Perfomance Studies Research Papers - Academia.edu (original) (raw)

2025

03.06.2025, Diskussion im Rahmen Katedra Performatyki, Uniwersytet Jagielloński, Kraków: In the machine governed world running 24/7 even the COVID-19 pandemic failed to bring about a permanent slowdown of social and economic life. In extractivist neocolonial economies even nature and more-than-human world have been turned into cheap labour force. Not only do we work more but the boundaries between work and non-work have become blurry, as we increasingly often labour in the distributed, dissipative digital networks. It seems that now more than ever it is crucial to rethink the place of idleness and inactivity in late-liberal culture, despite their being so negatively valued by the Moderns. During our discussion we will think about the possibility of finding or establishing such places of idleness and inactivity as zones of resistance to the constant demand to perform. What can be a possible value of languor and supineness? Do we need collectives practicing laziness and slowness? Can artistic and performative practices, offering experiences of boredom, provide an opportunity to learn how to be inactive? We will try to answer these questions together with our guests: Anne Glassner, Anne Gräfe, Zuzanna Ładyga-Michalska and Nick Salvato. Moderation: Mateusz Borowski

2025

Este documento señala la performance de la política y la economía en el Ecuador como una tragicomedia, donde los mismos patrones de poder se repiten cíclicamente. A través de un enfoque experimental, se utilizan conceptos teatrales, performáticos, políticos y económicos, para analizar la performatividad del poder en el Ecuador, destacando cómo los vicepresidentes encarnan roles predecibles y gestos reciclados. La "Tómbola Vicepresidencial", una performance callejera, revela la desmemoria colectiva y la arbitrariedad en la política ecuatoriana, donde el público reconoce inmediatamente esas repeticiones. El proyecto utiliza jerga académica de modo burlón para criticar la falta de originalidad y transparencia en el ejercicio del poder. Concluye que la política y la economía son un "reality show" mal actuado, donde la repetición y la teatralidad muestran esa realidad nada original.

2025, Re:turn to Italy

Aufeinander folgende Epochen und klare geografische Grenzziehungen bestimmen seit Jahrhunderten das Koordinatensystem der Kunst. Mit ihm lassen sich museale Sammlungen strukturieren und universitäre Lehrstühle bzw. Professuren voneinander abgrenzen. Auch individuelle Forschungsprofile werden meist an diesen Koordinaten ausgerichtet. Aktuelle methodische Ansätze wie die gender, queer und postcolonial studies, die Netzwerkforschung und ökokritische Fragen problematisieren dagegen solche Grenzziehungen und ihre blinden Flecken oder überschreiten sie. Ausgehend von einem klar definierten Platz im Koordinatensystem der Kunst-Frühe Neuzeit, Italien-möchten wir in einem eintägigen Workshop daher folgende Fragen ansprechen: Wie kann der skizzierte Zwiespalt in Forschung und Lehre überbrückt werden? Wie finden sich Studierende in einer Mischung von Epochen und Länderkunstgeschichte mit aktuellen methodischen Positionen zurecht? Welchen Stellenwert hat für sie die Kunst der Frühen Neuzeit aus Italien und wie haben sie im Studium Zugang zu ihr gefunden? Poster-und Kaffeepause 15:30

2025

Bologna, 11 settembre 2024

2025

Milano, maggio 1955 Luchino Visconti ha voluto fare di me Eleonora Duse, farmi interpretare Violetta con la stessa spontaneità con cui lei era Margherita, insegnandomi molto sulla naturalezza dell'espressività scenica. Mi raccontava, nell'educarmi alla parte, che da bambino la madre lo portò a vedere recitare Eleonora Duse e lui rimase profondamente impressionato e affascinato dal suo modo di agire sulla scena, al punto che aveva detto a sua madre, che lo aveva invitato a prestare ulteriore attenzione, "ma non sta recitando", quando aveva visto l'attrice seduta su una panca intenta a disegnare dei cerchi in un ipotetico terreno sabbioso, presente sul palcoscenico nella finzione scenica, e, al contempo, dialogare con gli altri personaggi nel modo più naturale, come se fosse un momento della vita di ogni giorno e non la scena di una recita. Mi diceva che anche il modo in cui nella Signora delle Camelie rendeva la morte di Margherita era di grande spontaneità e realismo, l'attrice era a letto e volgeva le spalle al pubblico e ciò

