Performance Theory

In 1990, Rabbi Eliezer Shach was in a position to impact the future of the National Unity Government. His pivotal speech, which came to be known as the “Rabbits Address,” triggered intense debates and led to the failure of the “stinking manoeuvre,” after which Ashkenazi Haredi (Ultraorthodox) parties were unwilling to align with the Left – a development that has significantly altered coalition dynamics in Israel ever since. It is maintained here that the video recording of that speech and other events possess great scholarly value and offer a window into late-twentieth-century Mitnagdic thought and the sector’s self-perception. A performative analysis of video-texts suggests “potent fatalism” as one source of the religious-ideological appeal of Haredism. Compared to his earlier writings, these speeches mark a radicalization of the fatalist component of his theology and ideology; they promote a faith-based fatalism at the expense of human agency within the limits of Divine providence. His rejection of a coalition with the dovish Left was predicated on historical tensions, not foreign policy or security concerns. These findings suggest contemporary Haredi political alignment with the hawkish right is a tacit rejection of Shach's fatalism.

This article 1 compares and contrasts the practices of preaching between Christ Embassy and NASFAT in the city of Abuja. Preaching of the two groups responds to the social situation of Abuja, including hard economic conditions and religious pluralism. This article analyzes styles of preaching in Christ Embassy and NASFAT within the framework of performance theory. The article argues that preaching is an important instrument for empowering urban residents with mental resources to meet the challenges of urban environment. Moreover, the article argues that preaching is a practice of mediation that is facilitated by preaching paraphernalia such as stage design, dressing, background music, eloquence and preaching assistants. In Christ Embassy, one of the purposes of preaching is a total transformation of the individual mindset and the cultivation of new norms and values. Preaching in NASFAT has the purpose of producing modern and pious Muslims who can live comfortably in pluralistic urban settings and project a positive image of Islam.

This essay offers a comprehensive reading of Bertolt Brecht’s A Short Organum for the Theatre (1949), situating it within twentieth-century performance theory, Marxist aesthetics, and contemporary reception. It argues that Brecht’s program is not reducible to stylistic novelties but constitutes an integrated pedagogy that aligns theatrical form with critical social inquiry. Through devices such as the Verfremdungseffekt, Gestus, episodic dramaturgy, and didactic song, Brecht sought to transform spectators from passive consumers of illusion into active analysts of social relations. The essay demonstrates how Brecht reconfigured acting, music, and staging to produce historically literate publics. The discussion also highlights debates on Brecht’s legacy, including feminist and postcolonial critiques, and underscores the continued relevance of his project for addressing contemporary crises of media, democracy, and public reasoning.

The wave of actions that followed the Black Lives Matter (BLM) protests in May and June 2020, when statues of colonial masters or slave traders were torn down or defaced with graffiti, had repercussions beyond the United States. In Europe, they were felt with particular force in Britain and France, but also in smaller countries such as Belgium, as Idesbald Goddeeris argues in this issue. In Germany Finland, on the other hand, there were few, if any, violent actions or toppled statues. This movement has brought increased attention to how Europeans deal with their colonial past, and how history should be made visible in public spaces. 1 This special issue seeks to bring colonial heritage to the forefront of the debates on European identity by highlighting different national discussions and by critically engaging with the current discourses on the contested meanings underlying colonial statues and public spaces. The articles examine how colonial statues and public spaces have become focal points for activism across

Der Blick auf bisher wenig beachtete Dichter des späten 13. Jahrhunderts, als Konrad von Würzburg ganz die literarische Szene zu beherrschen schien, lohnt sich durchaus, wenn man ihre Texte genauer auf die Aussagen hin abklopft und die Überlegungen in Betracht zieht, die dort formuliert worden sind. Dieser Beitrag bemüht sich darum, speziell das Werk des südwestdeutschen Dichters Boppe neu zu beurteilen und darauf hin zu überprüfen, ob nicht innovative Gedanken und Vorstellungen, die sich allenthalben in seinen Strophen finden, es rechtfertigen wenn nicht gar erfordern, unser Bild vom Spätmittelalter um einiges zu modifizieren. Boppe mag nicht zur allerersten Garnitur seiner Generation gehört haben, aber wir können eine Reihe von sehr bemerkenswerten Aussagen identifizieren, die uns ermutigen, diesen Dichter stärker ins Augenlicht zu rücken und als einen eigenständigen Poeten anzuerkennen, der idiosynkratisch und gedankentief didaktische und ethische Überlegungen anstellte, was wir von vielen seiner literarischen Zeitgenossen nicht unbedingt behaupten können.

