Dramatizing the Climate Emergency

The scientific community has been warning for some time about the climate emergency. However, the population does not generally perceive it as a relevant element in their daily lives. The activities carried out in the project RESCLIMA, both from the point of view of research on social representations of climate change and from the point of view of education and communication on climate change, have made apparent the need to build new educational strategies aimed at the adult and young public. This chapter presents the steps taken in this process ranging from the development of educational activities with senior target groups in socio-cultural centers to the production of a theatrical play that allows sharing in cultural and educational centers thoughts on how to tackle challenges associated with climate change. In the latter case, the play is accompanied by complementary activities, such as theater workshops, where young people can explore utopian or dystopian futures that can help them understand the complex problem of the present state of the climate emergency.

SCENIC ART FOR SHARK CONSERVATION AND OCEAN HEALTH ALERT

This interdisciplinary research has the playful art as a tool to raise awareness about the conservation of sharks and the environmental health of the Ocean, in addition to the search for the demystification of some concepts bringing to light the biological and ecological importance that this emblematic group represents for the natural balance of the Blue Planet. In the months of June and July 2018 at the visiting aquarium in Paraíba, a space for the propagation of non-formal environmental education, it was sought through the theatrical play "Swimming in Safety, a Sea of Hope" to apply the way of doing and teaching the concepts of sustainability and environmental preservation since the choice of the team, the actors and scenographic materials. Through exploratory and participant research, photographic and video records, we investigated the reactions of the audience before, during and after the play. The evaluation process was permanent in order to make constant improvements. The play tried to highlight not only information about the characteristics and importance of preserving sharks, but also the main threats such as the practice of finning, which through a plot between the pirate and the shark and the echinoderms, it was possible to explain the defence systems that each being has, all of which are important, showing that sharks are worth much more alive than dead. The expertise and performance of artistic activities such as juggling, magic and balance contributed to the success of the play. The results prove that this type of multidisciplinary experience, which promotes learning through enchantment, should be encouraged because it will certainly constitute a basis for future attitudes, especially in children, since they will feel encouraged to protect nature, according to the premises of the Decade of Oceanic Science and Ecological Restoration.

The normal life of settlers

This paper concerns Let me tell you a story about Israel, a theatrical play tasked with influencing existing perceptions of the Palestine/Israel conflict amongst international audiences. Drawing on the work of philosopher Baruch Spinoza, I explore the complex issue of how to address the need to change people’s political perceptions by using theatre as a form of activist persuasion. The play attempts to create an image of the conflict mostly absent in the commentaries of international observers who are unaware of the full implications of the conflict’s settler colonial character. Typically, they understand it in terms of two sides competing over land, frontiers and recognition. The sense of balance that this perception conveys pre-empts coming to grips with the colonial history of Palestine beginning with the advent of Zionism from late 19th century. Such a view also obscures the nature of current forms of Israeli domination and fails to take into account a major historical factor: that the settler colonial dynamic in Palestine rests on the ways social life in Israel is organised and reproduced. Hence, the play aims to make perceptible the relation between the social mechanisms of subjectivity formation in the Israeli society on the one hand, and the everyday performance of settler colonial power on the other. Making this relation observable is a necessary step towards rethinking where change could possibly come from.

Stage-directing the Virtual Reality Experience: Developing a Theoretical Framework for Immersive Literacy

Despite the incremental improvement and inclusion of immersive technologies in entertainment, training simulation, fine art, inclusive design, academia, and education; Virtual Reality (VR) still faces issues regarding its ability to compete with films and animation in visual storytelling without merging into the realm of video games. In 2015, Pixar’s Ed Catmull warned moviemakers that Virtual Reality is “not storytelling” and argued that the linear aspect of narratives poses an obstacle that cannot be overcome with VR. In contrast, Catmull argued that VR has immense application in games. However, VR creators have been pushing the boundaries and possibilities of delivering narratives in virtual spaces. In 2019, the VR experience “Gloomy Eyes” was presented at the Sundance festivals featuring a 30-minute story split between 3 episodes. The simulation is structured to provide its audience with some degrees of freedom while guiding them intuitively through the virtual space. In 2021, Blue Zoo also released a VR project titled “The Beast” featuring a cyclist powering up a snow-covered mountain. The short film was entirely created in Quill VR with the intention of being treated like a theatrical play rather than a film. While the creators of “The Beast” have explicitly mentioned the influence of theatre, “Gloomy Eyes” draws its visual language from similar theatrical roots. This paper argues that VR has been mistakenly compared to film and animation when it should be associated with theatre. The audience of both are not passive as they are during the screening of a film or animation. The space and the medium demands participation through their presence in the same space with the actors/characters. Theatre presents a promising candidate for extracting criteria that could be used to develop a visual language for VR. This research aims to formulate a framework for developing a VR visual language through comparison between character-driven narratives in VR such as “Gloomy Eyes” and “The Beast”. The comparative study establishes overlapping criteria and characteristics found in the structure, literacy, sound, and delivery format of narratives in a theatrical performance. These criteria are then outlined and discussed, drawing from affordance theory and discussions on aural and visual attention in theatre, to form a holistic view in approaching VR literacy.