2025

Anordnung und Ausrichtung christlicher Friedhöfe versinnbildlichen die Trennung des Diesseits vom Jenseits. Durch eine Umfriedung von der Welt der Lebenden getrennt, sind Friedhöfe die Wohnstätten der Toten. Dort zerfallen ihre Körper, während die unsterbliche Seele weiterlebt, um nach einem Prozess der Reinigung und Busse mit dem ewigen Licht Gottes zu verschmelzen. Darauf beziehen sich die Symbole auf den Grabdenkmälern, denn in der christlichen Kunst hängen Darstellung und Botschaft aufs engste zusammen. Dies gilt auch für die von Freunden und Angehörigen gestifteten Kränze und die Bepflanzung der Gräber. All das weist, sichtbar für die Lebenden, immer vom Äusseren auf das Innere, vom Materiellen auf das Spirituelle, vom Natürlichen auf das Übernatürliche und schliesslich vom Irdischen auf das Himmlische, wie dies in diesem Artikel anhand von zahlreichen Beispielen aufgezeigt wird. Insofern hat die christliche Kunst nebst einer illustrierenden immer auch eine didaktische Funktion. Durch die Darstellung vermittelt sie das, was der Text mit Worten sagt.

2025, Przestrzeń Urbanistyka Architektura

Postmodernizm podniósł rangę pojęcia złożoności, które stało się kluczowe dla teorii architektury XX wieku. Niezależnie przez pół stulecia rozwijały się interdyscyplinarne nauki o złożoności. Praca śledzi związki obu dziedzin, zwracając uwagę m.in. na wspólne źródła (teorię systemów złożonych Herberta A. Simona, z którego prac korzystali Robert Venturi i Christopher Alexander) oraz teoretyków architektury wyraźnie czerpiących z nauk o złożoności (m.in. Lucien Kroll, Nikos Salingaros).

2025, Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura

Celem artykułu jest ukazanie złożonych związków ciała człowieka i nowych technologii (nowych mediów) w odniesieniu do konceptu: „media ucieleśnione”. Termin ten pozwala na objęcie całościową, ale i syntetyczną refleksją pięciu kluczowych związków-kontekstów: (1) przekazów audiowizualnych, które reprezentują wybrane gatunki, formaty medialne i dyskursy o tematyce ciała; (2) typologii mediów powiązanych z ludzką sensorycznością; (3) biomediów oraz procesów cyborgizacji człowieka; (4) wpływu mediów na imaginaria społeczne dotyczące samej cielesności, oraz (5) inkorporacji mediów do ciała społecznego. Zagadnienia te są rozpatrywane w odniesieniu do kluczowych współczesnych koncepcji dotyczących cielesności, które reprezentują takie (sub)dyscypliny jak: filmoznawstwo, medioznawstwo, (stosowana) psychologia kliniczna / psychoterapia, cyberpsychologia, filozofia (głównie estetyka oraz fenomenologia percepcji / fenomenologia egzystencjalna) oraz nauki o sztuce.

2025

Circa un quarto di secolo è passato tra il film del regista toscano, relativo all'ultimo periodo di vita della soprano che aveva conosciuto e quello, di esordio della stagione cinematografica del 2025, opera del regista sudamericano. Entrambi gli autori ambientano la vicenda a Parigi, dove la cantante era andata a risiedere, nel 1977, nel periodo precedente la morte della soprano. La Maria di Zeffirelli è una donna che vive reclusa nel suo appartamento e che incessantemente ascolta le incisioni delle sue passate interpretazioni, senza più ricercare alcun contatto con il mondo esterno. Da questa sorta di letargia la sottrae il suo agente che le propone di interpretare un film-opera, per dare alle nuove generazioni, che non avevano avuto modo di vederla in teatro, la possibilità di vedere, almeno su grande schermo, la sua eccellente arte scenica. Maria aderisce a questo progetto ma non vuole riprendere per esso i ruoli che l'hanno resa l'icona del canto melodrammatico,

2025, Arts imaging communities to come

This research explores political, economic, and aesthetic issues in Ecuador from the return to democracy in 1979 to the present. It examines key events such as the Moreno-Correa split, economic policy shifts, and major protests. The study... more

2024, Cahiers d’ethnomusicologie. Anciennement Cahiers de musiques traditionnelles