This article takes a multi-sensory approach to the baroque drama de honra in order to enlighten the sensory expectations (thirst for blood and body horror) of the public who came to witness how several women accused of adultery were killed on stage. In this case, the effects of the tragedy are constructed from uxoricides sometimes performed in explicit sacrificial rituals. Thus, every studied play contributes to the creation of a school of exemplarity in the emotional community of theatregoers through the morbid excitement of the senses aroused by violence. From Doña Mencía’s ritualistic death in El médico de su honra (1635) to the Machiavellian manslaughter orchestrated by the Duke of Ferrara in El castigo sin venganza (1631), smell, touch, sight, and hearing all play a role in the configuration of the oppressive atmospheres that are characteristic of honour plays. Acting stimulates the senses of the audience, who thereby perceives the endangered corporeality of the murdered women. Their deaths, represented in an exceptional way, are key to the reception of the four comedias analyzed here.

The roots of Greek, Sanskrit, and Brechtian theatre lie in their traditions, social conditions, historical time, and ways of life; little arises outside these spheres. Although theatrical consciousness is deeply related to technique, different techniques can sometimes produce similar effects. Hence, the many similarities between Sanskrit and Brechtian techniques—even as their content and purpose are entirely different. Sanskrit drama conveys that all is well and that the Almighty ensures justice for one and all; we should submit to His will. Greek theatre foregrounds destiny, which can be cruel, whereas in Sanskrit drama, destiny does not go against good people. Brechtian theatre absolutely rejects the concept of destiny; rather, it raises questions and provokes human beings to fight against it. In short, Brecht emphasized distancing or alienation to awaken critical awareness, while Kanhai Lal experimented with creating awareness through deep actor involvement. Brecht’s contribution to promoting mindfulness is enormous and unparalleled, but this objective can also be achieved through non‑Brechtian methods.

This research examines the intersection between Bertolt Brecht's Epic Theatre and Jerzy Grotowski's Laboratory Theatre, focusing on their contrasting yet complementary approaches to actor-audience dynamics. While Brecht's Verfremdungseffekt (alienation effect) seeks to provoke critical social reflection, Grotowski's "poor theatre" strips away theatrical artifice to emphasize the actor's metaphysical presence. By analyzing Brecht's Mother Courage and Her Children through Grotowskian techniques, this study explores how the integration of these methodologies can enhance performative impact, deepen audience engagement, and redefine theatrical storytelling.

The SIBMAS - International Association for Libraries and Museums for the Performing Arts Symposium 2025 was an uplifting experience filled with new friendships. I presented our project to reenact a puppet play by Harry Vernon Tozer, featuring original marionettes from 1936. But before, I spoke about our Museu de les Arts Escèniques, a museum with no museum—a collection with no display.

The complexity and unpredictability of climate change demand new forms of communication and pedagogy. In this paper, I argue that improvisational and participatory theatre-particularly when embedded in a climate communication framework-can not only make the uncertainty of the climate crisis perceptible, but also foster an affective experience of resilience and the cultivation of active hope. Using the example of EARTH 2.0.5.0, an improvisational performance, I examine how the theatrical space can become a liminal environment in which the audience appears not merely as spectators but as active participants in the creation of meaning. This paper aims to highlight how the tools of live theatre, performativity, and intermediality can contribute to a form of climate communication that does not paralyze, but instead inspires action. Climate change is an issue that affects us all and will fundamentally shape our future. Climate communication, as an interdisciplinary field, investigates which communication techniques and tools can support the necessary changes and points of action. Its goal is to employ effective means to encourage the actions required in response to climate change.

The complexity and unpredictability of climate change demand new forms of communication and pedagogy. In this paper, I argue that improvisational and participatory theatre-particularly when embedded in a climate communication framework-can not only make the uncertainty of the climate crisis perceptible, but also foster an affective experience of resilience and the cultivation of active hope. Using the example of EARTH 2.0.5.0, an improvisational performance, I examine how the theatrical space can become a liminal environment in which the audience appears not merely as spectators but as active participants in the creation of meaning. This paper aims to highlight how the tools of live theatre, performativity, and intermediality can contribute to a form of climate communication that does not paralyze, but instead inspires action. Climate change is an issue that affects us all and will fundamentally shape our future. Climate communication, as an interdisciplinary field, investigates which communication techniques and tools can support the necessary changes and points of action. Its goal is to employ effective means to encourage the actions required in response to climate change.

The introduction to The Routledge Companion to Decolonizing Art History provides an overview of the major concerns that inform this edited collection as well as a critical genealogy of key authors whose thinking on colonialism, the postcolonial, coloniality, decolonization, and more have shaped the volume’s conceptualization. The authors begin by contextualizing the project in relation to the COVID-19 pandemic as it unfolded from 2020 to 2022. They argue that the major events that defined this unprecedented moment, including devastating racial violence, a public reckoning for museums and monuments, ongoing environmental catastrophe, and the spread of ethnonationalisms, among others, resulted from colonial structures that have been integral to the formation of the modern world. Noting that the pandemic revealed power mechanisms and systemic injustices that tend to operate covertly, the introduction and the volume ask what is the role of art history—whose existence is imbricated in European colonialism—to evaluating these inherited systems and institutions, coming to terms with the discipline’s complicity in perpetuating them, and forging ahead towards ethically grounded and social justice-driven futures. The authors then turn to explicate the volume’s themed sections: Being and Doing, Learning and Listening, Sensing and Seeing, and Living and Loving.

