineering (CAE) projects, addresses how these industry-academia projects help achieve the goals of the MIP program, and how these projects help improve the CAE skills of the future workforce.

scholarly journals A comparison of a first and third year UG enterprise unit: lessons from experiential learning and interdisciplinarity

2018 ◽  
Author(s):  
Veronica Sanchez-Romaguera ◽  
Robert A Phillips
Keyword(s):  
Experiential Learning ◽  
Undergraduate Students ◽  
Learning Experience ◽  
Interdisciplinary Education ◽  
First Year ◽  
University Curriculum ◽  
Enterprise Education ◽  
Growth Of Knowledge ◽  
The University ◽  
University Of Manchester

Drawing from several years of experience, this work describes lessons learnt in designing, delivering and assessing two interdisciplinary enterprise units offered undergraduate students from any discipline studing at the University of Manchester (UK). Both units are electives (optional). One unit is delivered to first year undergrdaute students whereas the other unit is delivered to third/fourth year undergraduate students. Experiential learning and interdisciplinary cohorts are core aspects of both units. Students work on ‘real-world’ projects to develop a credible and competitive solution within a tight dead-line. In this paper, findings are drawn from data collected from staff and teaching assistants observations, students’ reflective diaries and students’ feedback. Findings showed that in general, students at both levels, year 1 and year 3/4, regarded the experience challenging at first due to the ‘unusual’ learning environment when compared to the education that most students have experienced prior to the units here discussed. However, most students highly regarded the interdisciplinary experiential learning experience. The paper contributes to the growth of knowledge and aids understanding of how experiential learning and interdisciplinarity have been effectively combined and introduced in the university curriculum. Although this works focused on enterprise education the experience-based guidance here described is also applicable to a much wider range of situations and academic areas of study. Keywords: Enterprise and Entrepreneurship Education; Employability; Experiential learning; Interdisciplinary education;

scholarly journals SURFO Technical Report No. 15-01

2015 ◽  
Author(s):  
Keyword(s):  
Rhode Island ◽  
Undergraduate Students ◽  
Undergraduate Research ◽  
Technical Report ◽  
The University

The 2015 technical reports written by undergraduate students participating in the SURFO (Summer Undergraduate Research Fellowships in Oceanography) Program while at the University of Rhode Island.

Two Masterpieces of Kūṭiyāṭṭam

2019 ◽  
Keyword(s):  
Performance Studies ◽  
Empty Space ◽  
Ritual Studies ◽  
Indian Culture ◽  
Art Form ◽  
South Indian ◽  
Hebrew University ◽  
And Performance ◽  
The University

Kūṭiyāṭṭam, India’s only living traditional Sanskrit theatre, has been continually performed in Kerala for at least a thousand years. The actors and drummers create an entire world in the empty space of the stage by using spectacular costumes and make-up and by an immensely rich interplay of words, rhythms, mime, and gestures. This volume focuses on Mantrāṅkam and Aṅgulīyāṅkam, the two great masterpieces of Kūṭiyāṭṭam. It provides fundamental general remarks and relates them to pan-Indian reflections on aesthetics, philology, ritual studies, and history. Authored by scholars and active Kūṭiyāṭṭam performers, this is the first attempt to bring together a set of sustained, multi-faceted interpretations of these masterpieces-in-performance. With an aim to open up this ancient art form to readers interested in South Indian culture, religion, theatre and performance studies, philology, as well as literature, this volume offers a new way to access a major art form of pre-modern and modern Kerala. The University of Tuebingen in Germany and the Hebrew University of Jerusalem in Israel were partners in a long-term project studying and documenting Kūṭiyāṭṭam performances, including initiating full-scale performances of major works in the classical repertoire. We have been, in particular, focusing on the study of the two major, complex and ancient works, Mantrāṅkam and Aṅgulīyāṅkam, both of which we have seen and recorded in full. The articles in this volume are one of the results. They are supplemented with video-clips of lecture demonstrations provided online.

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