Sociology of Performing Arts

За  да  можеме  да  говориме  за  женската  субјективност  и  за
постоењето  на  женски(от/те)  субјект/и,  мораме  да  се  обидеме  да одговориме на клучната јадица од типот: Што е жена? За да се дефинира жената како битие, најпрво мора да се тргне од женското тело како клучна точка.  Женското  тело нема да го разгледувамe како меѓа  простор  на ограничени внатрешни биолошки рестрикции и меѓи, туку ќе го поимаме како  мега простор  на  социјална  и  културна  инскрипција.  Така  жената  ќе  ја  поимаме  како  субјект  во  социо-културна констелација.  Жената  е  субјект  со  културна,  социјална,  политичкa  и родова инскрипција.

Првиот  практичен  и  теоретски  манифест  на  женското  писмо  како
écriture féminine е насловен „Смеата на медузата“ (Le Rire de la Méduse, 1975),  а  авторка  е  француската  теоретичарка,  писателка  и  критичарка Хелен  Сиксу.  Тој  е  објавен  во  1975  година  во  Франција.  Таа  прва  во Европа го дефинира женското писмо или écriture féminine во француската теориска мисла. Овој есеј постигнува голема популарност во Европа, но и во Америка, и е важен, бидејќи се создава европската теорија за женското писмо како écriture féminine и e различна од американската теорија
за feminine writing. Овој манифест сè уште не е преведен на македонски, а клучен извор ни беше англискиот превод.
Во есејот „Смеата на медузата“, Хелен Сиксу говори за женскиот кре-ативен процес и за брановите, за поплавите и за изблиците што произлегуваат од женското тело како инструмент и објект за женска инскрипција. Овој есеј на Сиксу е специфичен дискурс, кој е тесно поврзан со женското тело, со емоциите и со сетилноста на женскиот субјект.

This article presents a brief overview of the role played by dramaturgs throughout the recent history of Italian theatre, from the XIX century to the current days. Figures such as Gustavo Modena, Arrigo Boito and Gerardo Guerrieri are identified as "historical dramaturgs"; recent and contemporary examples of dramaturgs - or, more often, institutions actively interested in dramaturgy - are then discussed.

Adopting the perspective of microsociology, ethnomethodology and Goffmanian sociology, I examine the relationship between the artificiality (theatricality) of the decision-making situation, the affective dynamics created in the "laboratory" (in the theater room) and the interactive processes between participants. In order to reveal tacit methods of coordinating activities (as opposed to explicit adherence to institutional rules), I used an innovative methodology. Together with performing artists, we created an artificial research situation (interactive theater performance) in which six people found themselves in a moral dilemma. These people's interactions were filmed and then analyzed using videography. No person's position was privileged. What happens when strangers in equal positions encounter a moral dilemma? In the article, I focus on the analysis of violence that occurred in groups or that groups had to face. I will show how violence is socially mobilized and relativized in order to maintain interactional order.

This work aims to evaluate cultural policies, specifically in the dance sector, an area which has received scant attention in economic literature so far. Data Envelopment Analysis (DEA) is applied to evaluate public programme performance and the stakeholders involved therein. We select a Spanish public policy supporting dance as a case study, which includes public authorities, theatres and dance companies. The former provide the funding while the others offer the artistic idea taken to the audience. We find that efficiency in resource performance often runs counter to other cultural aims such as increasing audiences or extending repertoire diversity.

D'un point de vue sociologique, s'intéresser au jugement esthétique de l'art brut exige de distinguer la valeur culturelle qu'il a acquise en tant que forme de création reconnue de la qualité artistique que la rencontre avec certains objets d'art brut nous permet de ressentir. Cela impose de s'impliquer personnellement dans l'expérience du plaisir que procure le contact avec l'art brut, au lieu d'adopter une position d'extériorité vis-à-vis de ce plaisir. En fait, que l'on soit sociologue ou artiste, l'expérience de l'art brut exige un effort de déprofessionnalisation, pour se positionner en tant que simple membre du public et se rendre sensible à l'action propre de l'objet d'art brut, sans se préoccuper des catégorisations esthétiques ou sociologiques courantes. L'art brut résulte de l'adoption d'une attitude équitable, tant à l'égard du jugement esthétique du public que de l'objet jugé, en dépit de son extériorité vis-à-vis du monde de l'art officiel. L'effort de libération personnelle vis-à-vis des conventions techniques et des normes sociales, qui font du jugement esthétique une activité spécialisée et réservée à une élite, permet de redonner au corps, à la suite de Jean Dubuffet, sa fonction d'instrument de mesure commun de la qualité artistique.

