The mask, which is even older than the history of the theater, has been associated with the theater and has even become its symbol. In this study, it is explained how the mask was used for the first time, how it played a role in the historical process of the theater, what purpose and intention it was used for, and how it was used again with Contemporary theater after the period that we can call the "pause period of the mask". Starting with Classicism and making inferences about why masks were used less or not at all in the following periods, the reasons for the rediscovery of the mask in contemporary theater will be emphasized.
Barcelona, the cultural epicenter of Catalunya, is presently experiencing the most dynamic and polemical period in its modern theater history. It is the commanding hub of an energetic theater scene that in recent years has witnessed an exuberant outpouring of new dramatists, a steady crescendo in theater attendance, and a continual increase in the international presence of Catalan directors, playwrights, and companies. The path along which the contemporary Catalan stage has struggled to recover and reconstitute the professional legitimacy and visibility that it lost during the Franco dictatorship has been a complex process. In the Eye of the Storm: Contemporary Theater in Barcelona describes the public and private dramas, crucial moments, and even some of the back stories that have shaped the theatrical life of the city of Barcelona in the aftermath of the dictatorship. It also considers at length several key companies, playwrights, theatrical works, and performances that have contributed in significant ways to the recuperation of the Catalan stage during the democratic period. ; https://scholarship.richmond.edu/bookshelf/1121/thumbnail.jpg
The hypothesis of an aesthetics of cynicism in contemporary theatre is based on an empirical observation: while theatre often proclaims itself as political, without claiming any ideology, a lot of contemporary European texts and performances since the end of the eighties express a cynical point of view on the world through the characters that they stage or the situations that they present. Appearing in the midst of a more general movement characterized by the renewed interest of authors towards themes drawn from reality, the cynicism that surfaces in the artworks seems to reflect people's waning interest in political matters, and the subject's indifference towards the future of the community.Taking into consideration the dual meaning of the term "cynicism", which refers both to the Greek philosophy movement, of which Diogenes of Sinope has been retained as representative, and to the behaviour of an unscrupulous person who would do anything to achieve their purposes, including breaking free from morality and conventions, this thesis intersects dramaturgical, historical, philosophical, and sociological approaches to explore the different ramifications of cynicism in contemporary theatre, as well as its main features. Sometimes the manifestation of a – possibly unconsciously – conservative spirit, sometimes the signs of an untouched subversive vivacity, the elements constituting the aesthetics of cynicism form a sparse galaxy, insidiously imprinting its mark onto contemporary European theatre. ; L'hypothèse d'une esthétique du cynisme dans le théâtre contemporain s'appuie sur un constat empirique : au sein d'un théâtre qui s'autoproclame bien souvent politique, sans néanmoins se revendiquer d'une quelconque idéologie, la scène contemporaine européenne voit se développer, depuis la fin des années quatre-vingt, bon nombre de textes et de spectacles qui, par l'intermédiaire des personnages qu'ils mettent en scène ou des situations qu'ils présentent, expriment un point de vue cynique sur le monde. Dans un mouvement ...