Los Cantares mexicanos son un cancionero en náhuatl clásico conservado en la Biblioteca Nacional de México, resultante de la catequización musical implementada en la Nueva España (s. XVI). Nos enfocaremos en algunos cantos otomíes traducidos de esta lengua a la mexicana, interpretados mediante nuestra traducción inédita al portugués con vistas a su clasificación como melahuac cuicatl o canto llano. En sus letras, observamos su acompañamiento por instrumentos mesoamericanos, lo cual señalaría que dicho género musical occidental, en su versión medieval y trasladada al Nuevo Mundo, no corresponde a la impuesta por la liturgia católica oficial. En el proceso de recopilación de estas canciones, planteamos que para facilitar la conversión se adoptó una iniciativa creativa similar a la de los cantos populares confeccionados por los mendicantes de la Europa del siglo XIII, engendrando una concepción de canto llano propia de la colonia que trataremos de reconstruir teórica e hipotéticamente.

Pascal Duc began his career in music working in the Direction régionale for Cultural Affairs in the Paris basin (the Île de France) and as administrator of the Festival of the Île de France. He met Philippe Herreweghe at a moment when the rediscovery of ancient music was taking off in France; this led to a collaboration round the Chapelle Royale with the Orchestre des Champs-Elysées. Pascal then became musical advisor to William Christie and Les Arts florissants. He still holds this post while being the Head of the Department of Early Music at the Conservatoire national supérieur de musique et de danse de Paris. Pascal has prepared a great number of working scores for Les Arts florissants, among which may be mentioned: Monteverdi's Madrigals, Books 1 to 7 (8 and 9 are in preparation); Handel's Belshazzar and Te Deum HWV 208; Fauré and Messager's Mass for the Association of the Fishermen of Villerville, a version for choir, organ, and violin; Purcell's Incidental Music for The Virtuous Wife; and for Distress'd Innocence.

Este libro plantea la centralidad de la traducción realizada por la intérprete mesoamericana Malintzin, o Marina, o Malinche, en el proceso de la llamada conquista de México. Propone que su interpretación mesoaméricana de las palabras de Hernán Cortés fue la que permitió que se construyeran las coaliciones y acuerdos que llevaron a la derrota de los mexicas o aztecas.

In the aftermath of the atomic bombings of Hiroshima and Nagasaki and under the growing threat of planetary cataclysm, an array of prominent intellectuals grappled with the significance of nuclear war for the human condition and reflected upon the possibilities of escaping its peril. Following on the early interventions of Albert Camus and Jean-Paul Sartre, the collected thoughts of Karl Jaspers, Hans Morgenthau, and Günther Anders outline a philosophical current of 'nuclear existentialism' preoccupied with the nihilistic 'being-towards-species-death' entailed by the advent of the Bomb. Faced with the apparent negation of reason in bringing about the means of its own destruction through the scientific piercing of nature's innermost workings, the nuclear existentialists end up reaffirming, however precariously, a teleological conception of history in which the apocalyptic fear of the Bomb figures as the necessary condition for the ultimate realisation of human freedom. In the light of the contemporary resurgence of nuclear anxiety, this article surveys and critically assesses the corpus of nuclear existentialism, drawing upon the distinctive existential phenomenology of Emmanuel Levinas to trace a potential alternative for thinking life and death under the Bomb.

The current research examines the possibilities of music education in supporting the well-being of families living in demanding life situations. The context for the study is Family Sound Hammock, a 3-year research and development project that took place in the metropolitan area of Finland from 2020 to 2023. The project aimed at systematically supporting the well-being of families especially by strengthening their capacities for interaction in and through music education activities. This phenomenological-hermeneutic research focusses on the affordances emerging in family music activities, asking the following: What kinds of affordances can be recognised in and through music activities as part of family social work? The findings are presented in three categories: (1) Experiential environment of music education practice, (2) Social interaction and (3) Experiences of consistency that each highlight the potential of music education for redirecting agency, participation and inclusion of parents and children. The findings emphasise the professional facilitation of an inviting and safe musico-pedagogical environment applying pedagogical sensitivity.

