There Will Be Trouble

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.

Po co dramaturgowi aktor performatywny?

The article is an attempt to answer the question of how contemporary performative acting enters into artistically and cognitively significant interactions with the new Polish dramaturgy. The relationship between the two forms of art is discussed in relation to two types of acting: task-oriented and performative. The concept of both types of acting is derived from the analysis of selected contemporary theater and television productions of dramas and scenarios arising from the achievements of the latest Polish dramaturgy. The examples that are analyzed reveal various aspects and types of the actors’ performative game, which include the issues of the actor’s subjectivity, their presence on stage and the materiality of the body. Unlike many of today’s discussions, the interpretations and comments on selected scenes and fragments of a performance do not focus on the subversive dimension of the above-mentioned aspects of acting, but look for new perspectives of reception and, at the same time, broaden the areas of theatrical experience. These new perspectives and areas are triggered by references to the affective and mental processes of reception, which allow perceptions to exclude, at least partially, the tendency to automatically interpret everything that surrounds them. The analyses featured in the article therefore aim to describe those aspects of performative acting that enable the viewer to derive benefit from what the new Polish dramaturgy offers.

Innovation of the director's vocabulario of Oskaras Korshunovas

The purpose of the article is to reveal the peculiarities of the theatrical direction of O. Korsunovas and analyze the innovation of his director's vocabulary. Methodology. Comparative and structural methods were applied, which contributed to the identification of the originality and diversity of innovative directorial vocabulary; the method of art history analysis, the typological-structural method, and the method of artistic-compositional analysis of stage works, thanks to which the director's "toolbox" has been studied and structured, etc. Scientific novelty. The directorial activity of Oskaras Koršunovas is investigated in the context of the leading strategies of modern European theater; based on the art historical analysis of the performances "There to be here", "Old" by D. Kharms, "Hello Sonya, New Year" by A. Vvedensky, "P.S. case OK "S. Parulskis," Roberto Zucco "B.-M. Colts, “Hamlet” by W. Shakespeare and others, the innovative ways of representation applied by the director were revealed and analyzed; the characteristic features of the director's vocabulary were determined and it was proved that it is an open and dynamic system that develops under the influence of urgent problems of modern society; previously unknown factual material was introduced into scientific circulation. Conclusions. The art of directing by O. Korsunovas is one of the most striking examples of contemporary theater, which deals with the problems of a modern person, and the specificity of its content and form emphasizes the crisis of representation of the late 20th - early 21st centuries, manifests itself through deep changes in relation to action, feelings, scene perception, fragmentation, the crisis of bodily mediation and invariant supports of representation, both at the level of setting and at the level of reception. Directing by O. Korsunovas is distinguished by a fundamental innovation of views, a desire to destroy the ideological, artistic, and methodological limitations of theatrical direction, a unique interpretation of classical plays as modern ones, with an emphasis on contemporary moments, an experimental development on the basis of a theatrical laboratory of unique metaphor and imagery. The research revealed that the characteristic features of O. Korsunovas' directorial vocabulary are: application of the principle of deformation, contrast, and transformation, which take the form of a tragic grotesque; coding in elements of presentation of principles related to the specifics of drama; using the subject as an abstract construction; the use of the chorus - an element of classical Greek theater - in the performances of works of modern drama, etc.

Study of Dramaturgy Applied by The Selected Bureau of Architectural Consultants in Indonesia

Every architect has a different view and thought about something in designing a building. The basis of ideas design to a building is gained from experience, imagination, creativity, education, etc. Every professional architect also owns cognitive to express how the architecture works implemented through the design of a building. In architecture, there is a theory that connects drama and architecture in everyday life, dramaturgy. This article aims to see the concepts of dramaturgy in the works of the architectural consulting bureau responsible for, Omah Boto building, Aceh Tsunami Museum, and Phinisi Unm Tower. This study uses a qualitative method with data collection carried out using literature studies. Furthermore, the analyzed data is then presenting in descriptive for a more informative series. Data analysis aims to explore the relevance of the dramaturgy application in architecture to the thinking of architects in Indonesia. The results of the study show dramaturgy in architecture is used as a match between contemporary theater art and architecture. All three architectural consultants have used elements of dramaturgy in the design process. The three architectural consultants have used aspects of dramaturgy in their design process. The application of the basic concepts of dramaturgy used is an exterior setting of the building, Goals or ideas, building layout settings, visual instructions, and motion direction.

Pakeliran Sampakan “Sang Panggung”

The combination of puppetry and theater creates an alternative offering a new style of treatment in the form of contemporary theater called “Pakeliran Sampakan”. Pakeliran sampakan carries the mission of modernizing traditional art with the hope of being able to answer the public's saturation regarding spectacle that smells Indonesian culture, especially wayang kulit with the target market the young people. “Sang Panggung” is an adaptation of a story from “Nyi Panggung” written by Eko Tunas which tells about the life behind the scenes of the group of tobong Ketoprak Eka Mardhika. The results of the work represent the form of performances by the tobong ketoprak artists, with the story "Sang Panggung". Like the marginalized who are alienated because of their deposed honour by the outside culture, it needs an action by doing 'transmigration'. It doesn’t only mean moving from one island to another but also a change in the human mindset to be renewed towards the sophisticated technology of mass media, in order that traditional arts can always involve in the international competitions.

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

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.

The Actor-Document: traits of a poetics that challenges the limits between presence and representation

ABSTRACT During the 1960s and 1970s, Argentine theater experienced an almost simultaneous interest in the documentary and the political, as well as a experimental hybridization of forms. Later developments led to the autobiographical theater of the 1980s and 1990s and to the biodrama of the 2000s. Mi vida después [My life after] by Lola Arias is a renowned play derived from these traditions. By analyzing the model of acting of this work and study the figure of the actor-document and its contribution to contemporary theater. The actor in this model brings into crisis notions of illusion and mimesis and challenges the limits between fiction and reality by constantly oscillating amidst presence and representation.

CONTEMPORARY THEATER ARTS IN THE EDUCATIONAL ACTIVITY OF THE TEACHER

Contemporary theatrical art is considered in the article in two aspects: as a way to solve the problems of educating students (education by means of theatrical art) and as a means of preparing future teachers to solve educational problems (theatrical pedagogy). At the same time, educational activity is understood from the standpoint of a culturological approach as a purposeful activity of a teacher acting as an intermediary between a child and culture, to include students in modern culture context. The ideas about the peculiarities of contemporary theatrical art that influence the educational tasks solution are concretized: brightness and originality, which create motivation for moral problems discussion; minimalism, allowing you to focus on moral conflict; a large selection of genres, taking into account the students individual capabilities; interactive nature, allowing students to formulate, substantiate and defend their own moral position; combination of artistic and creative activity and computer technology, adequate to modern schoolchildren worldview. Theatrical art, removing the contradictions between the emotional-figurative and the emotional-logical, contributes to the personal holistic development, individuality and subjectivity of the child, allows him to experience the various situations of modern world. The scientific knowledge about the possibilities of theatrical pedagogy in the process of preparing future teachers for educational activities has been clarified: the use of theatrical pedagogy elements contributes to the students' communicative abilities development, the rejection of the stereotypical solution of professional tasks, the ability for improvisation, emotional self-regulation, flexible and productive conflict resolution. The preparation of future teachers for educational activities by means of theatrical pedagogy is considered as one of the conditions for the effectiveness of their professional activities in solving education problems. The study was carried out with the financial support of the Russian Foundation for Basic Research within the framework of scientific project No. 20-013-00809.