The Absurd Representations of Pinter’s Women: A study into the representation of female characters in the plays of Harold Pinter

<p>This thesis is concerned with analysing the representation of the female characters found in a sample of Harold Pinter’s plays. The plays examined are The Homecoming (1964), Betrayal (1978) and Celebration (1999). Through a close reading of the texts and reference to past interpreters this work attempts to locate Harold Pinter within the theatrical topography, concentrating on his convergence with the Absurdist genre. This research then assesses the extent to which Pinter’s characters exhibit the conventions pertinent to the genre and Pinter’s unique playwriting style, with particular reference to the dissonance in representation present between male and female characters. To conclude, the project reacts to the inequality present in Pinter’s depiction of female characters, which informs the construction of a theatrical play script, titled Cleanskin.</p>

The Absurd Representations of Pinter’s Women: A study into the representation of female characters in the plays of Harold Pinter

<p>This thesis is concerned with analysing the representation of the female characters found in a sample of Harold Pinter’s plays. The plays examined are The Homecoming (1964), Betrayal (1978) and Celebration (1999). Through a close reading of the texts and reference to past interpreters this work attempts to locate Harold Pinter within the theatrical topography, concentrating on his convergence with the Absurdist genre. This research then assesses the extent to which Pinter’s characters exhibit the conventions pertinent to the genre and Pinter’s unique playwriting style, with particular reference to the dissonance in representation present between male and female characters. To conclude, the project reacts to the inequality present in Pinter’s depiction of female characters, which informs the construction of a theatrical play script, titled Cleanskin.</p>

Modern Judeo-Provençal as Known from Its Sole Textual Testimony: Harcanot et Barcanot (Critical Edition and Linguistic Analysis)

This study offers a linguistic description of the idiom of the Jews of the Comtat Venaissin (“Judeo-Provençal”) at the end of the 18th century, based on a critical edition of the only relevant document illustrating this language, a theatrical play in verse entitled Harcanot et Barcanot. The introduction provides a philological inventory of all known sources of “Judeo-Provençal.” The critical and variorum edition of the text, accompanied by linear glosses in English, is followed by a commentary comprising a glossary and analysis of all relevant linguistic features. It reveals, inter alia, that this language possessed words pertaining to the linguistic repertoire of French Jews since the Middle Ages; as for the phonetic features of the Jewish dialect of Provençal, their etiology is to be found in the history of the communities. The study concludes with a reassessment of the nature of linguistic variation in the dialect of the Jews of Provence.

STAGE MODELS USED İN THE STAGİNG OF THEATER PLAYS,DECOR AND STAGE DESİGNS

Stage design is the design of decor, costumes, accessories, lights, effects and all other audio-visual environments for the enactment of a theatrical play on the stage. Stage design is the general name of the design of all counted areas. This art branch, which started in the Middle Ages in accordance with today's understanding as stage painting and stage decoration in the West, lived its brightest and most glorious period in the 19th century. The stage mechanics created by applying it to scenes that could be created in the 20th century, by inserting the visual illusion on purpose, cause the audience to see these false worlds with surprising and astonished glances. Stage decoration is a branch of art that incorporates all branches of plastic art, especially painting and architecture, but its function is to create spaces that will provide the necessary action on the stage, in accordance with the drama text written by the author. However, today, it continues to function with a new structuring like other developing and changing art branches. Now the stage designer must have a very good art background as well as being a good İnterior Architect. Their current and social cultural background, which is sensitive to the problems of the country and world societies he lives in, is an important factor in the emergence of a good stage design. It is no longer a stage decoration that is suitable for the dramatic text and it’s visually is in the foreground, but a stage design enriched and meaningful with the artistic interpretation of the artist and the expression of his feelings. In this article, the applicability of the interior architecture process and stage design process in the field of theater plays has been tried to be revealed.

Film comme non-film – Samuel Beckett et le spectacle vivant de l’angoisse

"Film as Not-Film – Samuel Beckett and the Vivid Show of Anxiety. This paper aims to offer a psychoanalytic reading of the living suffering of Samuel Beckett concerning the trauma of birth doubled by the sin of being born with particular reference to his theatrical work Film from 1965. In Film the real nothing is converted into the image of multiple eyes (“I”s) which, beyond the idea of tragedy, translates the multiple division of the subject into Eye and Object, an acting out of the self-consciousness through the concentric circles of the anxiety. In this sense, the theatrical play between in-between and out-between grasps anxiety as the symptom of every event of the real. With his (not)film, Beckett represents I and Eye, Not I and Not Eye at the same time. Keywords: nothingness, I, eye, language, anxiety, real."