scholarly journals Space as an Active Agent. On Performative Space in Estonian Contemporary Performing Arts / Ruum kui aktiivne agent. Performatiivsest ruumist Eesti nüüdisaegsetes etenduskunstides

2021 ◽  
Vol 22 (27/28) ◽  
Author(s):  
Madli Pesti
Keyword(s):  
Performing Arts ◽  
Active Agent ◽  
Installation Space ◽  
Shared Space ◽  
Performative Space ◽  
The Spectator ◽  
Communicative Space

Abstract: This paper discusses examples of the use of performative space in the Estonian performing arts. It shows how a performative space is arranged as an interactive and shared space, what the features are of an installation space, how the audience perceives immersive space, and how a socially communicative space is formed. The paper studies the ways that space can be an active agent and affect the perception of the spectator.   Artikkel käsitleb ruumi organiseerimise viise uuemas Eesti teatris ning osutab, kuidas ruumilised suhted mõjutavad publiku taju. Analüüsitakse viit 2020. aastal esietendunud lavastust: „Kas te olete oma kohaga rahul“ (autorid Eero Epner, Mart Kangro ja Juhan Ulfsak, Kanuti Gildi SAAL), „*******“ (autorid Mart Koldits ja trupp, Von Krahli Teater), „Ümarlaud“ (lavastaja Kadri Noormets, Tartu Uus Teater), „Inimesed ja numbrid“ (lavastaja Birgit Landberg, Vaba Lava) ning „supersocial“ (autorid Üüve-Lydia Toompere ja Siim Tõniste, Kanuti Gildi SAALi kaasproduktsioon). Ruum on teatrikunstis määrav mõõde ning üks võimalus teatrit defineerida ongi näha seda ruumi eriomase organiseerimise kaudu. Teoreetilise raamistikuna vaadeldakse artiklis Gay McAuley’ viiest alast koosnevat teatriruumide taksonoomiat. Esimeseks alaks on McAuley’ taksonoomia järgi teatrikogemuse sotsiaalne reaalsus, mis koosneb teatriruumist, publikuruumist, etenduse ruumist, töötajate ruumist ja prooviruumist. Teiseks alaks on füüsilise reaalsuse ja fiktsionaalse ruumi duaalsus, mis koosneb lavaruumist, esituse ruumist ja fiktsionaalsest ruumist. Kolmanda alana toob McAuley välja ruumid, mis on seotud asukoha ja fiktsiooniga, rõhutamaks, et väljamõeldud ruum toimib vastavalt oma asukohale füüsilise reaalsuse suhtes. Neljanda alana käsitletakse tekstilist ruumi, mis pöörab tähelepanu etendusteksti ruumilistele struktuuridele ja nende tähtsusele etenduse geneesis, hõlmates muu hulgas geograafilisi nimesid, kohtade kirjeldusi, liikumist väljendavaid verbe jms. Viienda alana toob McAuley esile temaatilise ruumi, mille tähtsus seisneb tähenduste loomises ja mis on seotud nii teksti kui ka etendusega. (McAuley 2000, 24–32) Käesolevas artiklis võetakse sellest taksonoomiast kasutusele etenduse ruumi mõiste, mis kuulub teatrikogemuse sotsiaalse reaalsuse juurde. McAuley’ etenduse ruumis töötavad kaks gruppi, etendajad ja vaatajad koos, et luua ühine etenduskogemus. Etenduse ruum on teatrit määratlev ruum ning eksisteerib ka siis, kui pole olemas teatrit kui hoonet. (McAuley 2000, 26) Teiseks ja peamiseks teoreetiliseks raamistuseks tuuakse artiklis mängu Erika Fischer-Lichte performatiivse ruumi mõiste. Performatiivne on Fischer-Lichte (2008, 107) määratluses ruum, milles etendus ilmneb, ja see ruum sünnib etendajate ja vaatajate koostoimes. Performatiivne ruum avab mitmekesiseid suhteid