A friend is one who has the same enemies as you have' – these words of Abraham Lincoln can easily be applied to the position of Georgian Policy-makers of such post-soviet country as Georgia. Georgian policymakers actively started to search for friends by creating the image of 'shared enemy', especially in 2009- 2012. This shared enemy was the Soviet Union. States united in Soviet Union should have higher solidarity towards each other than the others. This became clearly seen during the August War 2008 when Georgian politicians underlined the influence of Soviet Union stating that opposing country could not overcome the memory of past glory. It is not the secret, that the policy-makers have big impact on society. Especially on the society which was traumatized by the war. For Georgian community political myths became the main source of belief. Policy-makers became the main storytellers. And society became the target audience. We can easily imagine the condition of society...

The murder of Jîna Aminî by the Iranian police in September 2022 led to wide-scale demonstrations. Women in Iranian Kurdistan have developed tactics for creating art and literature that empowers them to fi ght for their rights as women and as Kurds. “Doing art” invites them to cross the border between fictional and real, private and public, and to create negotiations with the patriarchal society and legal system that oppresses them.

While all legal and formal barriers limiting women's access to art worlds have disappeared in democratic countries, getting access to artistic work, maintaining oneself in one's art world, and being recognized as an artist remain more difficult for women than for men in all observed art worlds whether dominantly 'masculine', nearly mixed, or 'feminine'. Recent empirical research has identified several key social processes which cumulate over time to produce gendered differences between women's and men's career paths in democratic societies. But research has also shown that female artists do get more and more access to artistic work and to artistic recognition over time, thanks to several resources which they, consciously or not, use to do so.

The Natyashastra is considered very essential text in order to understand the history of art and artistic development. It is the only source through which we can trace the history of music and theatre of India. This paper seeks to examine the uses of songs, its uses on Indian theatrical performances, process of song creation, and implementation of imagined songs on theatrical performances. Songs have remained very essential element in both theatrical and musical traditions. In the history of artistic development, first time Bharata’s Natyashastra dedicate entire chapter to outline various instructions for the uses of songs in theatrical performances. Not only concepts of songs were being discussed he provides framework for poetic writings, language and grammatical constructions of poetry.
This paper while examining the chapters on Natyashastra will present various dimensions surrounded around the songs, its uses on theatrical performances, various musical aspects involving creation of songs, and the ideologies behind its inclusion in the theatrical performances.
 

Some economists believe that not enough culture is consumed due to incompletelyformed preferences for art, classic examples are Scitovsky (1976) and Throsby and Withers (1979). Museums now offer educational programs in addition to exhibits. Educational as opposed to exhibition programming might be considered an intragenerational trade-off for taste formation. This paper examines the exhibition versus education trade-off in the USA‟s top museums (measured by attendance and foundation funding) with the result being a measure of intra-generational equity. Museums gain considerable tax advantages as are exempt from federal income taxes and local real estate taxes. Thus our study offers insight into to what degree these not-for-profit organizations can be viewed as „educational‟ and perhaps more justifiably as fulfilling a „public purpose‟. Grampp (1989) writes that evaluating the economic performance of museums is difficult given generally-accepted accounting and reporting practices. Ou...

A “decadência do teatro nacional” é um tema onipresente de todo o debate sobre as artes cênicas  do  Brasil  do  século  XIX  até  o  começo  do  XX.  A  proposta  deste  artigo  é  levar  a  sério as justificativas dos atores e mostrar como esse debate tem um papel estruturante no meio teatral local. Analisando esta discussão nos jornais cariocas, argumenta-se que, ao invés de julgar a veracidade do que é dito, deve-se atentar aos usos que são feitos do debate e seus efeitos sociais. Ele é uma peça central dos jogos de disputas de poder e de legitimação de grupos profissionais. Pelo debate, o meio teatral esclarece suas questões e desafios, são propostos caminhos a serem seguidos e as posições de cada ator são explicitadas. Enfim, ele é um apelo à união, única maneira de regenerar o teatro, ao mesmo tempo em que se tenta estabelecer uma coexistência pacífica entre os diversos interesses no interior desse universo.

Tots els Drets reservats a l'autor del text per Zoe Balasch Arumí, Igualada (Barcelona), 2024.
En una primera part de la recerca teòrica Epidèmia de ball: Coreomania, dansa i desordre s’introdueix la genealogia del terme coreomania i com ha evolucionat al llarg de la història. En la segona part es presenta un recorregut històric pels diferents brots d’epidèmies de ball que s’han descrit a Europa i en l’època colonial.

