East 15 Acting School

In this article Holly Maples examines how the controversy surrounding the ragtime dance craze in the United States allowed women to renegotiate acceptable gendered behaviour in the public sphere. In the early 1910s many members of the public performed acts of resistance to convention by dancing in the workplace, on the street, and in public halls. Civic institutions and private organizations sought to censor and control both the public space of the dance hall and the bodies of its participants. The controlling of social dance was an attempt to restrain what those opposed to the dances saw as unrestrained and indecent physical behaviour by the nation's youth, primarily targeting ragtime dancing's ‘moral degradation’ of young women. It was not merely the public nature of the dancing that was seen as dangerous to women, however, but the dances themselves, many of which featured chaotic, off-centred choreography, with either highly sexualized behaviour, as seen in the tango and the apache dance, or clumsy, un-gendered movement, popular in the animal dances of the day. Through ragtime dancing, women performed acts of rupture on their bodies and the urban cityscape, transforming social dancing into public statements of gendered resistance.

The Irish National Theatre Society began its centenary in 2004 with ambitious theatrical events at home and abroad. By the end of the year, however, the company was close to financial ruin, culminating in its dissolution and subsequent reestablishment. The financial crisis was only one element of controversy during the centenary year. During this period, the remit of the Abbey Theatre as a house for the performance of Irish identity and new Irish writing was brought into question. While debates unfolded over the artistic and financial crises, many commentators queried the very nature of, or need for, a national theatre in twenty-first-century Ireland. Examining organizational issues such as finance and public policy, as well as wider questions about the representation of Irishness on the national stage and the shaping of collective memory through commemoration, this book questions the way that the private concerns of the Irish National Theatre reflect greater issues within Irish society. Drawing together personal interviews, government documents, media sources and comparative studies from the history of the Republic, the author interweaves current and past crises of the Abbey Theatre with the social, cultural and financial anxieties of an evolving Ireland.

The cultural industries often privilege the use of sight and sound as our main areas of experience. This is especially the case in theatre criticism; but what of taste, smell and touch? Punchdrunk's manipulation of sensorial experience allows their immersive performance to become both an enticing and destabilizing theatrical arena for the audience. The performance of intimacy constructed through the use of nostalgia-triggering aromas, invitations to explore the set and performers bodies through touch, and the inclusion of oneon-one encounters between performers and audience members, all allow the actor / spectator to be seduced by the 'story-world' of The Drowned Man (2013). With the hyper-reality achieved through the film noir soundscape and the chaotic dance theatre sequences created by the performers, the spectator can delve into a fantasy world of menace and eroticism. This article examines the role of the spectator as erotic voyeur in Punchdrunk's The Drowned Man. Through an examination of the company's use of interactive, sensorial experience where audience members are invited to touch, inhabit and investigate the world around them, Punchdrunk invite the audience to become a part of the world and yet remain separate from it, reinforcing the erotically charged voyeuristic realm of the production.

The cultural industries often privilege the use of sight and sound as our
main areas of experience. This is especially the case in theatre criticism; but what
of taste, smell and touch? Punchdrunk’s manipulation of sensorial experience
allows their immersive performance to become both an enticing and a destabilizing
theatrical arena for the audience. The performance of intimacy constructed
through the use of nostalgia-triggering aromas, invitations to explore the set and
performers bodies through touch, and the inclusion of one-on-one encounters
between performers and audience members, all allow the actor / spectator to be
seduced by the ‘story-world’ of The Drowned Man (2013). With the hyper-reality
achieved through the film noir soundscape and the chaotic dance theatre sequences
created by the performers, the spectator can delve into a fantasy world of
menace and eroticism. This article examines the role of the spectator as erotic
voyeur in Punchdrunk’s The Drowned Man. Through an examination of the
company’s use of interactive, sensorial experience where audience members are
encouraged to touch, inhabit and investigate the world around them, Punchdrunk
invite the audience to become a part of the world and yet remain separate
from it, reinforcing the erotically charged voyeuristic realm of the production.

Drama Lead for Heritage Lottery Fund project in rural Norfolk with the Paston Heritage Society including a number of immersive performances at heritage sites across Norfolk (including Mannington Hall, Oxnead Hall, Norwich, and the Norwich Castle Museum)

In this article Holly Maples examines how the controversy surrounding the ragtime dance craze in the United States allowed women to renegotiate acceptable gendered behaviour in the public sphere. In the early 1910s many members of the public performed acts of resistance to convention by dancing in the workplace, on the street, and in public halls. Civic institutions and private organizations sought to censor and control both the public space of the dance hall and the bodies of its participants. The controlling of social dance was an attempt to restrain what those opposed to the dances saw as unrestrained and indecent physical behaviour by the nation's youth, primarily targeting ragtime dancing's ‘moral degradation’ of young women. It was not merely the public nature of the dancing that was seen as dangerous to women, however, but the dances themselves, many of which featured chaotic, off-centred choreography, with either highly sexualized behaviour, as seen in the tango and ...