Purpose –The  research  reveals  that  internal  marketing  should  be  addressed  through  the fundamental  dimensions  of  Total  Quality  Management  (TQM)  and  internalcustomer satisfaction. While TQM practices represent the structural dimension of internal marketing as an  indicator  of  quality-oriented  approaches  towards  internal  processes  and  employees, internal  customer  satisfaction  constitutes the result  dimension  ofthese  practices reflected  in the perceptions and attitudes of employees.Design/methodology/approach—Data  obtained  from  employees  in  Polatlı  Organized Industrial  Zone  were  evaluated  using  quantitative  analysis  techniques.  The  relationship between  Total  Quality  Management  practices  and  internal  customer  satisfaction  was  tested using regression and correlation analyses.Findings–It  shows  that  TQM  practices  have  a  significant  and  positive  effect  on  internal customer  satisfaction. This finding  shows that  internal marketing  should  be considered as  a multidimensional  structure  and  that  TQM  practices  can  increase  external  customer satisfaction through employee satisfaction.Discussion –The findings of this study reveal that businesses should structure their internal marketing  strategies  with  a more holistic  understanding. In  addition, it makes  a  significant contribution  to  the  existing  literature  by  presenting  a  theoretical  model  that  conceptualizes the  interaction  between  TQM  and  internal  customer  satisfaction in  the  context  of  internal marketing.

Even a casual perusal of the works of Tirso de Molina reveals his fascination with various forms of disguise. These range from simple erasure, such as when Diego de Marsilla covers his face with a cloth in Los amantes de Teruel [The Lovers of Teruel], or misdirection, where Don Juan de Cardona changes his voice in Privar contra su gusto [The Reluctant Councilor], to much more complex structures that layer on changes of gender, nationality and language such as we see in El amor médico [Love the Doctor]. In the latter case, disguise forms a complicated dance where language, clothing, and performance rebut or reinforce each other depending on Jerónima's need. Tirso's use of disguise is so ubiquitous that this theatrical technique becomes more than recourse to further the plot or add drama to the performance. It is, in fact, a thematic element. In the following pages, I will provide the reader with a sense of how Tirso makes use of disguise and an understanding of the various permutations of disguise that are common in Tirso's theater, in the hope of illustrating how disguise plays a key role in exploring and explicating the themes of justice and identity that permeate Tirso's theater. At its heart, disguise is an attempt to separate oneself from one's self, frequently in the hope of a better future. The justifications, excuses, and mechanisms may vary, but disguise permits words, actions, and thoughts that are not tolerable within the strictures of society or that are denied to the person due to their status, gender, and race, for example-strictures that Michel Foucault describes as a "normalizing gaze" (1995: 184). In this view, one that is seen again and again in Tirso's plays, disguise, in any form, is used to break with the social roles that the

In his hagiographic depiction of the life of Santa Juana de la Cruz, Tirso de Molina intentionally combines depictions of Juana's spiritual journey with those of secular life. Each of the plays of the trilogy includes a secular theme that acts as a counterpoint to the religious events portrayed.

This article draws from the contemporary French thinker François Laruelle to perform a 'non-philosophical' analysis of recent literature from the analytic or Anglo-American philosophy of theatre. Much of this literature, I argue, suffers from the problem of application, namely: non-or extra-theatrical assumptions are both brought to bear upon and remain unchallenged by the philosopher's encounter with theatreparticularly in the form of assumptions as to the nature of philosophy or the role or position of philosophy with respect to other forms of thought, such as theatre and performance. Having sought to articulate some of the problems arising from the conception of the philosophy of theatre as a definitional project, the article then considersvia Laruellewhat kind of 'stance' a philosophy of theatre might need to occupy in order not to impose its thought on theatre but to be open to theatre's thoughts.

This dialogue was produced by an email exchange, with each email limited to 200 words. The exchange took place between 21 January and 9 June, 2021. No edits were allowed once ‘send’ had been pressed and there was to be no other correspondence between the participants for the duration of the dialogue. The Call for Papers for this special issue of Human Affairs was the starting point and there was no other pre-planning.

This article draws from the contemporary French thinker François Laruelle to perform a ‘non-philosophical’ analysis of recent literature from the analytic or Anglo-American philosophy of theatre. Much of this literature, I argue, suffers from the problem of application, namely: non- or extra-theatrical assumptions are both brought to bear upon and remain unchallenged by the philosopher’s encounter with theatre – particularly in the form of assumptions as to the nature of philosophy or the role or position of philosophy with respect to other forms of thought, such as theatre and performance. Having sought to articulate some of the problems arising from the conception of the philosophy of theatre as a definitional project, the article then considers – via Laruelle – what kind of ‘stance’ a philosophy of theatre might need to occupy in order not to impose its thought on theatre but to be open to theatre’s thoughts.

