WILLIAM SHAKESPARE EN AVIÑÓN. ANÁLISIS DE SU RECEPCIÓN EN EL CONTEXTO DE UN FESTIVAL DE TEATRO

Este artículo analiza la representación de las obras de William Shakespeare en el Festival de Aviñón a través del análisis de los espectáculos y su recepción por parte del público y de la crítica con el objetivo de examinar cómo el contexto del festival da lugar a un tipo de recepción con características propias. Partimos de la idea de que la recepción del público en un festival de teatro es eminentemente distinta a la que tiene lugar en otros acontecimientos teatrales debido a las características particulares de este contexto. Para ello, exploramos tres aspectos fundamentales: la selección de montajes, la activación de la memoria del festival y la influencia del festival en los montajes que produce y coproduce. Abstract: This article explores Shakespeare in performance at the Avignon Festival through theatre reviews and performance analysis in order to examine how festival contexts give rise to distinct types of audience reception. It takes as its starting point that audience reception at the festival context varies significantly from that in other theatrical events. The article interrogates three main aspects about the Avignon Festival (the influence of the curation of the festival, the activation of festival memories and the influence of the festival on commissioned productions) using semiotics to conceptualize the festival.

A Survey of Audience Reception of Atọ́ka, A Yorubá Photoplay Magazine

Atokạ́ is a Yorubá photodrama magazine produced in Lagos, Southwest Nigeria from 1967-1991. Published by West African Book Publishers (WABP) and printed by their sister company, Academy Press, Atoka ̣́ was a bi-monthly magazine which, while it lasted, hit the stands fortnightly. Extensive works have been done on Yorubá drama by several scholars. While some looked at specific theater companies, some studied the selected plays of particular companies, and some others examined the production of certain organizations at a particular phase. Despite these myriad of works, some other production media, particularly the stage, celluloid film, and home video film, have gained the attention of researchers extensively but photoplay in particular, and radio, television, and the phonograph-disc have not been so lucky. Apart from some works (Ogundeji 1981, Aro ́ ́hunmolas ̣́ ẹ ̣ 1982, Adeoye 1984, ́ Bolạ́ ́ji ́ 1985, Adéléke 1995, and Akangbé 2014) that referred to and passed comments on Yorubá photoplay, no one has carried out a seminal study on the history, production, and content of Atoka ̣́ photoplay magazine. None of the aforementioned endeavors focused on the audience reception of Atokạ́ photoplay magazine. By implication, there are very scanty works on the photoplay genre and virtually none on audience reception of Yorubá photoplay magazine. It is this yawning gap that this study intends to fill by studying the peculiarities of the readers of Atokạ́ photoplay magazine. This paper is divided into nine parts, namely: Abstract, Introduction, Overview of Yorubá 140 Clement Adéníyì Àkàngbé photoplay magazine, Reception theory, Methodology, Data analysis, Discussion of findings, Conclusion, and Recommendations.

Audience Study as Catalyst in Sustainable Nollywood Yoruba Film Industry

Nollywood is the representation of the socio-cultural apparatus of Nigeria in the world cinema. Tis paper evaluates generally, film audience’s perspective in Nollywood films, and in particular non-native actors in native films. Most often, stakeholders in the film industry do not access, or are flagrantly ignorant of viewer’s feedback on the state of their production in all media of communication. Some determine this with the profit margins. Tis paper therefore evaluates the audience’s perception of non-native actors in Nollywood Yoruba native films. The area of concentration is on the quality of audience reception on native films by non-native actors. Cluster sample method is the tool of research for this paper, in which questionnaire samples were distributed among film viewers in the Yoruba speaking area in Nigeria. This is done in order to determine the performance ratings of non-Yoruba native actor’s skill of character interpretation in cultured films. Theoretical framework is anchored on Bandura’s Social Learning theory, which concentrates on impact of artistic models on the audience’s psyche. Findings reveal that audience ratings of non-native actors in Yoruba cultured films is poor, compared with their characterization in non-native setting, and this is due to wrong casting by directors who cast them against all odds in order to improve their profit margin. Findings also reveal the importance of audience study as a necessity in pre-production considerations of film shooting.