La coreomania, o mania del ball, ha evolucionat en el llenguatge a través de la història, vinculant-se amb termes com bogeria, malaltia i contagi. Inicialment associada al Ball de St. Vito durant l’Edat mitjana i en segles posteriors, es considerava una mania del ball histèrica que es caracteritzava per moviments involuntaris. La genealogia de la coreomania revela l’emergència al segle XIX del desenvolupament de disciplines com l’antropologia i l’etnografia per explicar aquest fenomen de la història que bàsicament havia estat descrit des de la medicina. És precisament al s.XIX que aquest concepte es comença a considerar com la combinació d’una dansa epidèmica amb agitació política, observada arreu d'Europa i també a les colònies. Hi ha teories que atribueixen el terme al metge renaixentista Paracels i d’altres consideren que va ser forjat pel metge alemany J.F.C. Hecker, que també va utilitzar la noció de "Dancing Madness" per descriure esdeveniments que abastien les danses medievals i d’ altres manifestacions.

La coreomania es defineix com un concepte dual que recull termes utilitzats en cercles mèdics i històrics al segle XIX, alhora que descriu una combinació de gestos rebels i moviments contagiosos. La confusió terminològica continua fusionant la corea menor amb la major, tot i que les dues tenen connotacions morals i socials diferents. El lligam entre la coreomania i les revoltes socials es destaca en esdeveniments com la Dansa dels Esperits dels indis sioux als EUA el 1890 i el 1560-70 la malaltia del cant i del ball Taqi Onkoy als Andes peruans on la dansa es converteix en una forma de resistència i afirmació cultural com a resposta al colonialisme. La dansa es presenta com a força inclusiva i apoderadora, connectant les comunitats i proporcionant una plataforma per expressar resistència en moments de crisi social i de submissió colonial. Per acabar, la coreomania és un fenomen complex que s’ha disseminat en diverses àrees de la societat, arribant a a filtrar-se en el llenguatge popular, mèdic, antropològic, històric i etnogràfic per tal de donar explicacions al comportament humà que desafia els límits entre el desordre neurològic i l’alteració social.

La història de les epidèmies de ball a Europa és marcada per brots recurrents, amb episodis notables com el de 1374 i el de 1518. Després de la devastació de la Pesta Negra, diverses ciutats van experimentar epidèmies de dansamania, on les persones ballaven sense control durant hores, dies o fins i tot mesos. L'origen d'aquests brots es relaciona amb factors com la pobresa, la fam, les malalties i la incertesa, amb les persones buscant alleujament mitjançant el ball. Les teories sobre les causes
d'aquest fenomen inclouen la "malaltia psicogènica massiva” de John Waller i la possible influència de l'ergotisme causat per consumir pa contaminat amb fongs. Tot i que es debat sobre la naturalesa organitzada o espontània del ball, la manca de
testimonis directes fa difícil arribar a conclusions definitives. Els tractaments variaven des de l'aïllament fins a l'exorcisme, amb la gent recorrent a pregàries i peregrinacions a llocs sagrats per aconseguir alliberament. Tot i que alguns episodis es resolien amb el temps, altres van durar mesos, com el brot de 1518 a Estrasburg, i la seva fi continua sent una incògnita avui en dia.

EASTAP ANNUAL CONFERENCE 2024
ECOSYSTEMS OF THEATRE AND PERFORMANCE
(28 October – 2 November 2024)
Abstract submission deadline: 28 February 2024 (at 23.59)

We are delighted to announce the EASTAP Annual Conference 2024, hosted by the Institute of the Arts Barcelona (Sitges, Spain), under the theme “Ecosystems of Theatre and Performance”. As host city, Sitges has been a biosphere destination since 2016, and is committed to environmental, economic, and social sustainability.

The conference aims to bring together international scholars, practitioners, and researchers, inviting submissions for papers and presentations that delve into various aspects of this theme and offer fresh insights into the dynamic field of theatre and performance.

We aim to make productive the terminological shift of the concept of ‘ecology’ to ‘ecosystems’ within the realm of theatre and performance. “Ecosystems of Theatre and Performance” invites proposals that explore the scientific-environmental, figurative, and economical dimensions of these dynamic artistic systems.

Sous la direction de : Philippe Barré (Université de Montréal), Pascale Bédard (Université Laval), Laurence D. Dubuc (Université de Montréal), Ian MacDonald (Université de Montréal). Avec la collaboration de : Guylaine Vallée (Université de Montréal)
Ce rapport de recherche s’appuie sur la conduite d’une cinquantaine d’entretiens approfondis menés auprès d’artistes et de représentant.e.s des milieux de la scène du Québec, sur le traitement de plus de 800 questionnaires d’enquête, ainsi que sur le suivi d’un projet pilote dans le cadre duquel 20 artistes de la scène sont accompagnés dans leur projet de réorientation professionnelle par le Centre québécois de ressources et transition pour danseurs (CQRTD). Quatre professions ont été étudiées: les artistes professionnels – interprètes et créateurs – de la danse, du cirque, de la musique et du théâtre dont l’activité se déroule principalement au Québec ou qui travaillent en partie ou en totalité à l’étranger pour une production québécoise. La collecte des données s’est tenue entre mai 2019 et février 2020, elle offre par conséquent un portrait des enjeux et des besoins qu’ont exprimé les artistes avant que leur activité artistique n’ait été touchée par la pandémie de COVID-19. Ce diagnostic présente donc un portrait détaillé de la manière dont les artistes de la scène du Québec considèrent la transition de carrière dans le cadre de l’exercice régulier de leur activité. On peut cependant faire l’hypothèse que la pandémie, dont on sait qu’elle affecte lourdement les conditions d’exercice du travail artistique, a un effet démultiplicateur sur l’importance des besoins et des enjeux que nous mettons en évidence.

