Suchergebnisse

A column at a scale of a chair, a door half-opened in front of that column. Dancing, spectating, running, etc. Can an open-ending narrative be generated through the interaction between these disembodied objects and subjects? Treating building elements as set pieces, improvisations are generated by both signified objects and participants. The show is currently on play in different locations: You can find it in a field of landscape; in a chaotic street of Tokyo, or even at the back alley near your neighborhood…Don't hesitate to create your own plot when you encounter them! My thesis mainly focuses on the implementation of theatricality, a narrative style that is both spatial and performative. Concepts like theatricality and spectacles are permeating our society since late capitalism. Techne/Tectonic that rooted in the origin of Architecture has also come a long way from the classical period. Theatricality, namely a gap between reality and its representation, has never been more appropriate under such context. Inspired by both Artaud and Hartoonian's implications of theatricality, my intention is to explore the potential state of Techne/Tectonic through aesthetic, performative and philosophical means. Narrations of new spatiality are ex-pressed through the disembodied tectonic elements (signifier). By treating building elements as set pieces on stage, improvisations are generated by both signifier and participants. Theatricality is here used as a representation/communication tool that mediates fictional scenarios and everyday experiences, in order to grasp the uncanny residues/gaps between reality and fiction. It also synthesizes the roles of people and objects in a theatrical play through *'a sense of humor, a sense of laughter's power of physical and anarchic dissociation.' This ephemeral stage can be deployed in different contexts to generate dialogical spaces that are not predetermined by conven-tional building programs. New spatiality is invented and reinvented through ever-changing, non-linear story-lines, resulting in a tangled complementary and contradictions. By extending the performance and spatial production beyond the proscenium, it is aimed to address social, cultural process, as well as political and economic public sphere that shaped by theatricality. A sense of carnivalesque is aimed to brought out through the communicative dimension of architecture and the production of knowledge through narration.

From publisher's website: Thinking Through Theatre and Performance presents a bold and innovative approach to the study of theatre and performance. Instead of topics, genres, histories or theories, the book starts with the questions that theatre and performance are uniquely capable of asking: How does theatre function as a place for seeing and hearing? How do not only bodies and voices but also objects and media perform? How do memories, emotions and ideas continue to do their work when the performance is over? And how can theatre and performance intervene in social, political and environmental structures and frameworks? Written by leading international scholars, each chapter of this volume is built around a key performance example, and detailed discussions introduce the methodologies and theories that help us understand how these performances are practices of enquiry into the world. Thinking through Theatre and Performance is essential for those involved in making, enjoying, critiquing and studying theatre, and will appeal to anyone who is interested in the questions that theatre and performance ask of themselves and of us.

When we think of Democracy as a way of governance, usually modern democratic states come to mind. Most of us believe that democracy is a recent invention. But, the birthplace of democracy is the ancient city of Athens and ironically the birth of democracy is coetaneous with the birth of (Athenian) theatre. This paper tries to establish the connection between theatre and democracy or in other words theatricality and democracy. It tries to elaborate upon the fact that the notion of theatricality is inherent to democratic function and may be its doom as well. Democracy represents progress, a movement in time, a teleology. But, the present problems of famine, violence and other man-made disasters put this movement under suspicion – a progress or a reversion? This question of teleology and time vis-à-vis democracy is argued through Jean Baudrillard's notion of the recycling of time.

When ideas about theatre are used to describe political events, the theatrical is usually made to stand for that which is undesirable, inauthentic and empty about political life: we might describe a particular speech or gesture as 'only theatre', or use language such as 'playing politics' or 'political drama' to denounce the way self-referential questions about character or personal intrigue have obscured the 'real' issues of politics. In contrast to this dismissive usage, I would like to explore the ways that theatricality's apparent failures or shortcomings might be themselves generative of political potential. My approach here is to consider certain problems of speech and gesture in the political realm as essentially theatrical problems — problems for theatre, but also ideas that theatricality makes problems of — such as problems of representation, authenticity and spectatorship. I will explore the theatricality at work in three examples of publicly performed discourse: Kevin Rudd's official apology in 2008 to the Indigenous peoples of Australia; a gallery artwork by Carey Young which, in its entirety, is a legal disclaimer of its status as art; and a text and video work by Lebanese-born artist, Rabih Mroué, in which the artist offers an apology for the Lebanese civil war.

"The Revolutionary era was a period of radical change in France that dissolved traditional boundaries of privilege, and a time when creative experimentation flourished. As performance and theatrical language became an intergral part of the French Revolution, its metaphors seeped into genres beyond the stage. Claire Trévien traces the ways in which theatrical activity influenced Revolutionary print culture, particularly its satirical prints, and considers how these became an arena for performance in their own right"--

Abstract
In the attempt to improve patient treatment and recovery, researchers focus on applying concepts of hospitality to hospitals. Often these concepts are dominated by hotel-metaphors focusing on host–guest relationships or concierge services. Motivated by a project trying to improve patient treatment and recovery through the architecture framing eating experiences, this article examines, from a theoretical perspective, two less debated concepts relating to hospitality called food design and architectural theatricality.
In architectural theory the nineteenth century German architect Gottfried Semper is known for his writings on theatricality, understood as a holistic design approach emphasizing the contextual, cultural, ritual and social meanings rooted in architecture. Relative hereto, the International Food Design Society recently argued, in a similar holistic manner, that the methodology used to provide an aesthetic eating experience includes knowledge on both food and design. Based on a hermeneutic reading of Semper's theory, our thesis is that this holistic design approach is important when debating concepts of hospitality in hospitals. We use this approach to argue for how 'food design' is an overlooked element in hospital eating environments today, and further point at how Semper's discourse on theatricality can be used to add a more nuanced perspective to future hospitality studies.

If there is one thing that people agree about concerning the massive, leaderless, spontaneous protests that have spread across the globe over the past decade, it's that they were failures. Simply put, the protesters could not organize; nor could they formulate clear demands or bring about change. 'In the Street' argues that in seeking to find the reasons behind these alleged 'failures,' we are asking the wrong questions. It argues that when our analysis of such events is confined by a framework of success and failure, we blind ourselves to the working reality of democratic politics, namely the on-the-ground efforts of political actors who, in becoming 'political friends,' demonstrate, if for a fleeting moment, that another way of being together is possible.

Where better to begin talking about Viennese identity in the late twentieth century than in the work of Elfriede Jelinek and Thomas Bernhard—specifically, in two plays whose titles immediately evoke the city as well as pregnant moments in its history: Jelinek's Burgtheater (published 1982; premiered 1985 in Bonn) and Bernhard's Heldenplatz (premiered 1988 in Vienna's Burgtheater). Insofar as the two plays dramatize the extent to which National Socialism took hold and persisted in Austria, they epitomize both authors' perennial roles as keen observers and harsh critics of Austrian society. Burgtheater and the scandal it generated established Jelinek's function as "Nestbeschmutzerin," whereas Heldenplatz, appearing the year before Bernhard's death, can be regarded as the capstone of his career as a critic of Austrian mores and politics.