La série de six tableaux de Bartolomé Esteban Murillo intitulée La parabole de l’enfant prodigue (Collection Beit, Irlande) et réalisée à Séville entre 1660 et 1670, semble être la seule oeuvre picturale espagnole du dix-septième siècle qui porte sur ce thème biblique. Les estampes du graveur français de la même période, Jacques Callot, semblent avoir inspiré cette série unique, bien que la source d’inspiration des nombreuses adaptations apportées par Murillo, notamment au niveau des costumes, des personnages et des décors, n’ait pas encore été déterminée. Cet article compare l’interprétation de Murillo de cette parabole à celle des dramaturges espagnols du Siècle d’or. Contrairement aux arts plastiques, la parabole a été un thème dramatique populaire qui a été repris tant dans le théâtre religieux que séculier par des dramaturges importants du dix-septième siècle comme Lope de Vega, Tirso de Molina et J. de Valdivielso. Les détails relatifs aux costumes dans El hijo pródigo de Lope...

During the 16th century, the Tlaxcaltecs created a rich body of legal documents, ceremonies, and paintings that celebrated their role as Christianized allies and reinforced a collective memory connected to their significant involvement in the conquest of Mexico-Tenochtitlán. A notable example of this body of work is found in Cantares Mexicanos (circa 1597), a colonial songbook written in classical Nahuatl that is preserved in the National Library of Mexico. This manuscript includes two songs titled Tlaxcaltecayotl, which recount episodes from the war against Tenochtitlan from the Tlaxcaltec perspective. Given the performative nature and structure of these songs, this article seeks to analyze the historical and theatrical dimensions of one of them, showcased on folios 54r and 55v of the manuscript. The goal is to understand its various intentions as a tool of Tlaxcaltec cultural memory related to the fall of the Mexica Empire—a pivotal event in which other members of the 16th-century Nahua elite also played a significant role. For this analysis, a new Spanish translation is considered.

The objective of this paper is to provide with new insights the discussion of anthropological questions of religion, focusing on the roles of myths and rituals on the human relationship with the environment, culture and heritage. By providing a deconstruction of concepts such as myths of creation and ritualistic performances, this work will discuss this human behaviours in spaces not primordially designated for sacred enactments. During the discussion, examples of ritualistic acts in public spaces will arise, mostly based on events occurred in museums and art exhibitions.

Ritual has been extensively theorised across social
science disciplines, with sacredness often seen as its
defining feature. This perspective has reinforced the
notion of ritual as static and conservative, making it easy
for authoritative institutions to manipulate. However, a
different view recognises the potential of ritual for
change and transformation, particularly in political
contexts and protest movements. The concept of ritual
politics articulates this creativity, making visible the
unseen cultural symbols and religious spirits that still
deeply occupy the minds of the people and their politics.
Movements or protests, or any minor acts of resistance,
have always taken recourse and inspiration from
everyday life experiences within the cultural realm.

Disability and neurodivergence have gamered growing interest in philosophy, as evidenced by several essavs and collected volumes recently published, not so rarely by disabled and/or neurodivergent scholars (among others, see the work by Robert Chapman, Adam Cureton, Alan Jurgens, Shelley Tremain, David Wasserman). Whereas scholars have pointed out how at least some philosophical analyses of these phenomena may produce inaccurate or inaccessible descriptions o material experiences (see for example the positions of Tom Shakespeare and Mike Oliver who share this concern, or Kenneth A. Richman's analyses), a further perspective suggests that an analytic approach could yield a better understanding of them, with practical consequences as well (see for example the work by Ian Hacking, Nick Watson, and Simo Vehmas). The joint discussion solicited by the current Call for Papers does not intend to homogenise
disability and neurodivergence. Nonetheless, histoncally, advocacy and thcones on disability and neurodivergence have shared some perspectives and approaches, motivated by similar social and medical responses. Both research fields have critically addressed how scientific, cultural and social theories and practices have tended to produce and discipline "normal" subjects, while establishing. in the meantime, "the others" that are situated in a position of minority. A further purpose behind the Special Issuc, therctore, is to invite scholars to discuss whether the intersection between the two tields might be fertile (tor example, concerning the application of the social model of disabilit to neurodivergence), or present a risk of misreading and flattening the two categories.