Hans-Thies Lehmann's study of the post-dramatic on the development of European dramaturgical ideas and their influence on contemporary theater and performance practices played a vital role in articulating the relationship between drama and the 'no longer dramatic' forms of theater that emerged since the 1970s. Meanwhile, the birth of contemporary Indonesian theater developed rapidly in the same period, which was followed by the rising of art campuses as well as revolutionary artists or groups who opposed the Soeharto dictatorship as an attempt to avoid the strict censorship in artistic practice at that time. Post-dramatic theater opens up the widest possible opportunities as an aesthetic phenomenon that is influenced by the culture of any society, which is also part of the globalization of art that emerges as the foundation of contemporary art. This makes it possible, in the context of contemporary Indonesian theater, to be read as part of the celebration of diversity contained in the spirit of post-dramatic theater. The arrival of the reform period in 1998 marked an important milestone to reexamine the practices of creating performing arts in Indonesia as a celebration of theatrical aesthetic diversity, which is no longer monopolized within a standard methodological framework. This paper will discuss the important position of 'new dramaturgy' in the development of Indonesian theater practices and at the same time, attempt to follow the traces of experimental performing arts as a youth movement that occurs because of the political context that accompanies its appearance.

Les avancées technologiques ont-elles changé la façon dont nous créons, arrangeons et enregistrons la musique ? Ces avancées affectent-elles l'authenticité ? Ces progrès ont-ils changé les relations entre l'ingénieur/producteur et l'artiste/compositeur ?

L'art se distingue de la science en ce qu'il se cherche une figure à visage humain, à l'échelle d'une temporalité régie par nos sens et nos émotions. D'un côté la science impose un modèle; de l'autre, le «vieil homme» palpite encore, oeuvrant à un «savoir» qui le piège, avançant plus vite que sa propre faculté d'intégrer les concepts qu'il place en avant. de la science et du théâtre comme expériences La démarche scientifique passe le plus souvent par une phase d'intuition ou de conceptualisation théorique qui, déjà, «entre-voie» le tangible d'un effet physique, donc observable. Cet éclair, suivi de ratages et de doutes, raffine par une suite d'improvisations programmées des rencontres d'éléments, des modifications de propriétés, des transmutations d'identités. Il y a du spectaculaire dans l'observation, du theatron, du ce-qui-se-voit, de la crainte et de la tentation. L'observation expérimentale est un work-in-progress agrémenté de hasards heureux et de faillites. La science comme le théâtre confirment, dans les coulisses de leurs laboratoires, une vérité jeune et fragile, une hypothèse, un dire en marche, dont l'expérimentateur et ses assistants tirent en retour quelques nouvelles définitions fragmentaires du réel. Arts et sciences, de nos jours, ont leurs show cases, en attente de l'approbation de censeurs, d'académiciens, de critiques et d'hommes Six Public Acts to Transmute Violence Into Concord Ceremonies and Processions. Introduction to the Legacy Cain. Spectacle du Living Theatre en 1975. Photo : Ron Blanchette.

The author of Performatyka-teoria katastrof? ["Performance studies-the theory of catastrophes?"], which is a cross-sectional investigation into performance studies, tracks the trains of thought about catastrophes in different theories of performativity, ranging from J. L. Austin's to Jon McKenzie's ideas. Of particular interest is how particular theoreticians integrate the term 'catastrophe' into their conceptual frameworks and how they evaluate it. By criticizing the approach taken by Judith Butler, who postulates "melancholic performance studies", which brings to mind Adorno's idea that is explicated in Minima Moralia (traurige Wissenschaft), the author tries to show how we can productively use Austin's theses that are presented in the first chapters of his famous How to Do Things with Words. In the author's opinion, Austin allows us to approach communicational catastrophes from a different perspective, which is often forgotten, i.e. of the functioning of contextual systems. It is shown that the tension between felicity and infelicity may be at the core of the popularity of performativity which is understood as a tool for researching contemporary cultural phenomena.