Virginie JOHAN : Du je au jeu de l'acteur : ethnoscénologie du Kutiyattam, théâtre épique indien Thèse de doctorat en Théâtre et Arts du spectacle (ethnoscénologie), soutenue le 20 mai 2014 à l'

2024, Environmental Humanities

Drawing on ideas from the history and philosophy of soil science, Fluxus performance, and queer-feminist STS, this article responds to a question posed by environmental researcher Hugo Reinert: "What modes of passionate immersion-or love, or intimacycould a stone afford?" Situated in a fluid space between environmental humanities and artistic research, the Soilkin project develops a series of relational exercises to frame three basic propositions: (1) a non-normative, animistic understanding of geologic subjectivity could trouble accepted criteria for life on earth, leading to kinship with geogenic entities; (2) soil formation (pedogenesis) could be interpreted as a performative process of learning and becoming, rather than simply weathering and aging, with appreciable ontological implications; and (3) soil kinship is situated within a dynamic interplay of resistance and consent, demanding that the terms of reciprocity between humans and soils be mutually beneficial and appropriate to the slowed-down timescale of events in which soil-beings live and operate. The article integrates theoretical provocations with performative scores to expand and sensitize soil-scientific knowledge while, at the same time, contributing to multispecies scholarship on kin-making with geogenic and pedogenic others.

2024, Effetto Magnani. Sguardi sull’attrice e sulla diva

Identità visiva e progetto grafico Chia Lab L'immagine presente a p. 10 è di Angelo Frontoni -Fondo Frontoni, Museo Nazionale del Cinema di Torino; a p. 65 è del Centro Studi del Teatro Stabile di Torino; a p. 122 è del Civico Museo... more

2024, Midia e Dimensoes do Tempo

2024, Arte e Ensaios

Este artigo apresenta algumas obras do laboratório de artistas Mapa Teatro realizadas como resposta a um projeto de renovação urbana no final dos anos 1990 em Bogotá. O projeto do Parque Tercer Milenio, que desalojou cerca de 12 mil pessoas vivendo no Centro da cidade, levou o grupo a trabalhar com antigos moradores do bairro, constituindo uma comunidade experimental. As intervenções do Mapa Teatro são trazidas aqui como forma de pensar como é possível responder poeticamente à brutalização dos espaços urbanos.

2024

*Si ringrazia il fotografo Mario Spada per la gentile concessione della foto in copertina.

2024, Regards sur les arts et le sacré. Calendrier des religions. Septembre 2024 – décembre 2025. Lausanne : Éditions Agora.

This short piece entitled “Kutiyattam, a Night-Long Dream”, along with the accompanying pictures, forms part of the 2024-2025 issue of the “Calendar of Religions” (Calendrier des religions) dedicated to the topic of “Perspectives on the Arts and the Sacred”.
This Calendar – besides pictures – contains articles written by specialists of the various religious traditions and targets a wide audience. It is meant as “an invitation to discover the diversity of human spiritual traditions”.

2024, BRAU MANIFESTO BRASILEIRA UNIVERSAL

Entrevista e diálogo sobre o "Brau" como performance incorporada da masculinidade negra. Como discutido o "brau" desafia tanto as regras de bom comportamento, de boa apresentação, de beleza, de boa educação, quanto também desafia os padrões tradicionais de identidade negra, muito pautados pela lógica da integração racial. O brau não quer integração, o brau não quer ser aceito pela classe média branca, pelos intelectuais, pela opinião pública. O brau quer desafiar. O brau quer, ou quis no passado, provocar uma cisão, uma ruptura, causar escândalo. Então o escândalo que o brau causa é o escândalo da autonomia estética e subjetiva de jovens negros”.

2024, Africa Development

When conducting research with historically marginalised peoples, such as Zimbabwe’s autochthonous San, it is necessary to observe the most sensitive ethical and methodological practice. The San are a group of people living largely on the edges of the contemporary market economy in the whole of southern Africa, including Zimbabwe. The San of Zimbabwe often work as unskilled labourers for their Ndebele and Kalanga neighbours in rural areas of Matebeleland. Historically, the San’s identity and culture was denigrated in popular oral and media myths. This article presents a theoretical and methodological approach steeped in critical social sciences and cultural studies to restore the San image through making the San themselves the constructors of contemporary cultural texts about their way of life using modern film and video technologies. The San tell their stories after being trained in filming and editing techniques by researchers from Midlands State University. The negotiation of spac...