On the 16 th of April 2006, the government of the Irish Republic held a military parade in Dublin City in celebration of the 90 th Anniversary of the Easter Rising. In June of 2006 another event occurred that further transformed the context of commemoration, and acted to align the past with the present political moment: the 90 th Anniversary of the Battle of the Somme. Throughout the twentieth century these two events have symbolized opposing ideologies in Irish commemorative practice. Diverse communities in both Northern and Southern Ireland have used key historical events to express current political and cultural ideologies. The 2006 celebrations of both events in the Republic give witness to the radical economic and cultural transformations of contemporary Ireland and can be viewed together as commemorations of that State's future rather than its past. However, as this essay argues, the power of collective nostalgia in the Irish context also offers the community slippage from present concerns to past triumphs. The 2006 Easter parade began at Dublin Castle and concluded at the Garden of Remembrance. This was the first official commemoration since the summer of 1969, when the parade was suspended because of its perceived connections with the Provisional Irish Republican Army, and in response to the outbreak of violence during brought to you by CORE View metadata, citation and similar papers at core.ac.uk

The cultural industries often privilege the use of sight and sound as our main areas of experience. This is especially the case in theatre criticism; but what of taste, smell and touch? Punchdrunk's manipulation of sensorial experience allows their immersive performance to become both an enticing and destabilizing theatrical arena for the audience. The performance of intimacy constructed through the use of nostalgia-triggering aromas, invitations to explore the set and performers bodies through touch, and the inclusion of oneon-one encounters between performers and audience members, all allow the actor / spectator to be seduced by the 'story-world' of The Drowned Man (2013). With the hyper-reality achieved through the film noir soundscape and the chaotic dance theatre sequences created by the performers, the spectator can delve into a fantasy world of menace and eroticism. This article examines the role of the spectator as erotic voyeur in Punchdrunk's The Drowned Man. Through an examination of the company's use of interactive, sensorial experience where audience members are invited to touch, inhabit and investigate the world around them, Punchdrunk invite the audience to become a part of the world and yet remain separate from it, reinforcing the erotically charged voyeuristic realm of the production.

This paper introduces the concept of Affectual Dramaturgy as a lens for creating digitally mediated immersive performances in the context of cultural heritage. In doing so we bring together two disciplines, smartglass Augmented Reality design (AR) and immersive heritage performance, with the aim to innovate experiences built for heritage sites.

's Day Parade offers up images of green clad participants giving a performance of imagined Irishness. In 2007, however, along with the usual Irish school children, tidy town pageants and Irish American marching bands that have dominated the parade since its inception in 1995, 650,000 spectators came out to see Brazilian samba bands, African drummers, and a host of Irish and immigrant community groups. The cultural diversity amongst participants was evidence of the festival organizers' aim to increase the presence of the "New Ireland" in its pageant. The reasoning behind Dublin City Council's emphasis on participation by multicultural communities in the parade was to help alleviate racial tensions within the nation and to foster understanding amongst cultures in the city's changing social landscape.

The formulae for some typical epidemiological indices in case-control studies with non-differential misclassification are expressed in terms of two groups (α, β) and (γ, δ) of misclassification probabilities of exposure E and confounder C, respectively, and the initially estimated frequencies. The parameters α and β denote the probability that subjects exposed to E are classified as non-exposed and the probability that non-exposed ones will be classified as exposed, respectively. Similarly, δ and γ stand for the probability that those who have been exposed to C will be classified as non-exposed and the probability that non-exposed subjects are classified as exposed, respectively. The non-negativeness of the expressions for the ‘true’ frequencies in terms of the measured ones and the misclassification probabilities leads to the construction of feasibility regions for α, β, γ and δ. For a number of ‘acceptable’ 4-tuples (α, β, γ, δ), all of which lie inside these feasibility regions, a sequence of feasible values for an epidemiological index is determined, after employing a systematic procedure by means of a ‘searching net’ with increments Δα, Δβ, Δγ, Δδ. The procedure serves to determine the characteristics of the (experimental) cumulative distribution function for any selected epidemiological index. The final stage in exploiting the structure of feasibility regions for α, β, γ and δ is to use the cumulative distribution function to calculate quantiles for the index associated with prescribed probabilities.