Sociología de un genio revisitada: analizando, una vez más, la trayectoria de Mozart * Una versión preliminar de este texto fue presentada en un panel el año 2018, en las II Jornadas Internacionales de Sociología y Antropología Pragmática. Agradezco especialmente los comentarios y estímulos de Elizabeth Jelin, Iván Rubinstein, Gastón Frydman y Emanuel Ynoub. También fueron de gran valor las observaciones de dos evaluadores anónimos propuestos por el Comité Editorial de la revista. ** Doctorando en Ciencias Sociales del programa de posgrado UNGS-IDES (Argentina) y becario Profor. Actualmente cuenta con una beca doctoral Conicet-Agencia y desarrolla sus actividades de investigación en el

Entre les années 1980 et 2000, la ville de Buenos Aires a connu une multiplication inédite de lieux de culture, alternatifs aux circuits déjà existants. Ces lieux, souvent autogérés par les artistes ou par les habitants des quartiers, réussissent à contourner l'austérité budgétaire en vigueur dans le secteur culturel puis à survivre à la crise économique qui secoue l'Argentine en 2001. Parmi eux, les nouvelles salles du théâtre indépendant, labellisées postérieurement par les programmateurs et la presse sous le vocable « off », sont l'une des manifestations les plus visibles du phénomène. En effet, presque une centaine de nouvelles salles alternatives dédiées à l'activité théâtrale sont ouvertes à Buenos Aires entre la fin des années 1980 et les premières années 2000. Réinvestissant des espaces délaissés, ces lieux de théâtre, ouverts dans des quartiers péricentraux, configurent de nouveaux circuits de création, de diffusion et de socialisation artistique. Ils disposent souvent d'une jauge réduite et d'espaces de représentation « non conventionnels 2 », et accueillent les propositions artistiques les plus prometteuses d'une nouvelle génération d'artistes de la scène argentine des années post-dictature. Ils s'affirment ainsi dans le paysage culturel local comme des exemples de gestion culturelle

The place of dance as metalanguage for communication between man and man cannot be overemphasized. However, beyond the artistic creation of bodily movements for self-expression, choreographers have taken conscious steps to create dances with meaning-passing undertones. Therefore, in communicating thematic concerns, choreographers engage various elements as meaning-passing techniques. Thus, this study examines the use of aesthetics and kinaesthetics as viable elements of infusing meaning into movements. This study engages Hans Robert Jauss' Reception theory, Ferdinand de Saussure and Charles Sander Peirce's Semiotics, and the semiotic models of Kinesics and Proxemics as theoretical framework. It is a descriptive study which secured its data through keen observation of the dances performed at the occasion of the 34 th National festival for Arts and Culture (NAFEST) hosted in Ekiti State in November 2021. Indepth interviews were also conducted with Dan Kpodoh, kinaesthetics practitioner, lead choreographer and lead researcher. Video recordings of the dancers were also collected and subjected to content analysis. Aesthetics perception served as a basic tool to trap audience attention while kinaesthetics as a complementary technique to present and magnify the messages in a unified perspective. The use of these techniques were captured in the floor patterns, movements, space, rhythm, and colour, in order to display the central idea of the dance choreography. Thus, the use of aesthetic and kinaesthetic techniques in the dances understudy is a deliberate effort to create a peculiar language of communication coupled with the certainty that the messages are well received.

En este trabajo nos preguntamos cómo y a través de qué actividades se produjo, organizó y estabilizó el mundo del Contact Improvisación en Buenos Aires entre 1985 y 2005, cómo se construyeron sus liderazgos; y cuáles fueron sus principales controversias. Considerando una cierta marca de origen desde sus inicios en Estados Unidos (la improvisación, una ideología igualitarista y de la espontaneidad junto con un tipo de organización informal y descentrada) reconstruimos la historia de su implantación en la capital argentina. Al respecto, planteamos la existencia de una serie de «ondas expansivas» en que se van incorporando y solapando actividades y saberes, que se organizan en tres momentos: i) acumulación originaria, ii) infraestructura plástica y iii) multiplicación. Dentro de esta periodización, identificamos los liderazgos en torno a la docencia, la gestión y la cualidad performática, así como las controversias sobre aspectos pedagógicos y técnicos, por un lado, y sobre el grado de codificación de los espacios de danza, por otro. El artículo triangula entrevistas individuales y colectivas con la revisión de documentos (flyers, fotografías, escritos), centrándonos en las y los principales referentes de esta danza.

A friend is one who has the same enemies as you have' – these words of Abraham Lincoln can easily be applied to the position of Georgian Policy-makers of such post-soviet country as Georgia. Georgian policymakers actively started to search for friends by creating the image of 'shared enemy', especially in 2009- 2012. This shared enemy was the Soviet Union. States united in Soviet Union should have higher solidarity towards each other than the others. This became clearly seen during the August War 2008 when Georgian politicians underlined the influence of Soviet Union stating that opposing country could not overcome the memory of past glory. It is not the secret, that the policy-makers have big impact on society. Especially on the society which was traumatized by the war. For Georgian community political myths became the main source of belief. Policy-makers became the main storytellers. And society became the target audience. We can easily imagine the condition of society...