2024

This thesis is a result of assistance and support from individuals and institutions without whom it was going to be impossible to complete. I am very grateful to my mentor and supervisor Prof. Keyan Tomaselli for his patience, understanding and invaluable guidance. The generosity extended to me by Ruth and Keyan Tomaselli towards the reworking of this thesis is deeply felt. Special mention should also go to Dr Matthew Durington and Dr Michael Francis who helped me with rethinking several assumptions that I was stuck with. The current CCMS postgraduate students are appreciated for affording me an opportunity to present part of my work before them for peer-review.

2024, La cinétographie Laban et le mime corporel d'Étienne Decroux. Bilan théorique du Projet Laban-Decroux / notation du mime corprel

Durant le XXème siècle, les arts du spectacle de l'Occident ont été l'objet de diverses tentatives de réforme, fondées sur des pratiques corporelles alternatives. Plusieurs des esthétiques contemporaines en sont le résultat. Il y a eu parmi d'autres, des pionniers de la danse européenne : Laban, Joos, Wigman, etc., ainsi que dans la filière américaine : Graham, Nikolais, Cunningham, etc. Moins connu du grand public, a été le développement de pratiques corporelles visant la régénération du théâtre, en redéfinissant l'art de l'acteur et son jeu physique. Aujourd'hui, l'ensemble de ces pratiques est connu sous le nom “ mouvement scénique ”. En font partie : la biomécanique de Meyerhold, la méthode des actions physiques de Stanislavski, les directives d'entraînement pour acteurs de Laban, et plus récemment, parmi d’autres, les expérimentations de Grotowski et Barba. Relativement méconnue en France est la démarche de Decroux, fondateur de l'art et training de l'acteur qu'il appelait mime corporel. A son propos, Eugenio Barba dit qu'il est “ peut-être l’unique maître européen qui ait élaboré un ensemble de règles comparables à celui d’une tradition orientale ”. Par ailleurs, le Sunday Times cite Decroux parmi les 1000 personnalités marquantes du XX siècle, comme “ un point-phare du monde du théâtre ”.
Au moment du passage au XXI siècle, l’un des principaux enjeux des pratiques du mouvement scénique est de garantir leur transmission. Deux des disciplines citées, la biomécanique de Meyerhold et le mime corporel de Decroux, présentent certains avantages sur les autres ; leurs principes se trouvent synthétisés dans des répertoires. Leur “ matière ” a été concrétisée dans des modèles ou “ partitions de mouvement ”.
Nos travaux touchent directement aux questions fondamentales des pratiques du mouvement scénique et de leur transmission physique. Du matériel laissé par tous ceux qui ont porté leurs recherches sur le jeu physique de l’acteur en occident, celui de Decroux est le plus concret, précis et abondant, mais,…Qu-est-ce le mime corporel? Pouvons-nous encore le reconnaître et le designer? " Que " transmettre ( plutôt que "comment")? Comment l’analyse de Laban nous permet de saisir cette matière de l’art de l’acteur, dont parlaient également Meyerhold, Grotowski, et tant d’autres? Répondre à ces questions implique la mise en œuvre d’un champ dynamique de recherche entre les disciplines relatives.

2024

Background in performance, musicology and music interaction. Score-based piano performance practices remain attached to a paradigm of textual interpretation, which is founded on the mental representability of music notation. This paradigm has been challenged by developments in contemporary music, musicology and technology. The performative and embodied cognitive turns in musicology redefine the complexity of the musical act beyond its encapsulation in a text. The primacy of multimodal interactions in complex musical systems, the central role of embodiment in performance, and the mediation of the musical act through technology are parameters that render music notation open and invite us to reflect on the very essence of its mental representability. Background in cognitive science. Although the discipline initially focused solely on computational manipulations of mental representations as an explanation of our minds, cognitive scientists have increasingly looked elsewhere for explanat...

2023, Bulletin of the Transilvania University of Braşov

The article concerns Iannis Xenakis' approach to the expressive possibilities of the cello and some aspects of his philosophy of sound and technique investigated from the performer's perspective. To examine these themes, the paper focuses on Kottos for solo cello (1977). As part of the interpretative space, the extra-musical element of the composition relates to the technical style and means of expression: the sound, structural clarity and physicality of playing. The technical aspect and the questions of interpretation are discussed with some references to Nomos alpha-the earlier composition for cello by Xenakis, and in the light of the mythological source and reflections on Hesiod's cosmogony.