etendajate ja vaatajate, liikumise ja taju vahel. Nende suhete ükskõik millisel viisil muutmine või kehtestamine muudab performatiivset ruumi. Performatiivset ruumi nimetab Fischer-Lichte ka vahepealseks ruumiks ja etenduse käigus on see pidevas muutumises. Selle ruumi käsitluses tõstetakse esile etenduse tajumise aspekti: publiku taju mõjutab alati etendust ja kõiki selles osalejaid, nii et etenduse ruumis hakkab ringlema eripärane energia (Fischer-Lichte 2008, 59). Lisaks muutuvad suhted näitlejate ja vaatajate vahel sõltuvalt publiku asetusest: olenevalt sellest, kas publik istub saalis vaatega lavale, kas publik ümbritseb lava või seisab publikuruumis hajutatult, kas publik liigub ümber ristkülikukujulise või ruudukujulise lava või siis sellest, mil viisil on publik lavast eraldatud (prožektorite, poodiumite, dekoratsiooni, mööbli vmt-ga) (Fischer-Lichte 2008, 107). Artiklis arutletakse ruumi kui aktiivse agendi üle. Lavastuste „Kas te olete oma kohaga rahul“ ja „*******“ kaasav ja jagatud ruum ärgitab publikut tajuma tuntud teatriruumi uuel viisil ning aktiveerib vaataja isikliku mälu, emotsioonid ja kogemused. „Ümarlaua“ installatiivne ruum aktiveerib mäletamise kui füüsilise toimingu: etendajad mängivad laval päris mänge ja see vallandab iga vaataja enda elu mälestusväärsed hetked. Sellised lavastused taasmõtestavad teatriruumi ja publik saab võimaluse tajuda tavapärast teatriruumi uuel viisil. Lavastuste „Kas te olete oma kohaga rahul“, „*******“ ja „Ümarlaud“ ruumilised suhted aktiveerivad osalejate emotsionaalse ruumi, mäluruumi ja kogemuste ruumi. Oluline ühine aspekt on see, et ruumiline paigutus käivitab isiklikud mälestused. Vaatajad hakkavad mõtisklema oma mineviku üle: kuidas nad on tajunud ruumilisi suhteid oma elu eri etappidel. Analüüsitud lavastused näitavad, kuidas aktiivne performatiivne ruum võib hõlmata publiku kuulmis-, nägemis-, lõhna- ja taktiilse taju, s.t etendus ümbritseb osavõtjaid ning nad kogevad etendust eri tajude abil. Lavastus „supersocial“ on näide sellest, kuidas lisaks füüsilise ruumi spetsiifilisele korraldusele võib teater keskenduda ka sotsiaalsele ruumile ning laiendada kommunikatsiooniruumi. See rakendusteatrina tajutav lavastus lõi ajutise kogukonna, mille potentsiaalne aruteluväli ulatub väljapoole teatrisündmust nii ajas kui ka ruumis. Käesolevas artiklis huvituti nüüdisteatri performatiivsest ruumist, s.t ruumist, kus etendus toimub. Erinevalt arhitektuurilis-geomeetrilisest ruumist ei esinda performatiivne ruum ainult füüsilisi artefakte. Oma olemuselt kuulub performatiivne ruum pigem sündmuste kui kunstiteoste juurde (Fischer-Lichte 2008, 114). Lisaks performatiivse ruumi sündmuslikkusele on siin kohaldatav ka situatsiooni mõiste: vaatajast saab osavõtja ning seeläbi saab ta teadlikumaks oma kohalolust (oma positsioonist teiste inimeste suhtes ruumis), lisaks võib füüsiline lähedus hõlmata otsest kontakti etendajate ja vaatajate vahel (Lehmann 2006, 123). Kokkuvõtvalt näidati artiklis, kuidas ruum võib olla aktiivne agent ja mõjutada publiku taju. Artikkel pakkus võimalust käsitleda ruumi kui etenduse aspekti, mis aktiveerib publiku, ja näitas, kuidas etenduse kulg võib sõltuda publiku tegevusest või tegevusetusest.