The speech focuses on the gap between academic training in the performing arts and the realities in the creative arts industry. Carrying a double toga as a scholar and music industry professional, I engage the issue from an insider's perspective. I tell my own story and use that as an organising principle to engage  the issue of rebranding of the performing arts for contemporary relevance.In the process, I make several observations and also make some suggestions which are by no means prescriptive.

Bühne: Raumbildende Prozesse im Theater Ausgangspunkt der hier versammelten Beiträge sind Fragen der performativen, also beweglichen und im Fluss befindlichen Raumpraktiken im Theater. Sie fragen nach Raumerfahrungen und der Entstehung von Räumen auf Bühnen im Wechselspiel von Akteuren und Zuschauern. Sie fragen nach der experimentellen Entgrenzung von Raum, nach seinen Enden und Öffnungen und nicht zuletzt auch nach dem Schwinden und der möglichen Neueröffnung von Räumen in der Gegenwart medialer Figurationen. Sie wurden zunächst vorgetragen im Rahmen einer Tagung, die vom 14. bis 16. Juli 2011 an der Universität Paderborn in Zusammenarbeit mit der Ruhr-Universität stattgefunden hat. Für den Druck wurden sie gründlich überarbeitet und erweitert. Umgangssprachlich ist Bühne wohl eine der am häufigsten verwendeten Theatermetaphern. Meist wird damit etwas gekennzeichnet, das, in gewisser Weise verstärkt und mit einem besonderen Aufsehen verbunden, in Erscheinung tritt und somit geeignet ist, die Aufmerksamkeit der Umgebung auf sich zu ziehen. Von der Sache her fungiert hier die Bühne als Analogon zu einem Podest und meint eine Hervorhebung, einen Ausschnitt, eine Unterbrechung durch ein in besonderer Weise hergerichtetes Ereignis. Die Betonung liegt hier auf der Herrichtung oder Anrichtung, auf der intentionalen Hervorbringung von etwas, das zur Erscheinung kommen soll, und insofern ist Bühne in diesem Zusammenhang meist eng verknüpft mit der Intention und dem Auftritt von Personen. Umgangssprachlich betreten Staatsmänner die Bühne der Geschichte, gehen Schauspieler, Tänzer, Musiker auf die Bühne, um ihre Künste darzubieten, zeigen sich Jubilare oder Diven auf Bühnen, um sich feiern oder anschauen zu lassen. Aber auch Kaufhäuser, Marktstände, bestimmte Lokale können als Bühnen hergerichtet werden, auf denen die Waren, Angebote oder ein spezielles Szene-oder Lokalkolorit seinen Auftritt hat, durch Personen assistiert oder durch wechselndes Personal der jeweiligen Darstellung zugeführt. In diesen Belangen verschmilzt der Gebrauch des Wortes Bühne schon fast mit dem des Wortes Theater, das als Metapher einen ebenso weitreichenden und gleichzeitig stereotypen Einsatz in allen möglichen Zusammenhängen kennt wie die Bühne. Vor diesem Hintergrund mutet es einigermaßen erstaunlich an, dass das Schlagwort "Bühne" nicht unter den Lemmata der derzeit gebräuchlichen Lexika zur Theatertheorie zu finden ist. Heute über einen möglichen Begriff der Bühne zu sprechen, geschieht unweigerlich vor dem Hintergrund der "räumlichen Wende", die sich in den 3

Manager-ruled organisations are supposed to be less innovative than artist-ruled ones. However, in France from 1995 to 1997, the managers of "scènes nationales" (SN), who are not usually directors, are more open to lively playwrights than the "managers-cum-directors" of national theatres and drama centres (TN, CDN). Since audiences' risk aversion for contemporary authors is similar in all types of theatre, we may infer that SN are more innovative than TN and CDN. Nevertheless, internal observations on uniformed criteria of selection qualify this view. Multidimensional scaling of similarities in selling performances partly supports the assumption on status-oriented trade in theatre.

Manager-ruled organisations are supposed to be less innovative than artist-ruled ones. However, in France from 1995 to 1997, the managers of "scènes nationales" (SN), who are not usually directors, are more open to lively playwrights than the "managers-cum-directors" of national theatres and drama centres (TN, CDN). Since audiences' risk aversion for contemporary authors is similar in all types of theatre, we may infer that SN are more innovative than TN and CDN. Nevertheless, internal observations on uniformed criteria of selection qualify this view. Multidimensional scaling of similarities in selling performances partly supports the assumption on status-oriented trade in theatre.