The hypothesis of an aesthetics of cynicism in contemporary theatre is based on an empirical observation: while theatre often proclaims itself as political, without claiming any ideology, a lot of contemporary European texts and performances since the end of the eighties express a cynical point of view on the world through the characters that they stage or the situations that they present. Appearing in the midst of a more general movement characterized by the renewed interest of authors towards themes drawn from reality, the cynicism that surfaces in the artworks seems to reflect people's waning interest in political matters, and the subject's indifference towards the future of the community.Taking into consideration the dual meaning of the term "cynicism", which refers both to the Greek philosophy movement, of which Diogenes of Sinope has been retained as representative, and to the behaviour of an unscrupulous person who would do anything to achieve their purposes, including breaking free from morality and conventions, this thesis intersects dramaturgical, historical, philosophical, and sociological approaches to explore the different ramifications of cynicism in contemporary theatre, as well as its main features. Sometimes the manifestation of a – possibly unconsciously – conservative spirit, sometimes the signs of an untouched subversive vivacity, the elements constituting the aesthetics of cynicism form a sparse galaxy, insidiously imprinting its mark onto contemporary European theatre. ; L'hypothèse d'une esthétique du cynisme dans le théâtre contemporain s'appuie sur un constat empirique : au sein d'un théâtre qui s'autoproclame bien souvent politique, sans néanmoins se revendiquer d'une quelconque idéologie, la scène contemporaine européenne voit se développer, depuis la fin des années quatre-vingt, bon nombre de textes et de spectacles qui, par l'intermédiaire des personnages qu'ils mettent en scène ou des situations qu'ils présentent, expriment un point de vue cynique sur le monde. Dans un mouvement global caractérisé par le regain d'intérêt des auteurs envers des thématiques tirées du réel, ce cynisme affleurant dans les œuvres semble traduire un désintérêt des individus pour le politique, une indifférence du sujet pour le devenir du collectif. En prenant en considération la double acception du terme « cynisme », qui fait à la fois référence au mouvement de philosophie grecque dont la postérité a retenu Diogène de Sinope pour représentant et au comportement d'un individu sans scrupules, prêt à tout pour parvenir à ses fins, y compris à s'affranchir de la morale et des conventions, ce travail croise approches dramaturgique, historique, philosophique et sociologique pour explorer les différentes ramifications du cynisme dans le théâtre contemporain, ainsi que ses caractéristiques principales. Tantôt preuves d'un esprit – inconsciemment, parfois – conservateur, tantôt signes d'une vivacité subversive intacte, les éléments constituant l'esthétique du cynisme forment une galaxie éparse, imprimant insidieusement sa marque dans le théâtre européen contemporain.
Durante el siglo XIX la literatura argentina configuró una serie de ficciones que se constituyeron en el paradigma literario para la fundación de saberes y discursos que procuraron sentar los cimientos de nuestra identidad política y cultural. Intelectuales como Hilario Ascasubi, Esteban Echeverría, Domingo Faustino Sarmiento, José Hernández, Eduardo Gutiérrez, entre muchos otros, delinearon el mapa literario decimonónico y propusieron discursos que circularon no sólo en el contexto del cual emergieron sino también se hicieron extensivos a los dos siglos que lo siguieron pero no sólo en el campo literario, sino también, en el teatral, el cinematográfico, el musical y en el de la danza. Dada esta productividad, nos interesa analizar en este artículo el modo en el que el teatro argentino actual se apropia, a partir de claves intermediales, de esas ficciones fundacionales con el fin de crear nuevos discursos y cuestionar ciertos paradigmas relacionados con la identidad política y cultural de la Argentina contemporánea. Para esto, nos concentraremos en el análisis de: Bufarra -carne a la parrilla- (2016-2018) de Eugenio Soto, Cosas como si nunca (2018), de Beatriz Catani y La vida extraordinaria (2018) de Mariano Tenconi Blanco. ; During the nineteenth century, argentine literature configured some fictions that were constituted in the literary paradigm for the foundation of knowledge and speeches that proclaimed the foundations of our political and cultural identity. Intellectuals such as Hilario Ascasubi, Esteban Echeverria, Domingo Faustino Sarmiento, José Hernández, Eduardo Gutiérrez, among many others, delineated the nineteenth-century literarymap and proposed discourses that circulated not only in the context from which they emerged but also became extensive to the two centuries that they followed him, but not only in the literary field, but also in the theatrical, the cinematographic, the musical and the dance. Considering this productivity, we are interested in analyzing in this article the way in which contemporary Argentine theater appropriates, from intermediality keys, those foundational fictions in order to create new discourses and question certain paradigms related to political and cultural identity of contemporary Argentina. For this, we will focus on the analysis of: Bufarra. Roast meat (2016-2018) by Eugenio Soto, Things as if never (2018), by Beatriz Catani and The extraordinary life by Mariano Tenconi Blanco.
Since the turn of the millennium, there has been a boom in political literature however, the possibilities of political writing in the present must be renegotiated. The challenges of a post-political climate of lack of alternatives are met by Elfriede Jelinek's theatrical work, which – as the field- and discourse-analytical investigation shows – strives to reclaim a democratic culture of the agon.