The purpose of this paper is to suggest that an Indigenous commons-based form of production that pre-dates market capitalism offers lessons in reforming existing economic arrangements in a new direction much friendlier to both human and nonhuman nature. Pre-Columbian Northwest Indigenous kinship groups acted cooperatively to restrain harvesting of salmon populations and to cultivate salmon habitats to increase their intrinsic productivity (Commons-based production).  This Indigenous commons-based salmon golden age went away with Euro-American colonization and unsustainable exploitation of the salmon fishery. In 1974, a famous court decision by federal judge George H. Boldt confirmed an 1855 Washington State Indigenous tribal treaty right to take “… fish at usual and accustomed grounds and stations…in common with all citizens…”, meaning, according to Judge Boldt, that tribal members collectively possess a right to at least half the state’s salmon harvest. In addition to unsustainable salmon exploitation, Euro-American settler economic development historically has taken, and continues to take, a substantial toll on the quality of wild salmon habitats. The bright spots for the salmon fishery are the sustained yield co-management of its harvest by the state government and tribes, as required by the Boldt decision, and a historic return of tribes to Indigenous salmon habitat cultivation, a task that now takes form as salmon habitat restoration. Modern versions of “commons-based production”, such as Wikipedia and Linux open-source software, can serve as points of departure for developing a cooperative mode of economic organization capable of replacing existing undemocratic corporate-capitalist forms that perpetuate destructive environmental actions. Indigenous tribal projects today are pre-existing, long-standing examples of “commons-based production” whose actions help to resolve significant environmental problems. In conducting such actions, tribes offer a model for reforming modern economic institutions such that they become more humane and environmentally friendly.

Aşık Veysel, Türk halk müziğinin en önemli temsilcilerinden biridir. Onun türküleri hem müzikal hem de metinsel olarak evrensel özellikler taşımaktadır. Bu araştırma, Aşık Veysel'in 6 türküsünün metinsel yapısını ifade ve değerler açısından çözümlemeyi amaçlamaktadır. Aynı zamanda, türkülerin ses eğitimi bağlamında müzikal ifade yeteneğini geliştirmede nasıl kullanılabileceği tartışılmıştır. Araştırmanın amacı, Aşık Veysel'in türkülerini ses eğitimi açısından incelemek ve müzikal ifade özelliklerini ortaya koymaktır. Araştırma, Aşık Veysel'in türkülerinin söylem (metin) analizi, müzikal ifade ve ses eğitimi ile ilgili boyutlarının ele alınması açısından önemlidir. Araştırmada Aşık Veysel'in hayatı, sanatı ve türkülerinin genel özellikleri hakkında bilgi verilmiştir. Ayrıca, Aşık Veysel türkülerinin diğer disiplinlerdeki araştırma konularına da değinilerek müzikal ifade ile ilişkilendirilmesinin sosyo-kültürel ve eğitimsel boyutları da ele alınmaya çalışılmıştır. İncelenen türküler, Maxqda24 nitel veri analizi yazılımına aktarılarak sözlerdeki ifadeler kodlanmış ve belge portresi aracıyla müzikal ifadeler renklendirilerek belirtilmiştir. Bu ifadelerin ses eğitiminde nasıl ele alınması gerektiği ile ilgili sonuçlar yazılmış ve öneriler geliştirilmiştir. Araştırmanın sonucunda, Aşık Veysel'in türkülerinde çoğunlukla sevgi, aşk, hoşgörü, sadakat, arayış, hayranlık gibi duygu ifadelerine yer verildiği görülmüştür. Aşık Veysel türkülerinin ses eğitimi alanında farklı araştırma teknikleri araştırılması ve müzik eğitimde uygulanması önerilebilir.

The question of status within the Mycenaean funeral has long been dominated by our understanding of the palatial system as it appears in the Linear B tablets. The elaboration of grave goods during the Early Mycenaean Period has been read as proof of social stratification that led to the development of the palatial system, just as the decline in the quantity and variety of grave goods in LHIIIA has been taken as evidence of palatial control. Though these approaches have provided valuable insights into how objects conferred status, little attention has been paid to the ways in which the embodied actions of the performers participated in status-making and how this process could operate outside the palatial system. Using examples from cemeteries in the Argolid and Corinthia, this paper draws on scholarship within Performance Studies, and in particular Diana Taylor's now seminal work on the archive and repertoire, to cultivate a theoretical framework that reconsiders the role of embodied action in the funeral and the ways in which it offers bottom-up perspectives of Mycenaean society. From this analysis I argue that performance not only played a central role in negotiating the status of the deceased and the community of mourners, but that this process was not necessarily "palatial." Though embodied action could work in tandem with material culture to establish and transmit social knowledge such as status, the ephemeral nature of performance meant it was harder to control and more susceptible to change. Therefore, the funeral offered mourners the opportunity to take an active role in shaping status and meaning within Mycenaean society that could not be fully regulated by the palace. In this way, performance theory offers methodological tools to decenter the palace and consider alternative perspectives for how status and meaning were communicated in Mycenaean society.

La propuesta creativa del proyecto "ALMA COLOMBIANA EN MÚSICA DE CÁMARA" se fundamenta en resaltar y promover la riqueza cultural y musical de Colombia mediante la música de cámara. Esta iniciativa busca fusionar los elementos propios de la tradición colombiana con la sofisticación y la precisión interpretativa característica de la música de cámara.