2023, Communicare: Journal for Communication Studies in Africa

She lectures graduate modules on media theory, social change and public health communication. She is a key contributor to the Rethinking Indigeneity project. Research interests and publication topics include critical indigenous... more

2023, IEEE Transactions on Haptics

Recent studies suggest that vibration of piano keys affect the perceived quality of the instrument, as well as the dynamic control and timing in piano playing. However, the time signals of piano key vibrations and its physical properties have not been analyzed and compared to the threshold of vibration sensation in a real-life playing situation yet. This study investigates piano key vibrations and explores the diversity of vibrations among different pianos with a laser Doppler vibrometer. A pianist was performing single keystrokes, note sequences, and a music piece excerpt on four concert grand pianos, five grand pianos, and two upright pianos. The measurements showed peak displacement levels up to 80 µm and the frequency spectrum of the vibrations is dominated by frequencies lower than 500 Hz. Finally, a frequency weighting filter is introduced to show that vibration displacement time signals exceed the threshold of human vibration sensation for all evaluated instruments, when a note sequence is played in the bass to mid range with a single hand at forte level. The conducted experiments demonstrate that the vibration characteristics vary distinctively among the investigated pianos.

2023, Revista Sexología y Sociedad

RESUMEN Objetivo. Determinar la representación social de lo trans* en el cine cubano, en el período de 2000 a 2019. Metodología. Se basa en el paradigma cualitativo de la investigación mediante la aplicación de métodos teóricos y empíricos. Se realiza un análisis de contenido a las principales películas cubanas que abordan lo trans*, en el período de 2000 a 2019, y se aplican entrevistas a especialistas en sexualidad y cine, y a personas trans*. Resultados. En las películas del cine cubano de 2000 a 2019 se manifiesta una representación social de una transexualidad hegemónica estereotipada, pues reproduce y en ocasiones se contrapone a la ideología patriarcal imperante, se manifiesta en códigos como la construcción de género, la orientación sexual y la vestimenta. En menor medida se muestra una representación polémica. Se evidencia en mayor medida la discriminación por identidad de género, transfobia, aislamiento social, violencia y marginalidad. A criterio de especialistas y personas trans*, la imagen fílmica es una representación estereotipada y estigmatizada que difiere del amplio espectro social de lo trans* como popular reprimido. Conclusiones. Revelan que la representación social de lo trans* se cristalizan en el cine como imágenes de lo popular reprimido, resultantes de las relaciones de inequidad históricamente reproducidas por las sociedades patriarcales.

2023

The evaluation of Information Retrieval Systems has been developed parallelly to their evolution for reasons of scientific nature, generating the appearance of a great number of proposals to make this process. Assuming that all these proposals - most of which they appear in this work- try to look for a robust mechanism to measure the effectiveness of Information Retrieval Systems, it is not less certain information retrieval is a complex problem to resolve, due to the inherent problems related with translating the user’s information needs to a formalized expression search. The implementation of an objective and simple method to evaluate the effectiveness is the axis where the scene of the evaluation of the information retrieval gravitates

2023, HAL (Le Centre pour la Communication Scientifique Directe)

Le métathéâtre dans l'Inde classique : l'exemple de Rāma l'inestimable de Murāri (Xème siècle) * La seule pièce de théâtre de Murāri qui aie survécu, l'Anargharāghava ou Rāma l'inestimable, a compté parmi les plus appréciées des érudits en Inde. Le grand nombre de commentaires qu'elle a suscité ainsi que la diffusion de ses manuscrits (les catalogues à eux seuls en mentionnent plus de quatre cents, dispersés sur tout le territoire indien * Nous tenons à remercier M. H.N. Bhat de l'Institut français d'Indologie à Pondichéry d'avoir relu quelques passages difficiles de la pièce avec nous en clarifiant les manières dont Viṣṇubhaṭṭa les interprète. Nous sommes reconnaissante également à M. Bhat d'avoir mis à notre disposition son édition de travail du commentaire Iṣṭārthakalpavallī. Toutes les citations de ce commentaire se fondent sur cette édition de travail inédite. Nous remercions également Lyne Bansat-Boudon pour ses remarques et suggestions et Somadeva Vasudeva pour sa correction de la version anglaise de cet article et ces remarques concernant la rasaśabdavācyatā. 1 Nous remercions S.A.S. Sharma de l'École Française d'Extrême-Orient pour ce renseignement et pour avoir mis à notre disposition le travail préparatif qu'il avait effectué avec ses collègues sur la localisation des manuscrits de cette pièce, en vue d'une édition critique. Malheureusement, ce projet d'édition n'a pu être poursuivi. 2 Ce type d'esthétique romantique a déjà été critiqué maintes fois. V. en particulier Shulman, 1997 : 69, qui le fait remarquer au sujet d'autres auteurs indiens et concernant la question de la subjectivité : « [... such] views are heavily colored by an anachronistic romanticism, which made expressionistic lyricism the touchstone of quality in the mainstream of English and German poetry from the late 18th century on, and which regularly filtered down into scholarly judgement of non-European literatures as well. »