This document represents our guiding principles in exploring the relationship between Hip Hop and contemporary theater. It includes our syllabus, course calendar and working bibliography.
The author intends to account here for the multiplicity of forms and sites of contemporary theatrical creation through the notion of "théâtre traversé / traversed theater," based especially on three examples chosen for their diversity: BR-3, a site-specific work of the Teatro Vertigo; theatrical video performances of the Berlin Group, in particular Land's end; the literary, visual and technological creations of director Guy Cassiers. The understanding is that these pieces do not seek so much to produce representations with spectators but rather perspectives, referring to Viveiros de Castro's anthropological notion: Perceptual slips, conceptual disconnections, social disaffiliations, activating, for each spectator in his or her own way, the politics of "ignorant master" (Jacques Rancière), and thus promoting new modes of subjectivity.English version by Leslie Damasceno. ; O autor tenta dar conta aqui da multiplicidade de formas e de lugares da criação teatral contemporânea por meio da noção de "teatro atravessado". Ele se apoia especialmente em três exemplos escolhidos por sua heterogeneidade: BR-3, trabalho site-specific do Teatro da Vertigem; as performances vídeo-teatrais do Grupo Berlin, em particular Land's end; as criações literárias, visuais e tecnológicas do encenador Guy Cassiers. O entendimento é o de que esses espetáculos procuram produzir nos espectadores menos representações que perspectivas, para retomar a noção antropológica de Viveiros de Castro: deslizamentos perceptivos, desligamentos conceituais, desfiliações sociais, colocando em ação, cada um à sua maneira, a política do "mestre ignorante" à que se refere Jacques Racière. Eles promovem assim novos modos de subjetivação.Tradução do francês para o português de José da Costa (Universidade Federal do Estado do Rio de Janeiro – UNIRIO)
Latinx peoples and culture have permeated Shakespearean performance in the United States for over 75 years—a phenomenon that, until now, has been largely overlooked as Shakespeare studies has taken a global turn in recent years. Author Carla Della Gatta argues that theater-makers and historians must acknowledge this presence and influence in order to truly engage the complexity of American Shakespeares. Latinx Shakespeares investigates the history, dramaturgy, and language of the more than 140 Latinx-themed Shakespearean productions in the United States since the 1960s—the era of West Side Story. This first-ever book of Latinx representation in the most-performed playwright's canon offers a new methodology for reading ethnic theater looks beyond the visual to prioritize aural signifiers such as music, accents, and the Spanish language. The book's focus is on textual adaptations or performances in which Shakespearean plays, stories, or characters are made Latinx through stage techniques, aesthetics, processes for art-making (including casting), and modes of storytelling. The case studies range from performances at large repertory theaters to small community theaters and from established directors to emerging playwrights. To analyze these productions, the book draws on interviews with practitioners, script analysis, first-hand practitioner insight, and interdisciplinary theoretical lenses, largely by scholars of color. Latinx Shakespeares moves toward healing by reclaiming Shakespeare as a borrower, adapter, and creator of language whose oeuvre has too often been mobilized in the service of a culturally specific English-language whiteness that cannot extricate itself from its origins within the establishment of European/British colonialism/imperialism.
Wie zeigt sich im Theater der Gegenwart das Private als politisch? Wie ist in diesem Zusammenhang feministische Kritik möglich? An der Schnittstelle von Literaturwissenschaft und Gender Studies analysiert Andrea Maria Zimmermann bisher eher unbekannte, aber thematisch und ästhetisch besonders reizvolle deutschsprachige Theatertexte aus den Jahren 2000 bis 2010. Aus einer queer-feministischen Perspektive entwickelt sie in Anlehnung an Luce Irigaray und Judith Butler ein Konzept von Kritik als dreifache Bewegung aus Rekonstruktion, Dekonstruktion und Utopie: das Spiel der Mimesis. In einem faszinierenden Dialog zwischen Theorie, Methode und Material fordert die Studie dazu auf, das zeitdiagnostische und politische Schreiben zeitgenössischer Theaterautor_innen zu entdecken.