scholarly journals WADAH PERTUNJUKAN SENI DI BEKASI

2020 ◽  
Vol 2 (1) ◽  
pp. 461
Author(s):  
Vicosta Christy ◽  
Tatang Hendra Pangestu
Keyword(s):  
Performing Arts ◽  
Third Space ◽  
High Mobility ◽  
Capital City ◽  
Main Concept ◽  
The Third ◽  
Shared Space ◽  
Building Typology ◽  
Recreation Area ◽  
The City

Bekasi is referred to commuter city. A commuter is someone who travels to a city to work and returns to his hometown every day, usually from a place that is quite far from where he works. There is nothing interesting to invite travelers to this city. The city is home to millions of residents who mostly work in the capital city of Jakarta. The reason is because Jakarta is already overcrowded and the price of a residential unit in Jakarta has escalated. Bekasi society has high mobility. They departed from morning and returned when it was dark. The house is only used as a rest. There is no cultural trend in Bekasi as well as a shared space for residents to communicate with each other and express interest in their talents. There needs to be a forum to embrace the polarity of the city with nature to coexist in order to produce a more attractive environment and accommodate the city of Bekasi as an educational recreation area, combining the value of sociability and relaxation. The third place becomes a role that can contribute to the overall lifestyle of the community. For this reason, people need to realize that the third space is an undisputable asset. The concept of this third space is quite unique for the process of developing a place, because the third space breaks through a generation with a much better deal than the characteristics of other places. This project uses the trans programming method for the program in the project and the building typology method which will analyze several aspects of the performing arts buildings from the past to the present. The main concept of this project prioritizes the flexibility of space so that it can be used for several different activities. AbstrakKota Bekasi sering disebut dengan kota komuter. Komuter adalah seseorang yang bepergian ke suatu kota untuk bekerja dan kembali ke kota tempat tinggalnya setiap hari, biasanya dari tempat tinggal yang cukup jauh dari tempat bekerjanya. Tidak ada hal yang menarik untuk mengajak para pelancong ke kota ini. Kota ini adalah rumah bagi jutaan penduduk yang sebagian besar bekerja di ibukota Jakarta. Alasannya mudah, karena Jakarta sudah sesak dan harga satu unit tempat tinggal di Jakarta sudah meroket. Masyarakat Bekasi memiliki mobilitas yang tinggi. Mereka berangkat dari pagi dan kembali saat hari sudah gelap. Rumah hanya dijadikan untuk beristirahat saja. Tidak terdapat tren kebudayaan di Bekasi sekaligus ruang bersama untuk warga saling berkomunikasi dan menuangkan minat bakatnya. Perlu adanya sebuah wadah untuk merangkul polaritas kota dengan alam untuk hidup berdampingan supaya menghasilkan lingkungan yang lebih menarik dan mengakomodasi kota Bekasi menjadi tempat rekreasi edukatif, menggabungkan nilai sosiabilitas dan relaksasi. Ruang ketiga menjadi peran yang bisa berkontribusi dengan keseluruhan gaya hidup masyarakat. Untuk itu masyarakat perlu menyadari bahwa, ruang ketiga menjadi aset yang tidak dapat diperdebatkan. Konsep ruang ketiga ini cukup unik untuk proses perkembangan sebuah tempat, karena ruang ketiga menerobos sebuah generasi dengan kesepakatan yang jauh lebih baik daripada karakteristik tempat lain.  Proyek ini menggunakan metode trans programming untuk program di dalam proyek dan metode tipologi bangunan dimana akan menganalisa beberapa aspek pada bangunan - bangunan ruang pertunjukan dari terdahulu hingga kekinian. Konsep utama bangunan ini mengutamakan fleksibilitas ruang sehingga bisa digunakan untuk beberapa kegiatan yang berbeda.

scholarly journals THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME

Articult ◽  
2021 ◽  
pp. 19-31
Author(s):  
Leila F. Salimova ◽  
◽  
Keyword(s):  
Scientific Knowledge ◽  
Performing Arts ◽  
Point Of View ◽  
The Body ◽  
Ethical Aspect ◽  
Close Relationship ◽  
History Of ◽  
The Spectator ◽  
The Aesthetic ◽  
Considerable Body

Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

scholarly journals Beyond the Screen

2019 ◽  
Author(s):  
Eugenio De Angelis
Keyword(s):  
Film Theory ◽  
Active Agent ◽  
Art World ◽  
Role Changes ◽  
Avant Garde ◽  
Japanese Art ◽  
The Sixties ◽  
The Spectator ◽  
Movie Theatre

Intermedial practices are a common trademark of the Japanese art world in the sixties and seventies. This article focuses on a case study of such practices, namely the relationship between artwork and audience in Terayama Shūji’s cinema. Moving from the author’s theatrical theories on spectatorship (kankyakuron), the paper applies those theories to Terayama’s experimental movies, analysing how they are adapted to the cinematic medium. This study conceives a three-phased system, where the spectator is progressively brought towards the screen and his role changes from passive viewer to active agent. The study adopts an approach based on performance studies and avant-garde film theory to reveal how Terayama moulds the movie-going practice into a performative and collective event, using the movie theatre as a theatrical stage.

scholarly journals Estudos das ausências nas artes da cena

Ouvirouver ◽  
2017 ◽  
Vol 13 (1) ◽  
pp. 120
Author(s):  
Mariana Lima Muniz ◽  
Alexandre Silva Nunes ◽  
Paulo Ricardo Berton
Keyword(s):  
Performing Arts ◽  
Remote Transmission ◽  
Construction Of Meaning ◽  
The Spectator

Este artigo pretende discutir os binômios ausência/presença e real/virtual a partir da análise de espetáculos, dramaturgias e teorias acerca da interpretação teatral produzidos no final do século XX e início do século XXI. Na oposição ausência/presença, a característica lacunar do texto, da interpretação e da encenação, que se expandiu neste período histórico, ao lado de estéticas mais fechadas, passou a exigir a contribuição do espectador para a construção do sentido. Na oposição real/virtual, desde os conceitos clássicos da relação presença-ausência do ator-personagem até a difusão das tecnologias de transmissão remota de presença vem-se discutindo cada vez mais as condições de presença concretas e virtuais e o modo como agem sobre a cena. ABSTRACT The panel Absence Studies in the Performing Arts promotes a debate about the absence/presence and actual/virtual binaries through the analysis of XXIth Century plays and productions. In the first pair, the characteristic gaps found in drama and scene, very widespread in theatrical productions of the period, besides other more traditional styles, demanded the contribution of the spectator for the construction of meaning. The second opposition, with the spreading of the remote transmission technologies of presence brought the issue of the intromission of the virtuality onto the stage. Keywords: absence/presence; actual/virtual; performing arts; XXIth century Theatre

scholarly journals Collectives, Communities and Non-Hierarchical Modes of Creation from the 1970s till the 1990s

2021 ◽  
Vol 9 (2021-1) ◽  
pp. 18-51
Author(s):  
Tomaž Toporišič
Keyword(s):  
Hierarchical Structure ◽  
Performing Arts ◽  
The Hierarchical Structure ◽  
The Spectator ◽  
Supporting Base

Within the twenty-year period that coincides with the first twenty years of the Glej Theatre, the essay concentrates on the formation and transformations of non-hierarchical theatre communities, or, in the words of one of its founders, Dušan Jovanović, theatrical tribes. Using historical and present-day examples, the author will try to map the specific devised theatrical procedures producing what Badiou names “a generic vacillation”: “Theatre turns every representation, every actor’s gesture, into a generic vacillation so as to put differences to the test without any supporting base. The spectator must decide whether to expose himself to this void, whether to share in the infinite procedure. He is summoned, not to experience pleasure (which arrives perhaps ‘on top of everything’, as Aristotle says) but to think” (Rhapsody, 124).The essay strives to answer the following questions: How did the Slovenian experimental and non-institutional performing arts scene (as a reaction to the hierarchical structure of repertory theatres) create different non-hierarchical modes in relation to creating the performances, the theatre’s artistic direction and forming temporary communities with emancipated audiences? To which models did this scene turn – then and today – to develop its own logic of devised and collaborative theatrical tactics? And lately: To what extent have those different artistic collaborative tribes changed the theatrical landscape in Slovenia, Yugoslavia and elsewhere?