L'article intitulé "Le phénomène de gestion des bénéficesune analyse théorique" présente un aperçu des théories qui fondent les pratiques de gestion des bénéfices au sein des entreprises. Tout d'abord, la recherche repose sur une analyse approfondie de la littérature existante, notamment sur les théories des contrats, de l'agence et des coûts politiques. Ces théories offrent la possibilité de saisir les raisons profondes qui incitent les dirigeants à influencer les résultats financiers. Ensuite, l'article se penche sur les méthodes employées afin d'améliorer l'équité financière. Il examine les diverses approches utilisées par les entreprises afin de diminuer les résultats, sous-évaluer les actifs ou surévaluer les passifs. L'objectif de ces méthodes est de donner une vision plus positive de la performance financière de l'entreprise, de répondre aux attentes des investisseurs, de diminuer les dépenses de financement et d'influencer les décisions des parties impliquées. En résumé, cette recherche théorique souligne la complexité du processus de gestion des profits. Des facteurs internes (conflit d'intérêts, asymétries d'information) et externes (pressions réglementaires, concurrence) sont à la fois à l'origine des pratiques de manipulation des résultats comptables. Il est crucial que les chercheurs, les praticiens et les régulateurs comprennent ces mécanismes pour élaborer des outils d'analyse et de contrôle plus performants.

Il Café La MaMa è stato fondato nel contesto del movimento newyorkese chiamato Off-Off Broadway all’inizio degli anni Sessanta e, insieme alle altre sedi del circuito, ha partecipato attivamente alla sperimentazione teatrale, condivisa anche con la più ampia avanguardia diffusa negli Stati Uniti tra gli anni Sessanta e Settanta del Novecento. Questo volume ne ripercorre la storia a partire dalla sua fondazione, soffermandosi sugli eventi che lo hanno reso un punto di riferimento a New York e mettendo in rilievo il ruolo che ha avuto nell’alimentare lo scambio artistico e culturale, tra Stati Uniti ed Europa, che ha contribuito alla crescita e diffusione dell’avanguardia stessa.

Open Access: https://www.ilrio.it/assets/page_files/1880/Edizione%20Open%20Access.pdf

Anadolu coğrafyasının en önemli kültür özelliklerinden birisine sahip olan İç Anadolu bölgesinin içinde yer alan Kırşehir yöresinde yaşayan Abdalların halen günümüzde yaşayan temsilcilerinden ikisi olan Muharrem Ertaş ve Oğlu Neşet Ertaş, bu kültüre ve yaşadıkları dönemin kültür hayatına eşsiz katkılarda bulunmuşlardır. Çalışmamızda, baba ve oğul olmanın dışında meslektaş olan bu iki usta sanatçının, aynı kültüre sahip olmalarına ve yaşatmalarına rağmen sanat icra tekniği açısından birbirilerinden farklılıkları ortaya koyulmaya çalışılmıştır. İki sanatçı hakkında yapılan araştırma ve inceleme sonucunda; `Akort Düzenleri`, `Perde Yapıları`, `Tel Özellikleri`, `Tekne Yapıları`, `Orkestra Teknikleri`, `Mızrap Teknikleri`, `Parmak Teknikleri`, `Dinleyici Kitleleri`, `Sanatçı Kimlikleri`, `Ses İcraları`, `Karar Ses Özellikler` ve `Zamanın ve Teknolojik İmkânların Etkileri` açılarından birbirlerinden farklı oldukları tespit edilerek, bu farklılıklar detaylarıyla ortaya koyulmuştu

Bertolt Brecht, the German playwright, was an important theatrical reformer. His theory of an "Epic Theatre', developed in the 1920s, departed from the tradition of Aristotelean theatre offering a new theatre which would not be 'dramatic', but reflective and thereby nurturing critical thinking. For Brecht drama is a social and ideological forum. It is a didactic drama presenting a series of loosely connected scenes and interrupting the story line to address the audience directly with analysis, argument, or documentation. Brecht uses a new technique called 'The Alienation Effect' designed to distance the audience from emotional involvement in the play through jolting reminders of the artificiality of the theatrical performance. The purpose is to enable the spectator to exercise fruitful criticism from a social point of view. 'The Epic Theatre' of Brecht has an educational value also in the context of Indian education. Globalization has resulted in the...

In this paper, George P. Pefanis discusses the presence of animals on stage from the perspective of French philosopher Jean Baudrillard. Baudrillard examines animality in relation to reason and the division between humans and non-humans. He presents four broad categories based on their relationship to humans. This article analyses the Baudrillardian concept of 'somatisation', which includes both the corporeality and physical vulnerability of animals, as well as certain psychic traits. The article explores the sentimentality projected onto animals and the implied superiority of humans in such sentimentality. Additionally, it enquires how the principles of 'love for animals' can be integrated into a performance featuring animals on stage from an ethical and ontological perspective. To support this discussion, the paper examines two examples of performances: 'Embracing Animal' by American artist Kathy High and 'The Other' by American artist Rachel Rosenthal.