Το αντικείμενο της εργασίας μου είναι διπλό: από τη μια, η ανάδειξη μιας ιστορίας, ενός ρωμαϊκού μύθου, που αποτέλεσε τη βάση για τη συγγραφή τριών θεατρικών έργων με έντονα χαρακτηριστικά πολιτικού θεάτρου ―το ένα είναι δείγμα του γαλλικού κλασικισμού και τα άλλα δύο είναι γραμμένα τον 20ο αιώνα― και από την άλλη, η παρουσίαση μιας μετα-δραματουργικής επεξεργασίας των τεσσάρων κειμένων (δηλαδή των τριών θεατρικών έργων και της αρχικής ιστορίας), που είχε ως αποτέλεσμα τη δημιουργία ενός κειμένου pastiche στα αγγλικά, το οποίο υπήρξε το κειμενικό υλικό για το στήσιμο μιας παράστασης που σκηνοθέτησα στο Λονδίνο τον Απρίλιο του 2013. Ο στόχος της παράστασης ήταν να λειτουργήσει, επίσης, ως σύγχρονο πολιτικό σχόλιο.

In 2003, Theodoros Terzopoulos, the internationally acclaimed Greek theatre director, staged a performance which was based on fragments of ancient Greek dramas written by Aeschylus; the play he created was called Epigonoi. Seventeen years later-on the occasion of an interview, parts of which compose this article-Terzopoulos revisited that performance and made a fresh appraisal of it: he shared his thoughts on concepts like the fragment, the fragmented narrative and the fragmented life; he related the ancient, fragmented texts with the essence of myths and the darkness of tragedy; and he contemplated on their connection with the ubiquitous notions of trauma and of vacuum. In accordance with the article's subject matter, for the presentation of Terzopoulos' fragments of thought, a dictum by Ronald Barthes was followed: "Incoherence seems to me preferable to a distorting order."

One of the most powerful ways to remedy the forgetfulness that obscures ancient fragmentary drama, in other words to “establish remedies for forgetfulness” as Palamedes claims to have done for the Greeks in the fr. 578 from the homonymous but lost tragedy by Euripides, is to expose the ancient material to the circumstances of contemporary performance. The surviving fragments of ancient Greek dramas are pieces of text which by definition are out of context since they are dislocated parts of a traumatised ancient play: the connection between text and Trauma is considered to be both literal and metaphorical. Yet, there are elements of theatricality inherent to these fragments and this is why they have been used in contemporary performances in various ways and approaches. Theodoros Terzopoulos has used fragments of lost tragedies by Aeschylus to create the performance Epigonoi in 2003 which was first presented in Germany and then toured internationally. From a chorus of five men the suffering bodies of Achilles, Actaeon, Ajax, Heracles and Philoctetes stand out and expose the tragic fate of those who collide with the divine, while the female character of Europe watches the consequences of war, herself a victim of it. In this paper the use of ancient tragic fragments for the creation of contemporary performances will be discussed and evaluated whether it is an appropriate pathway to follow against letting ancient fragmentary drama be forgotten. After presenting and analysing Terzopoulos' Epigonoi, the performativity of fragments will be argued along with their suitability as theatrical material for contemporary dramaturgy that explores the issue of fragmentation in life and in the narrative and also the issue of Trauma itself.