scholarly journals Fusing the Fictional and the Real in the Contemporary Performing Arts

2018 ◽  
Vol 26 (1) ◽  
pp. 44-54 ◽  
Author(s):  
Barbara Orel
Keyword(s):  
Detailed Analysis ◽  
Performing Arts ◽  
Fine Art ◽  
Alain Badiou ◽  
The Real ◽  
Performance Group ◽  
Personal Investment ◽  
The Spectator ◽  
The Relationship

The exploration of the relationship between the fictional and the real in projects by ViaNegativa, a performance group from Slovenia, is based on the presumption that therecognition of what we experience as fictional or real is decisively influenced by the perceptualactivity of the spectator. The article argues that the exchange between the elements of fictionand reality takes place in two different concepts of representation: theatricality and absorption.These are two opposing notions used for defining the relationship between the imagerepresented and the spectator. Theatricality is the effect of the address that the image makes tothe spectators and thus makes them conscious of their own act of perceiving. Absorption, inturn, describes the context in which the image is put to view as a closed, self-sufficientsign-system establishing such conditions of perception that make the spectator focuscompletely upon the object represented; the audience is so overcome by the presented imagethat they experience this as if they were absorbed into the staged world. These two concepts areelaborated on the basis of Denis Diderot's essays on theatre and fine art. The essay provesuseful for the argumentation of the thesis since they testify that theatricality and absorption,each in their own way, include the spectator's personal investment into what comes across asfictional or real. A detailed analysis of selected performances by Via Negativa shows that thereal assuch (i.e. theauthenticity of the real that isconfirmed in the identity with its own self)is impossible to achieve. Under the gazeof the spectator, the real is always compelled to revealitself through some kind of representation. As also found by Alain Badiou, the authenticity ofthe real can only be presented through the role of semblance, mask or fiction.

The World of Odour in the Slovenian Performing Arts

2021 ◽  
Vol 9 (2021-2) ◽  
pp. 92-98
Author(s):  
Barbara Orel
Keyword(s):  
21St Century ◽  
Performance Art ◽  
Performing Arts ◽  
Sensory Perception ◽  
The Real ◽  
National Theatre ◽  
The World ◽  
Experimental Theatre ◽  
The Spectator

The article provides an overview of performances on Slovenian stages that have used odour to stimulate the audience’s senses and arouse transformational effects. Representing the first research of this kind into Slovenian culture, the author demonstrates that odour was used as a means of sensory perception, especially in experimental theatre practices since the 1970s. One of the first such works was Cimetova vrata ladje norcev in druge spremembe (The Cinnamon Door of the Ship of Fools and Other Changes), a performance art piece directed by Tomaž Kralj at Glej Theatre in 1975. In the 1990s, the interest in olfactory perceptions grew among theatre-makers who successfully used odour to implement the aesthetics of the real in post-dramatic theatre and achieve the immersion of the spectator. This role of odour in theatre also continues in the 21st century. Barbara Pia Jenič began deliberately and continuously developing the poetics of scent at the Sensorium Theatre, which she founded in 2001 with Gabriel Hernandez. In her creation of sensorial events, Jenič relies on the methodologies of Enrique Vargas, with which she became acquainted as an actress and scent designer in his group Teatro de los Sentidos and creatively developed them at the Sensorium Theatre. As a scent designer, Jenič has collaborated with other Slovenian theatres, among others, on the 2015 operatorium, The Tenth Daughter (Deseta hči) by Svetlana Makarovič (based on the libretto by Milko Lazar, directed by Rocco) at the Slovenian National Theatre – Opera and Ballet Ljubljana.

scholarly journals Archaeology of time – activation of installation space by the spect-actor

2020 ◽  
Vol 85 (1) ◽  
Author(s):  
Janine Lewis ◽  
Jan Van Der Merwe
Keyword(s):  
South African ◽  
Meaning Making ◽  
Installation Space ◽  
Way Of Life ◽  
Found Objects ◽  
Cultural Interpretation ◽  
The Spectator ◽  
Embodied Engagement