Many living history reenactors speak of "touching the past" in their performances. In nearly all instances, these profound experiences of intimate traffic with previous epochs and persons are brought about not through physical contact with historical artifacts but through deployments of replicas and props, including recently produced adornment, weaponry, vehicles, and tools. This essay explores the roles and functions of material reproductions or substitutes of historic artifacts in reenactment performances, and how these object-oriented practices often bring about powerful sensations of historic authenticity on the part of reenactors and their audiences. I give particular attention to the use of physical objects by those who seek to reenact traumatic events and experiences related to American histories of racial injustice, including experiences of slavery and Jim Crow racial violence.

This paper aims to demonstrate that "semiotic processes" are inclusive in the frames of a general communication process. Through the encoding and decoding theory processes, I will focus on how these two scientific terms differ in their methodological comprehension. Taking examples from various life spheres and the arts field, the paper shall demonstrate the meaning component as final to generalise it in a unique communication process. In other words, the paper aims to show the path from a pure informational exchange process to an interhuman sort of interpreting meaning.

These slides are for a February 2025 lecture I gave, and they provide an overview of ritual in performance studies. The slides draw upon theories by Richard Schechner, Victor Turner and others. Included are theoretical examinations of religious rituals, but also of related concepts such as trance states.

A controversial issue in language teaching is the extent to which engaging learners in the learning process may enhance various aspects of learners' writing. The current study set out to examine the impact of employing evaluation rubrics as self-assessment devices on advanced EFL learners' writing features. The current study probed the interactive effect of criteria-referenced self-assessment and task type on the accuracy, lexical resources, and coherence. The participants included 60 advanced EFL learners distributed into two experimental groups (30 male and female learners each). The instruments were two writing tasks as pre-test and post-test, assessed based on IDP rubrics evaluating lexical resources, task response, grammatical range and accuracy, and cohesion and coherence. Two-way ANCOVA was administered to analyze the data. The findings revealed significantly more accurate and coherent writing of the criteriareferenced self-assessment group compared to the teacher-assessment group with no significant difference in lexical resources. Moreover, the findings indicated that the participants performed significantly better on shared tasks compared to independent tasks. However, task and assessment types were found to have no significant interactive effect on the writing features in question. The findings emphasize the practical benefits of criteria-referenced self-assessment and shared tasks in promoting Iranian advanced EFL learners' writing accuracy and coherence. The implications will be discussed.

A controversial issue in language teaching is the extent to which engaging learners in the learning process may enhance various aspects of learners' writing. The current study set out to examine the impact of employing evaluation rubrics as self-assessment devices on advanced EFL learners' writing features. The current study probed the interactive effect of criteria-referenced self-assessment and task type on the accuracy, lexical resources, and coherence. The participants included 60 advanced EFL learners distributed into two experimental groups (30 male and female learners each). The instruments were two writing tasks as pre-test and post-test, assessed based on IDP rubrics evaluating lexical resources, task response, grammatical range and accuracy, and cohesion and coherence. Two-way ANCOVA was administered to analyze the data. The findings revealed significantly more accurate and coherent writing of the criteriareferenced self-assessment group compared to the teacher-assessment group with no significant difference in lexical resources. Moreover, the findings indicated that the participants performed significantly better on shared tasks compared to independent tasks. However, task and assessment types were found to have no significant interactive effect on the writing features in question. The findings emphasize the practical benefits of criteria-referenced self-assessment and shared tasks in promoting Iranian advanced EFL learners' writing accuracy and coherence. The implications will be discussed.

After the coup d'état of 1980, as a neoliberal regime was gradually established in Turkey, confession gained unprecedented power as a disciplinary technology. Several queer subjects created auto/ biographical texts and performances as they negotiated the gendered and sexualised politics of confessional citizenship. Ümit Oğuztan's documentary novel Kraliçe Sisi [Queen Sisi] (1991) was of exceptional significance. Oğuztan claimed to narrate the highend trans sex worker Seyhan Soylu's life and her sexual experiences with Turkey's elite. The author employed archival and ethnographic research methods and performative writing techniques to create a truth effect while preventing trouble with the law. By queering iconic figures, Kraliçe Sisi proposed an alternative perspective on the past and explored the possibility of a different future. This example of liberal pornography queered its readers by providing an opportunity for identification and empathy, and by producing non-normative sexual desires in and through their bodies. The accounts of the book's trans readers show how this notorious text performed a work of activism and changed lives. Rather than an unconditional investment in liberatory politics, however, Kraliçe Sisi harbours strong ambivalences and discriminatory discourses, revealing the diverse, at times unsettling forms queer literature and memory practices can take.