Suchergebnisse

Das Theater als körperbezogene Kunst eignet sich in besonderem Masse für Geschlechterexperimente. Es stellt einen ästhetischen Raum bereit, in dem weitgehend gezielte und reflektierte (Körper-)Aktionen stattfinden, während sich alltägliche Geschlechterperformanzen eher unbewusst vollziehen. Das Theater übersetzt diese 'natürlichen Prozesse' in ästhetische Spiele und eröffnet damit sowohl in seiner illusionistisch-mimetischen wie postdramatischen Variante GeschlechterSpielRäume. Der vorliegende Sammelband untersucht aus interdisziplinärer Perspektive die Gender-Konstellationen in Dramen und Theatertexten vom 17. bis zum 21. Jahrhundert in unterschiedlichen Nationalliteraturen und er nimmt das Theater als Institution in den Blick, um den Zusammenhang von Gender, Kunstsparten und Beruf zu verdeutlichen. Darüber hinaus werden sowohl die Performativität anderer Wirklichkeiten wie Medizin und Museum als auch die zeitgenössische Performance fokussiert.

" In Cicero's Use of Judicial Theater, Jon Hall examines Cicero's use of showmanship in the Roman law-courts, looking in particular at the nonverbal devices that he employs during his speeches as he attempts to manipulate opinion. Cicero's speeches in the law-courts often incorporate theatrical devices including the use of family relatives as props during emotional appeals, exploitation of tears and supplication, and the wearing of specially dirtied attire by defendants during a trial, all of which contrast strikingly with the practices of the modem advocate. Hall investigates how Cicero successfully deployed these techniques and why they played such a prominent part in the Roman courts. These "judicial theatrics" are rarely discussed by the ancient rhetorical handbooks, and Cicero's Judicial Theater argues that their successful use by Roman orators derives largely from the inherent theatricality of aristocratic life in ancient Rome--most of the devices deployed in the courts appear elsewhere in the social and political activities of the elite. While Cicero's Judicial Theater will be of interest primarily to professional scholars and students studying the speeches of Cicero, its wider analyses, both of Roman cultural customs and the idiosyncratic practices of the law-courts, will prove relevant also to social historians, as well as historians of legal procedure"--

Group Creativity explores the unique form of creativity that emerges from collaborating groups. Dr. Sawyer draws on his studies of jazz ensembles and improvisational theater groups to develop a model of creative group processes. He applies this model of group creativity to a wide range of collaborating groups, including group learning in classrooms and innovative teams in organizations. In group creativity, a group comes together to collaboratively create in real time. The creative inspiration emerges from the interaction and communication among the members, and makes the result more than th

HauptbeschreibungVictor Turner hat in diesem erstmals 1982 erschienenen Buch Maßstäbe für die Anwendung ethnologischer, an fremden Kulturen gewonnener Erkenntnisse gesetzt. Er hat die Rituale, Symbole und Interaktionsformen der Industriegesellschaft dem ethnologischen Blick ausgesetzt und dabei ihre Theatralität und ihre Spielstrukturen erforscht: die Inszenierungen und Rollenspiele des Alltags. Besonders interessierte Turner sich dabei für gesellschaftliche Krisensituationen beziehungsweise soziale Dramen und die Funktionen von Ritual und Spiel bei ihrer Bewältigung. Sein Forschungsansatz.

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.