Anti-racist Critique Through Racial Stereotype Humour

This article discusses the persistent deployment of racial stereotypes in contemporary stand-up comedy and its potential hegemonic or counter-hegemonic effects. It asks whether racial stereotypes should be avoided or condemned altogether, considering the risks of interpretative ambiguity and offensiveness, or, alternatively, whether there are specific performative strategies and conditions that might make racial stereotype humour a powerful weapon in the anti-racist toolbox. As regards the first, several critiques are considered and it is shown that racial stereotype humour, and its reception, may harbour multiple, subtle forms of racism. In terms of defences, racial stereotype humour’s role of discharging stubborn psycho-affective investments is highlighted, as well as its function as ‘subversive play’. The article further pays special attention to aspects of audience reception (such as issues of missed subtlety and ‘clever’ laughter) and the importance of the comic’s racial positionality in performing racial stereotypes.

A TURNÊ CANCELADA DO DEAD KENNEDYS NO BRASIL: PUNK, NOSTALGIA E DRAMA SOCIAL

Este artigo busca analisar possíveis efeitos colaterais relativos a reuniões de artistas, sobretudo do gênero rock’n’roll, focando em crises que podem ou não se estabelecer diante da recepção do público. Nosso corpus principal é a banda Dead Kennedys e os desdobramentos que ocorreram do anúncio ao cancelamento de sua turnê celebratória de 40 anos que deveria ter ocorrido no Brasil em 2019. A partir das perspectivas da retromania de Reynolds (2011) - intrínseca à cultura pop e, portanto, extensiva ao rock - elaboramos a "treta" (Pereira de Sá, 2018) do grupo californiano à luz dos quatro estágios do drama social proposto por Turner (1982) como processo metodológico. Por fim, propomos que a correlação entre revisão, relação e reação traz à tona reflexões sobre passado e presente, instaurando um acontecimento de possível incongruência expressiva e discursiva na história da banda. PUNK IS DEAD (KENNEDYS)?: NOSTALGIA, POLÍTICA Y DRAMA SOCIAL EN UNA GIRA CANCELADA Resumen: Este artículo busca analizar los posibles efectos secundarios relacionados a las reuniones de artistas, especialmente del género rock'n'roll, enfocándose en crisis que pueden o no establecerse frente a la recepción pública. Nuestro corpus principal de investigación es la banda Dead Kennedys y los desarrollos que ocurrierón desde el anuncio hasta la cancelación de su gira de celebración de 40 años que debería haber ocurrido en Brasil en 2019. Desde la perspectiva de la retromanía de Reynolds (2011) – intrínseca a la cultura pop y, por lo tanto, extendidos al rock – elaboramos la "treta" (Pereira de Sá, 2018) del grupo californiano a la luz de las cuatro etapas del drama social propuesto por Turner (1982) como un proceso metodológico. Al final, proponemos que la correlación entre revisión, relación y reacción triga reflexiones sobre el pasado y el presente, estableciendo un evento de posible incongruencia expresiva y discursiva en la historia de la banda.Palabras clave: Dead Kennedys. Nostalgia. Drama Social. PUNK IS DEAD (KENNEDYS)?: NOSTALGIA, POLITICS AND SOCIAL DRAMA ON A CANCELED TOURAbstract: This paper aims to observe the possible side effects related to artists' reunions, especially of the rock'n'roll, focusing on crises that may or may not be established in the face of the audience reception. Our main observable is the band Dead Kennedys and the following events from the announcement to the cancellation of its 40-year celebratory tour, which should have happened in Brazil in 2019. From Reynolds (2011) retromania theory, which inherent to pop rock culture, we present the, what Pereira de Sá (2018) named as “treta” of the Californian group. As methodological process, we bring the four fases of social drama theory proposed by Turner (1982). In conclusion, we think the interconection between revision, relation and reaction brings up some interesting reflections about the past and the present, in witch we may see some expressive and discursive incongruity in the band's history.Keywords: Dead Kennedys. Nostalgia. Social Drama.