El presente estudio muestra las estrategias utilizadas por las empresas multinivel para ejercer un esquema homogéneo de representaciones sociales entre los asociados de las mismas. Se ha determinado la inevitabilidad de mantener un control "ideológico" sobre los asociados para el correcto funcionamiento de la empresa. La dinámica empresarial de estas compañías propone un modelo de satisfacción personal que debe ser transmitido y no puede ser cuestionado y que, por tanto, violenta la individualidad de los asociados. Se han utilizado, a manera de analogía, las novelas 1984 de George Orwell y Un mundo feliz de Aldous Huxley como modelos de una sociedad distópica que han sido llevadas a la práctica por las empresas multinivel.

Penelitian star studies terhadap YouTuber Jovi Adhiguna Hunter dengan pendekatan kualitatif deskriptif dilakukan dengan melihat bagaimana konstruksi image yang dibentuk oleh Jovi Adhiguna. Melalui analisa menggunakan metode star studies milik Richard Dyer, Christine Gledhill, dan Jane Stokes ditemukan bahwa Jovi Adhiguna menggunakan pendekatan dramaturgi untuk menciptakan citra positif bagi dirinya. Jovi mendukung kaum LGBT, namun tidak mengakui sebagai bagian dari kaum LGBT. Jovi Adhiguna Hunter menjadikan dirinya sebagai komoditas laki-laki androgini yang cantik dalam profesinya sebagai YouTuber.

The taranta, the poisonous spider of tarantism, continues to multiply in different forms, to weave its web of meanings, connecting people, inspiring artists and stimulating historical, folkloric and ethnographical research. In a process of recovering local traditions (focused on music and dance) that began in the 1970s and underwent a big shift in the 1990s, taranta (denoting the spider, a style of music and dance) and tarantism has become positive values of identity, an intangible heritage and touristic and commercial products, in a complex web of interaction between local and global processes. In this paper, I point out some molar, molecular lines and lines of flight (in the sense of Deleuze and Guattari) in the assemblage of taranta, from an analysis of the artistic effervescence and the experience of people who follow and enjoy shows, events and courses of taranta music and dance.

Historical fencers favouring the toes-first landing when lunging, what I am calling the "demi-pointe" lunge, cite not only period works on fencing (covered in Part 1), but a number of other period sources, especially those on deportment and dance. Examination of these sources, however, indicate that while they shared the same concern for conducting oneself well, with the grace and poise we see in some fencing treatises or in equitation, they do not employ the same methods of movement. The similarities are superficial and confined in most cases to displays of respect between peers.


NB: corrections and suggestions welcome--please message me

I. Die Unausweichlichkeit des sozialen Anderen Wir haben uns daran gewöhnt, das Soziale nur dort zu thematisieren, wo es sichtbar scheitert. Wir sprechen von sozialen Problemen und denken an Armut, Krankheit oder gewalttätigen Protest. Wir verorten das Soziale regelmäßig an den Rändern der Gesellschaft. Soziale Fragen sind dort, nicht hier. Die Beantwortung kann delegiert werden, an den Staat oder an die Zivilgesellschaft. Wir haben es verlernt, das Soziale aus der Mitte der Gesellschaft heraus zu denken. Wir erinnern zwar noch den Menschen als ein soziales Wesen, aber wir wenden diesen Gedanken sogleich populationstheoretisch. Wie sehen ein, dass der Mensch nicht allein lebt, sondern in Gemeinschaft. Wir denken an Gemeinschaften und springen gedanklich sogleich in die großen Staatsmodelle und Gesellschaftsutopien. Wir verstellen uns regelmäßig den Blick darauf, dass der entscheidende Bereich dazwischen liegt, zwischen dem Individuum auf der einen Seite und dem Staat auf der anderen Seite. Die emergente Gestalt des Sozialen liegt inmitten der Lebenspraxis, im Miteinander der Vielen. Kognitionstheoretisch gewendet ist das Soziale eine der drei fundamentalen Unausweichlichkeiten des menschlichen Seins. Neben der Unausweichlichkeit des bewussten Selbst und der Unausweichlichkeit der lebendigen Natur thematisiert das Soziale die Unausweichlichkeit des sozialen Anderen. Für den Einzelnen ist der soziale Andere unausweichlich. Das wirft Fragen auf: Wie gehe ich mit diesem Anderen um? Wie begegne ich ihm? Wie reagiere ich auf ihn? Was darf ich hoffen? Was muss ich befürchten? Die Unausweichlichkeit des sozialen Anderen ist der Ausgangspunkt jeglichen Gemeinwesens. Gemeinschaft fußt auf jenen Antworten und Lösungen, die Sicherheit und Stabilität dort einführen, wo der Einzelne scheinbar auf sich