Στα 150 χρόνια που έχουν περάσει από την πρώτη θεσμοθέτηση της εκπαίδευσης των ηθοποιών στην Ελλάδα (Ωδείο Αθηνών, 1871) έχουν ιδρυθεί δεκάδες Ανώτερες Σχολές Δραματικής Τέχνης, από τις οποίες περίπου 30 λειτουργούν σήμερα. Παρόλο που το νομικό πλαίσιο που διέπει τη λειτουργία τους χρονολογείται από τη δεκαετία του ’80, οι τίτλοι σπουδών που χορηγούν οι σχολές αυτές δεν έχουν αποτιμηθεί στο σύγχρονο Εθνικό Πλαίσιο Προσόντων, ενώ κάποιες προσπάθειες καθορισμού του επιπέδου σπουδών των αποφοίτων, έχουν δημιουργήσει ένα εξαιρετικά συγκεχυμένο τοπίο, όπου τα ακαδημαϊκά προσόντα και τα εργασιακά δικαιώματα των ηθοποιών αμφισβητούνται. Μέσα στο διαρκώς μεταβαλλόμενο πεδίο του θεάτρου και των παραστατικών τεχνών η «συστηματική» εκπαίδευση των ηθοποιών εμφανίζει αγκυλώσεις και αναχρονισμούς, τη στιγμή που τα θεατρικά εργαστήρια, τα σεμινάρια, τα σχετικά τμήματα των ΑΕΙ, τα ΙΕΚ Υποκριτικής και άλλες εκπαιδευτικές δομές και δραστηριότητες αναπτύσσονται αλματωδώς. Η ανάγκη για θεσμικές αλλαγές στην αξιολόγηση της ποιότητας και στην ακαδημαϊκή αναγνώριση της εκπαίδευσης των ηθοποιών είναι επιτακτική.
[Από την προφορική ανακοίνωση που έγινε στο Συνέδριο της Ελληνικής Ένωσης Κριτικών Θεάτρου και Παραστατικών Τεχνών, στην Αθήνα, τον Οκτώβριο του 2021]

Το θέατρο είναι άρρηκτα δεμένο με το ανθρώπινο σώμα. Η θεατρική σκηνή κατοικείται από ανθρώπινα σώματα και οι ιστορίες που παρακολουθούμε, ακόμη κι αν αφορούν μη ανθρώπινες οντότητες, παρουσιάζονται μέσω των σωμάτων των ηθοποιών. Στην πλειονότητα των θεατρικών έργων και παραστάσεων υπάρχουν ανθρώπινα σώματα που πάσχουν επί σκηνής και παρουσιάζουν τραύματα, με την καθαρά ιατρική έννοια του όρου, και στην πορεία της εξέλιξης του θεάτρου η απεικόνιση των τραυμάτων αυτών γινόταν και γίνεται με διαφορετικούς τρόπους. Η σχέση του σωματικού τραύματος και της επούλωσης με το θέατρο είναι η αφορμή για την εξέταση του τρίπτυχου Θέατρο-Τραύμα-Θεραπεία μέσα από ένα διαφορετικό πρίσμα.

Τα σπαράγματα των αρχαίων τραγωδιών και των σατυρικών δραμάτων έχουν χρησιμοποιηθεί σε σύγχρονες θεατρικές παραστάσεις με διάφορους τρόπους αποδεικνύοντας ότι η θεατρική καταγωγή τους είναι εμφανής ακόμη και σήμερα και ότι οι δυνατότητες που προσφέρουν στο σύγχρονο θεατρικό δημιουργό είναι εξαιρετικά ενδιαφέρουσες. Όταν ανακαλύφθηκαν οι πάπυροι της Οξυρρύγχου, ανάμεσα στα κείμενα που εντοπίστηκαν υπήρχε και ένα εκτενές απόσπασμα από το σατυρικό δράμα του Σοφοκλή Ιχνευταί. Το αρχαίο υλικό και η ιστορία της ανεύρεσής του αποτέλεσαν την έμπνευση του Βρετανού ποιητή, μεταφραστή και θεατρικού συγγραφέα Tony Harrison, για το έργο που ονόμασε The Trackers of Oxyrhynchus και το οποίο παρουσιάστηκε για πρώτη φορά στην Ελλάδα σε μία μοναδική παράσταση στις 12 Ιουλίου του 1988 στο Αρχαίο Στάδιο των Δελφών. Ο Harrison χρησιμοποίησε όλο το υλικό των σπαραγμάτων από το έργο του Σοφοκλή και το ενέταξε σε μία σύγχρονη ιστορία που είχε ως βάση την Οξύρρυγχο και τις ανασκαφές. Τα κύρια αιτήματα του συγγραφέα ήταν ένα πολιτικό, η κοινωνική διαίρεση και πώς επιβάλλεται μέσω της τέχνης, και ένα θεατρικό/θεατρολογικό, η θέση του σατυρικού δράματος στην αρχαία και τη σύγχρονη θεατρική σκηνή. Ο τρόπος χρήσης των σπαραγμάτων από τον Harrison παρουσιάζεται μέσα από αποσπάσματα του έργου.

PURPOSE. It has been demonstrated that cells migrating to cover an epithelial débridement wound exit the cell cycle and that the cell-cycle inhibitor p15 INK4b is upregulated in these cells. TGF-␤ signaling has been implicated in both of these processes, and this study was conducted to determine whether the expression and localization of TGF-␤ receptor (T␤R)-I and -II are altered during corneal epithelial wound repair.