Archaeology and Performance Theory Research Papers (original) (raw)

La tragedia rappresenta uno dei più vasti ambiti di interesse e di indagine dal punto di vista letterario, teatrale e filosofico. Questo volume ricerca, nello specifico, un possibile “sentimento tragico della Storia”, ispirandosi a Miguel... more

La tragedia rappresenta uno dei più vasti ambiti di interesse e di indagine dal punto di vista letterario, teatrale e filosofico. Questo volume ricerca, nello specifico, un possibile “sentimento tragico della Storia”, ispirandosi a Miguel de Unamuno. Si guarda a Karl Marx, quindi alla Storia come “tragedia” nell’interpretazione di Arnold Toynbee e di Oswald Spengler, alla dialettica tra tragedia e Storia di Lucien Goldmann – e György Lukács –, sino alla “tragedia del popolo” di Orlando Figes.

Analyses of performance (and performance events) depicted in the iconography from Minoan Crete most often focus upon religious aspects of these activities. In this article, a performance approach is adopted; this alternative viewpoint... more

Analyses of performance (and performance events) depicted in the iconography from Minoan Crete most often focus upon religious aspects of these activities. In this article, a performance approach is adopted; this alternative viewpoint emphasizes the significance of performances for materializing ideologies, reinforcing elements of the socio-political order, and the negotiation of power relations. Using archaeological material from the Minoan period of Crete, the role of depictions of dances, bull leaping, and boxing for the development of power relations and socio-political change are examined. It is concluded that both the representations of these activities, and perhaps the activities themselves, played significant roles in shaping competitive authority structures and a social order frequently influenced by competition among rival factions.

Nach dem Ende des hethitischen Großreiches um 1200 v. Chr. bildet sich im syro-anatolischen Raum ein Netzwerk von florierenden Stadtstaaten. In den Stadtgefügen dieser Zentren nehmen neu angelegten, breiten Platzanlagen eine wichtige... more

Nach dem Ende des hethitischen Großreiches um 1200 v. Chr. bildet sich im syro-anatolischen Raum ein Netzwerk von florierenden Stadtstaaten. In den Stadtgefügen dieser Zentren nehmen neu angelegten, breiten Platzanlagen eine wichtige Rolle ein. Durch monumentale Tore erreichbar und mit Bildwerke in eindrucksvoller Weise gestaltet, die neuen Plätze bilden das zeremonielle Zentrum der Stadt. Sie sind nicht einfach frei gelassenen Fläche, sondern komplex konstruierten Außenräume. Die These dieses Beitrages ist, dass die syro-hethitischen Plätze als theatralischen Räumen für breitangelegten Festen für den gesamten Stadtbevölkerung konzipiert wurden. Dabei waren die zahlreiche Bildwerke, zum Teil aktiv in Performanzen eingebettet, einen zentralen Element der choreographische Gestaltung.

As iron technology arose alongside and in many contexts replaced bronze production, the conception of what it meant to be a smith was rooted in the performance and social action involved in the production of iron objects. The development... more

As iron technology arose alongside and in many contexts replaced bronze production, the conception of what it meant to be a smith was rooted in the performance and social action involved in the production of iron objects. The development of iron technology in Ireland was a slow process, where meaning was enacted through the practices of the smith who may have travelled across the landscape from community to community. What it meant to be a smith necessitated both periodic innovation and the maintenance of expectations of competency, as systems of practice implicated in the technology were assessed by the consumers' perception. During the production of iron objects, the smith enacted performative traditions and imagined futures. The performances, saturated with symbolic associations, provided an occasion for multi-temporal meaning-making. The assembling of smith identity was produced concomitantly by the imaginations of his audience, the expectations of those consuming the products, and the choices of the smith himself. This chapter will provide a brief discussion of how we may conceive of the making of identity through a constant assembling of social engagements with performance, mobility, and temporality, specifically as it would have occurred for the itinerant smith, and present a possible case for the assembling of this identity in Iron Age Ireland.

In Perspectives on the Inca, Monica Barnes, Inés de Castro, Javier Flores Espinoza, Doris Kurella, and Karoline Noack (eds.), pp. 208-225. Stuttgart: Linden-Museum, Sonderband/Tribus.

Este artículo presenta nuevos datos e interpretaciones respecto del modo en que los Inkas utilizaron la arquitectura para manipular las experiencias somáticas de las comunidades que habitaban el valle Calchaquí Norte (Salta, Argentina) a... more

Este artículo presenta nuevos datos e interpretaciones respecto del modo en que los Inkas utilizaron la arquitectura para manipular las experiencias somáticas de las comunidades que habitaban el valle Calchaquí Norte (Salta, Argentina) a partir del control de su participación en espacios ritualizados. En esta línea, nos focalizaremos en las experiencias disímiles que estos espacios promovieron, ya sea a partir del estímulo de ciertas modalidades sensoriales sobre otras o mediante la secuenciación e intensidad con las que ellas intervinieron. Recientemente, y en respuesta al ocularcentrismo predominante en esta clase de investigaciones, se ha planteado la necesidad de integrar sentidos adicionales a la vista y avanzar hacia paisajes sonoros. Este trabajo expone la permeabilidad visual y las propiedades acústicas de la plaza de un pequeño asentamiento predominantemente Inka a partir de ensayos experimentales in situ y el modelado tridimensional de la arquitectura y de la dispersión de vectores de sonido. Propondremos que una cuidadosa planificación destinada a espacializar grupos y prácticas no se circunscribió a habilitar e inhibir selectivamente la accesibilidad visual a la plaza, sino que además utilizó la accesibilidad auditiva para crear diferentes experiencias entre sus visitantes. Palabras claves: conquista Inka, espacialidad, arquitectura, paisajes sonoros. This article presents new data and interpretations on how Inka representatives utilized the architecture of ritualized spaces to manipulate local communities' somatic experiences. In an attempt to overcome the prevailing ocularcentrism among this line of inquiry, it has been suggested that additional senses should be considered, and some scholars have begun to advance towards the study of ancient soundscapes. This article will focus on the plaza of an Inka settlement located in the North Calchaquí Valley (Salta, Argentina) paying specific attention to how it privileged certain sensorial modalities and managed their sequential stimulus and intensity. It article presents an analysis that combines on-field visual and acoustical permeability data generation, with three-dimensional models of architecture, terrain, and sound propagation. Results indicate that a careful layout design not only spatialized groups and practices, but also created different experiences by promoting disparate visual and acoustic stimulations upon approaching and entering the plaza.

Based on the Viking occupation of Northern England, and in particular the Cuerdale Hoard, found on the River Ribble at Preston, Lancashire, Blackpool Pleasure Beach has developed a roller-coaster ride called Valhalla. The ride combines... more

Based on the Viking occupation of Northern England, and in particular the Cuerdale Hoard, found on the River Ribble at Preston, Lancashire, Blackpool Pleasure Beach has developed a roller-coaster ride called Valhalla. The ride combines accurate historical information about the archaeological find, presented on information boards situated at intervals along the line followed by people standing in line waiting to take part in the ride, with a roller coaster ride. This study considers the theme park ride as a way of communicating historical and archaeological information to the public. Blackpool Pleasure Beach is the UKs most popular paying tourist attraction, and reaches a audience to that of traditional museums and galleries, and demonstrates alternative ways of communicating, historical narratives through a combination of heptatic 'felt' bodily experience and information boards.