2023, Itinera

Against Cartesian dualism and in line with the general twentiethcentury rediscovery of body and perception, this paper aims to examine the role of senses for the performer, as presented by Richard Schechner's theory of performance. Such a theory finds its legitimacy in the pages of the philosopher Merleau-Ponty, and in the priority the philosopher assigned to perception and senses as sources of knowledge, as well as opening of consciousness to the world.

2023, Coulisses

Ce document a été généré automatiquement le 12 octobre 2018. Coulisses Présentation du théâtre nô Coulisses, 4 | Été 1991 10 Auparavant, la tradition du futur nô s'enracine dans divers courants dont les deux principales manifestations... more

2023, Teka Komisji Urbanistyki i Architektury Oddziału Polskiej Akademii Nauk w Krakowie

The aim of this paper is to review and introduce neuroscience research whose results offer the possibility or potential possibility for use in the discipline of architecture. This study is a proposal for a substantive introduction to systematics and a detailed description of the use of particular research methods at each stage of the design process. The article discusses necessary definitions and a historical outline of the interdiscipline, which was formed by combining architecture and neuroscience (neuroarchitecture). The most important information concerning the use of particular neuroscience research in architecture are also discussed, such as: observational and experimental methods from the field of environmental psychology, fMRI (functional magnetic resonance imaging), eye tracking, VR (virtual reality) and the EDA wristbands.

2023, Theatre Research International

that the circus repertoire was defined by acts originating only in Europe and North America. The East contributed at par in laying the foundations of the circus arts. The following chapters on circus histories from the Americas, China and the Czech Republic narrate a significant dimension and politics of the global circus phenomenon. Each circus developed a distinct aesthetic modelled on the specific sociopolitical conditions of its evolution. Julieta Infantino's chapter on the Argentine experience of the Criollo Circus, which produced a localized subgenre of circus in the colonies, stands out. The legitimization of the circus theatre is historically contextualized and juxtaposed with the consolidation of the Argentine nation state (p. ). The book offers a crucial study of circus aesthetics that discusses highly popular yet unmapped circus performances. Kim Baston and Peta Tait critically engage with the evolution of animal acts while simultaneously acknowledging circus's roots as a colonial form which celebrated the colonization of the animals and territories through performances. Baston focuses on the evolution of equestrian acts, encompassing more crucial site-specific contemporary performances which emphasize the decolonial subjectivity of the human-animal relationship that inverts the original equation of master, superiority and control. Tait's chapter examines the representation of animals in war re-enactments and wild west shows that were geared towards creating an aesthetics of national glory and victory for the colonizers. The following section explores contemporary and other alternative forms of circus, offering essential methodologies for researching alternative histories of circus arts. Catherine M. Young centres her chapter on the oft-ignored performances of variety theatre, which were neither included in the mainstream theatre nor popular entertainment forms. Agathe Dumont's chapter covers the political beginnings of circus within countercultural movements in the late s and its influences in Europe today. She applies the lens of mobility 'as a way to gain legitimacy' (p. ), an important framework to decode circus aesthetics and popularity which have shifted from virtuosity to sensitivity in the gesture and poetics of acrobatics. The last section summarizes the preliminary thoughts which define one's approach to circus. Karen Fricker and Charles Batson detail the different methodological approaches in circus scholarship which make it inclusive in terms of disciplinary studies. Anna Sophie Jürgens writes about the seldomly used scientific lens for circus, and juxtaposes it with the humanities, where the aesthetic-semiotic tension turns a mirror on the performance itself. Like circus, which demands intersectional discussions, emerging circus scholarship is necessarily multi-pronged and this book brilliantly collates the many voices beyond the Eurocentric perception of popular entertainment forms. With its wide-ranging methodologies and performances, the book will be especially beneficial to scholars in history, anthropology, sociology, environmental studies, gender studies and colonial and post-colonial studies, alongside circus and performance scholars.