An artistic installation implies theatre in situ, in that a/the space is transformed into a potential experiential encounter through design and scenography. This potential space then only requires the spectator to activate the full experience through embodied engagement with the installation, inciting visceral meaning-making. This embodied activation implies that the spectator then also becomes a performer, as they are simultaneously the ones physically causing the theatrical experience and the ones experiencing the elements designed for (their) interpretation. In this manner a heightened sense of becoming what Boal (1992) coined the ‘spect-actor’ is achieved. By activating the space through physical engagement with/in the installation where all the sensory receptors trigger a visceral response in the spect-actor, meaning-making occurs through phenomenology and implies a knowing body through personal- and socio-cultural interpretation. For this paper, the installations by renowned South African artist Jan van der Merwe are used as examples to argue for the emergence of the spect-actor in the role of activator. As an installation artist, Van der Merwe creates large artworks of intricately recreated tableaux often composed in discarded, rusted found material. Van der Merwe calls the found objects “artefacts of our time”. Thus, they assume an archaeological quality and become relics of a way of life, a civilisation degenerated and fossilised though time and rust. The spect-actor is both then the site and cite of activation where the time and space converge into an ephemeral experience. Ho epolloa ha lintho tsa khale nako: ts'ebetso ea sebaka sa tlhomamiso ke moetsi oa spect-actor Boetsi ba bonono bo ikhethileng ka tshebediso ya ditshwantsho sebakeng ho bontša hore ho na le liketsahalo tsa sethala, ka hore sebaka se fetoha sebopeho se nang le phihlelo ka ho qaptjoa le ho shebahala. Sebaka sena se ka etsahala habonolo feela se hloka hore mmoheli a khone ho etsa boiphihlelo bo feletseng ka ho khomahanya ka ketsahatso, e leng tsela ya ho khothalletsa ho etsa moelelo oa visceral. Tshebetso ena e ncha e fana ka maikutlo a hore motho ea shebellang le ena o fetoha sebapali, kaha ka nako e tšoanang o etsa hore ho be le boiphihlelo ba papali ho ba nang le likarolo tse etselitsoeng tlhaloso ea bona. Ka tsela ena ho ba le kutloisiso e phahameng ea ho ba seo Boal (1992) a ileng a se bitsa hore ke mmohi-sebapali se fihlelloe. Ka ho futhumatsa sebaka ka tsela ya ho sebelisa mmele har’a mosebetsi wa bonono o pampiri ena e baung ka ona, e leng ona o lokollang li-receptor tsohle tse utloahalang hore li hlahise karabo ea visceral ho mmohi-sepali. Ho etsa moelelo o etsahalang ka phenomenology ho bolela mmele o tsebang ka litlhaloso tsa setso. Bakeng sa pampiri ena mesebetsi ea bonono ea moetsahatsi oa Afrika Boroa ea tummeng, Jan van der Merwe, e tla sebelisoa e le mohlala ho pheha khang ka ho hlaha ha mmohi-sebapali karolong ea motho ea futhumatsang le ho etsahatsa mosebetsi wa bonono ka nako eo o etsahalang ka yona. Joalokaha moetsahatsi oa bonono, van der Merwe o etsa litšoantšo tse kholo tsa seka-litšoantšo tse entsoeng ka mokhoa o rarahaneng o atisang ho etsoa ka thepa e lahliloeng, e bolileng. Van der Merwe o bitsa lintho tse a lifumaneng ho etsa mosebetsi oa hae "lintho tsa nako ea rona". Ka hona, ntho tsena linka seemo sa lintho tsa khale tse epollotsoeng ebe lifetoha litšoantšo tsa mokhoa oa bophelo, tsoelo-pele e ileng ea khutlela moraho le ho khitloa nakong. Ha hole joalo, mmohi-sepabali eba sebaka le moetsahatsi wa futhumatso tsebetsong moo nako le sebaka li fetohang phihlelo ea ho iphelisa.

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