Transnationalisation revisited through the Netflix Original: An analysis of investment strategies in Europe

Players in the European market have developed a series of transnational collaborations and practices in the cross-border production and distribution of audio-visual content, media ownership, regulation and audience reception. Transnational subscription video-on-demand platforms have also visibly increased their investments in original content, in their attempt to expand and maintain their international subscriber bases. Among them, Netflix has been particularly active in investing in European markets. This article traces the evolution of Netflix investments in European original scripted series produced between 2012 and 2020 and analyses the platform’s investment strategies in European markets through the lens of transnational television theory. The findings point to various elements of transnationalisation, placing European originals at the intersection between local and global, through market dynamics, strategic collaborations and content with transnational appeal. The findings also confirm the growing importance of rights retention and premium content offerings through the increase of big-budget commissions, particularly in developed European markets.

Islamic Branding Strategy Through Audience's Reception

Islamic Branding is an approach to branding with Sharia Principles. Over time, Islamic Branding has become one of the strategies used in product marketing. The aims of this research to analyze the related topic towards audience reception and identifying the position of meaning for the Islamic Branding Strategy in Advertising Sahaja Products. This research used a qualitative research approach with the reception analysis method. The method highlights Stuart Hall's two concepts of encoding and decoding. The subjects of this research were seven members of the Islamic organization Nasyiatul 'Aisyiyah. The data were analyzed using two orders of signification by Roland Barthes (encoding) and in-depth interviews (decoding). The results of this research indicated the reception caused by the audiences, in understanding the meaning of the message can vary depending on the intensity of product use. The experience that has been felt and knowledge possessed. Thus, not all audiences can receive the message in full.

Translation policy

The translation policy model by González Núñez (2013, 475) comprises three elements, namely “translation management”, “translation practices”, and “translation beliefs”. While the first two elements of this model are straightforward and easy to study in top-down approaches, translation beliefs can relate both to policymakers and policy receivers. However, the distinction has not been clearly made in this model and the element of translation beliefs has been chiefly treated in the literature as though it comes from the top levels of policymaking, hence overlooking the bottom-up aspects of it (see González Núñez 2014, 2016; Li et al. 2017). In order to improve this model, the present paper draws on the audience reception theory (Hall 1973), and shows that the current translation policy model requires a fourth element that I would call ‘translation reception’. The paper draws on the findings of a reception-oriented case study on translation policies in provincial broadcasting in Iran. This study argues that a more inclusive model of translation policy should not only include the authority-level elements of translation management, translation practices, and translation beliefs, but also the element of translation reception on the part of policy receivers. This way, I hope, the end users’ involvement in and contribution to the translation policy network will not be overlooked in subsequent research.

Sonic Sentimentality and the Unification of the Listening Space: Exploring the intersections of oral history and sonic art

This article aims to explore how the theoretical and pedagogical intersections of sonic art and creative oral history may work together to enhance the public response of socially engaged, interdisciplinary artwork. The main topics of discussion will include Panos Amelides’s paper ‘Acousmatic Storytelling’, the socio theoretical approach suggested by Salome Voegelin in her paper ‘Sonic Memory Material as “Pathetic Trigger”’, the behavioral study from the oral history sound installation by Dr Luis Sotelo Castro called Not Being Able to Speak is Torture, and the Deep Listening and Sonic Meditation practices and teachings of Pauline Oliveros, as well as compositions by Yves Daoust, Hildegard Westerkamp and Trevor Wishart. One consistent theme revealed through these investigations was that socially engaged, aurally focused artwork informed and woven by familiar and documented ‘life’ sounds or nostalgic sound events increases emotional triggers for the audience, creating a deeper engagement with the art piece or performance. Furthermore, an informed and host-led directive encouraging participatory and attentive listening through either meditation or discussion increases audience reception and takeaway, thus inspiring and unifying mass group empathy. This article suggests that the application of these techniques by electroacoustic composers, sonic artists, oral historians and interdisciplinary artists will create informed, passionate and empathetic listening spaces that live beyond the insular, creative experience itself.