2023, Recherches en danse

Assis jambes croisées, port-de-bras en première, les paumes vers le sol, les bouts des doigts se touchent et les coudes sont à la hauteur des épaules. Nous écartons les espaces entre les doigts, descendons les petits-doigts et remontons les pouces en tournant les poignets. Ouvrant les bras vers l'avant, nous initions la séquence par les coudes et nous amenons les bras vers un port-de-bras en seconde pour, de nouveau, répéter l'exercice. José Limón avait appelé ce mouvement « les pinces de homard 1 ». Peintre devenu danseur, il accordait une importance particulière au training des mains, étonnamment très rare en danse contemporaine. Hors du studio de danse pourtant, c'est une autre affaire. Instrument du toucher et de la préhension, moyen de connaissance et d'action, la main est l'un des organes qui manifeste le plus d'interactions avec soi, l'autre et l'environnement. Les mains apprennent à saluer, à semer dans le potager, à taper à l'ordinateur, à cuisiner, à jouer du piano, à se faire comprendre par quelqu'un ne parlant pas notre langue. Organes expressifs, fonctionnels et sociaux, les mains archivent des expériences qui deviennent des habitudes, des répertoires et des manières d'être en contact avec le présent et l'absent, humain et non humain. La main, à la fois organe sensoriel et membre du corps-propre, traverse des milieux et des situations, parfois en solo, parfois en duo ou de main-à-main. Partitions performatives, variations autour de la main Recherches en danse, 10 | 2021 performative, pour s'intéresser non seulement aux mouvements des corps, mais aux mouvements Partitions performatives, variations autour de la main Recherches en danse, 10 | 2021

2023

Definición del tema (gol): Como este es un tratado, trataré de definir al humor, en cuando a su relación con la enseñanza en general y a la enseñanza de la ciencia en particular, como una herramienta capaz de generar el ambiente necesario y propicio para la curiosidad, para el pensamiento creativo y para la predisposición a adquirir nuevos conocimientos así como la empatía hacia quien quiere transmitir dichos conocimientos. El humor como puente entre el aquí y el allí: "Siempre utilicé el humor como herramienta, o mejor dicho, el histrionismo en general porque no necesariamente uno busca hacer reír sino hacer movilizar al que te está escuchando, tener la atención del que te está escuchando y lograr la tensión de una clase, para que esté viva, y para que el receptor no sea sólo un oyente sino que esté activando otras cosas en su mente", me decía para este

2023, Africa Development

When conducting research with historically marginalised peoples, such as Zimbabwe's autochthonous San, it is necessary to observe the most sensitive ethical and methodological practice. The San are a group of people living largely on the edges of the contemporary market economy in the whole of southern Africa, including Zimbabwe. The San of Zimbabwe often work as unskilled labourers for their Ndebele and Kalanga neighbours in rural areas of Matebeleland. Historically, the San's identity and culture was denigrated in popular oral and media myths. This article presents a theoretical and methodological approach steeped in critical social sciences and cultural studies to restore the San image through making the San themselves the constructors of contemporary cultural texts about their way of life using modern film and video technologies. The San tell their stories after being trained in filming and editing techniques by researchers from Midlands State University. The negotiation of space and status for both the visiting researcher-trainers and host-student San youths makes a fascinating reflexive reading of researcherresearched power dynamics. What eventually emerges is a scholarship that is cognisant of both existential humanism and the need for respectful engagement by the researchers from university citadels with ordinary people who are often belittled and exploited.