This study highlights the aesthetic perceptions of academics regarding the visual complexity of Pua Kumbu design motifs and the community acceptance of this tangible heritage. The complexity of the symbols presented in the design motifs contributes to the current lack of interest in this art form, especially among the young generation, tourists, and other races in Sarawak. The complexity of the symbols has also led to these motifs being further misunderstood, as well as the mistreatment and misuse of this majestic art form. This study used a qualitative approach to explore the perspectives of four academics in the fields of textiles, art, and culture. Thus, utilizing in-depth interviews with structured and unstructured questions were conducted in this study. According to the findings, weavers are the masterminds behind the visual complexity of the Pua Kumbu textile, which reveal Iban's knowledge through the design motifs. Prior knowledge of the community should be acquired to gain an in-depth understanding of the use of versatility in promotional approaches. In conclusion, prior knowledge of Iban culture can broaden the community acceptance of this art form, minimize the knowledge gap and prevent these masterpieces from being forgotten and neglected.

This article aims to discourse the perspectives of multiple transformations in the practice of developing performing art of kuda kepang at Turonggo Seto Mardi Utomo group in Boyolali, Central Java. The study of multiple transformations has long been evolving in design and architecture research, but the perspective is rarely encountered in performing arts research which on average still views transformation as a linear or multi-linear process of change. Multiple transformations describe a condition of change made by multiplying or doubling the shape of the kuda kepang art (by taking the same essence, core, or fibre of its structure) into various kinds. The multiplication shows a process of creative development that is triggered by two factors, namely the development of aesthetic and market needs.Keywords: kuda kepang; multiple transformations; traditions; creativity; markets

L’article propose d’analyser le premier spectacle des Laboratoires Crête, plus particulièrement le protocole intitulé : lien de causalité entre douleur physique et interprétation chez l’acteur en représentation. Le but de l’expérience de la douleur vise à enrichir le jeu de l’acteur. Pourtant l’essai démontre une dichotomie : l’hypersensibilité du corps du comédien ajoute à sa performance ou, au contraire, empêche l’interprétation du personnage. Dans le cadre des Laboratoires, violence et jeu sont à la base du spectacle. Aussi, le parallèle entre le sadomasochisme et le théâtre s’impose. L’article étudie la structure sadomasochiste, plus particulièrement la relation bourreau-victime et voyeur, pour mieux comprendre l’enjeu d’une telle épreuve théâtrale.

This essay looks at translations into British and American English of three plays by De Filippo and examines the implications of the translators’ choices in the receptor theatrical system in terms of the portrayal of Neapolitan culture. Starting from the premise that at the basis of the translating process there is cultural transfer between languages, it is suggested that dialect theatre represents an autonomous genre, separate from standard Italian theatre, and in particular that language domestication reduces the cultural impact of the original plays. The hypothesis is that the rendering of the source text is primarily determined by the target theatrical and cultural system’s norms and conventions that aim to neutralise the alterity of the foreign text and to bring it closer to the expectations of the receiving audience. The analysis investigates the effects of domestication through language standardisation, and cultural appropriation of the source text through assimilation of Neapolitan dialect to a working class local idiom. One of the consequences of neutralisation of the linguistic factor and reiteration of preconceived representations of Neapolitans is the establishment of the target culture’s supremacy over the foreign text, both in terms of reaffirming its language and in toning down or eliminating altogether the otherness of the plays.

Since the nineteenth-century romanticism, the “singularity regime” highlights the vocation and achievements of the individual creator. Recently, the artist as an entrepreneur has been defended, including within the artistic sector and art schools, and the model of the artist as a worker put forward. Exactly who are visual artists in Switzerland today? What is or are their self-representation(s)? Do artists manage to live from their artistic production? What is the link between their professional and personal trajectories and positions and their socio-demographic profiles, notably in terms of gender? To what extent are they integrated into the artistic market? This contribution draws on a national inquiry on more than 450 artists in the visual field in Switzerland. The results outline changes and constants in a field structured by three poles: market logics, institutional support and non-integration.

Since the nineteenth-century romanticism, the “singularity regime” highlights the vocation and achievements of the individual creator. Recently, the artist as an entrepreneur has been defended, including within the artistic sector and art schools, and the model of the artist as a worker put forward. Exactly who are visual artists in Switzerland today? What is or are their self-representation(s)? Do artists manage to live from their artistic production? What is the link between their professional and personal trajectories and positions and their socio-demographic profiles, notably in terms of gender? To what extent are they integrated into the artistic market? This contribution draws on a national inquiry on more than 450 artists in the visual field in Switzerland. The results outline changes and constants in a field structured by three poles: market logics, institutional support and non-integration.