2023, The Journal of Dramatic Theory and Criticism

As Hegel already wrote in his Asthetik, drama appears to the philosophers as "the most perfect of the arts," because it combines "the objectivity of epos and the subjective principle of lyrical poetry [.. J in the immediate presence of action." 1 This action comes "from inside the character" (and so it must have a psychological nature); but the audience can only see it from outside, "on the ground of the substantial nature of the aims, individuals, and engagements," that is, as an appearance. But for Hegel, the written drama, that is, the literary aspect of theatre, is not enough: "For the work of art to come to life," it requires "the complete scenic performance." Only in this way, we can see "the exterior side of the place, of the milieu, but also of doing and happening." This exteriority is the very peculiarity of the entire theatrical event, and it is possible only on stage, not on the written page. Because of this special irreducible exteriority, the artistic event we call theatre appears to be "the most perfect" from the perspective of the philosophical tradition "coming from Kant," which is interested not only in "an analytical work about truth" but also in "the other critical tradition" which "asks itself: what is our moment? What is our field of possible experience?" and tries to build "an ontology of the moment, and ontology of ourselves." 2 Theatre interests such a philosophy because of the apparent opposition between two principles. First, theatre's "sensible matter," 3 that is, "the speech," or, generally speaking, the very actual human presence, "is the only element worthy of the exposition of the spirit." Thus, theatre seems to be destined towards a strong integration with its object; human life represents human life, sentiments signify sentiments, actions and words indicate actions and words. This fact seems to warrant a special truth. Secondly, this "spirit," or in a more empirical way, human life, is "exposed" by theatre only from outside. We can perceive the behaviour and the speech of characters, but not their thoughts, sentiments, or intentions unless they choose to tell us by articulating them to another character or using the technique of a parte. But we cannot tell if they are being honest. A character may also be mistaken about its feelings or change its mind. In theatre (different from what happens in the novel or in poetry), the characters are opaque to us. Theatre is the art par excellence of the "real presence" of the human being, but this presence is an exteriority* This is an important limit of the theatre, as opposite to the omniscience of the narrator of the novel, or the interiority of the lyrical poet, and even to the psychological truth of music. What is philosophically interesting in this limit? This limit of exteriority is precisely the limit of the "ontology of our field of possible experience." The experience of human life, even of our own lives, is always more or less external; nevertheless, it makes sense to us. To exist means

2023, Theological Studies/Teologiese Studies

Storytelling, art and craft can be considered aesthetic expressions of identities. Kalahari identities are not fixed, but fluid. Research with present-day Kalahari People regarding their artistic expression and places where it has been, and is still, practised highlights that these expressions are informed by spirituality. This article explores this idea via two Kalahari case studies: Water Stories recorded in the Upington, Kakamas area, as well as research on a specific rock engraving site at Biesje Poort near Kakamas. The importance of the Kalahari People's spiritual beliefs as reflected in these case studies and its significance regarding their identities and influence on social change and/or community development projects is discussed. The article thus highlights ways in which spirituality can be considered in relation to social change projects that are characterised by partnerships between local community, non-government and tertiary education representatives and researchers and that highlight storytelling as an integral part of people's spirituality.

2023

Artykuł stanowi wprowadzenie do badań nad aksjologią przestrzeni obserwowanej z per-spektywy architektury. Naczelnym założeniem jest teza zakładająca, że realizacja warto-ści w dziełach architektonicznych jest specyficznym środkiem wyrazu i w działalności twórczej prowadzi do kulturowego rozwoju społeczności. Efektem pracy jest propozycja zawężenia i uszczegółowienia pojęć: wartości w architekturze, wartości architektury i wartości architektonicznej. Słowa kluczowe: architektura, krajobraz, wartość. The article is an introduction to the research on axiology of space viewed from the per-spective of architecture. The chief assumption is the proposition that creation of values in works of architecture is a peculiar means of artistic expression, which – if used in creative arts – leads to cultural development of communities. The result of the research work is a postulate of narrowing down and giving more precise definitions to the concepts of: values in architecture, value of architectu...

2023

The article is an introduction to the research on axiology of space viewed from the perspective of architecture. The chief assumption is the proposition that creation of values in works of architecture is a peculiar means of artistic expression, which – if used in creative arts – leads to cultural development of communities. The result of the research work is a postulate of narrowing down and giving more precise definitions to the concepts of: values in architecture, value of architecture and architectural value.

2023, URBANISM AND ARCHITECTURE FILES OF THE POLISH ACADEMY OF SCIENCES KRAKÓW BRANCH

2023

Explores the key elements in crafting oral stories most effectively.

2023, Białostockie Studia Prawnicze

nie zawsze był pewny życia w gronie szlachty-braci, nawet wśród sąsiadów i przyjaciół. Krew była gorąca i tania, przelewano ją przy byle sposobności"