KUŠNÍROVÁ, Eva : The Theatre of Particular Features. Theatre Ensemble Hviezdoslav Spišská Nová Ves. Prešov: Faculty of Arts, Prešov university of Prešov in Prešov. ISBN 978-80-555-1818-3. 305 p.

Making reference to Luce Irigaray’s definitions of mimesis and mimicry, and the ways in which these concepts respectively reinforce and challenge the phallogocentric order, this article investigates the representation of the Troubles in the play Somewhere over the Balcony by Charabanc—a pioneering all-female theatre company which operated in Belfast in the 1980s and early 1990s. The article discusses the achievement of the company in the local context and offers a reading of Somewhere over the Balcony, Charabanc’s 1987 (...) play which depicts the lives of underprivileged working-class Catholic women in the infamous Divis Flats in Belfast. Showing the protagonists’ struggle with the everyday reality of sectarianism in Northern Ireland, it celebrates female creativity and jouissance. The article argues that the characters challenge the masculinist order by means of mimicry. Irigaray defines this strategy as a deliberate assumption of prescribed female roles, which involves a playful attitude to “mimesis imposed”—in other words, to the programmed repetition of socially sanctioned patterns. Mimicry, as well as other productive strategies help the female characters in the play to transform the balconies of their flats into an area of creativity and empowerment, which challenges binary thinking about the division into private and public space. Such a geopolitical reading of the play corresponds to the artistic agenda of the company, communicated by its very name. It also sheds light on Charabanc’s attempt to create a more inclusive and varied cultural space that would reach beyond gender, sectarian, and class divides in Northern Ireland. (shrink)

Resumen: El artículo busca observar el hecho religioso mapuche, a partir de la reflexión de Rudolf Otto respecto de lo numinoso y lo santo. Para ello se utiliza su metodología de análisis fenomenológico aplicada a los conceptos de mysterium, tremendum y fascinans o las dimensiones del temor, incorporadas en la cultura mapuche. Se concluye que el análisis de estos diversos momentos de la experiencia santo-numinoso en la vida religiosa del mapuche, permite constatar el dinamismo existente en la idea religiosa del (...) mapuche, lo que a su vez representa adecuadamente la relación entre el hombre religioso y lo santo.: This article seeks to observe the Mapuche religious fact, starting from Rudolf Otto’s reflection on the numinous and the holy. For this, it uses its methodology of phenomenological analysis applied to the concepts of mysterium, tremendum and fascinans or the dimensions of fear, incorporated in the Mapuche culture. It is concluded that the analysis of these different moments of the saint-numinous experience in the religious life of the mapuche, allows to verify the dynamism existing in the religious idea of ​​the mapuche, which in turn represents adequately the relationship between religious man and the Holy. (shrink)

Theater requires artifice, justice demands truth. Are these demands as irreconcilable as the pejorative term “show trials” suggests? After the Second World War, canonical directors and playwrights sought to claim a new public role for theater by restaging the era’s great trials as shows. The Nuremberg trials, the Eichmann trial, and the Auschwitz trials were all performed multiple times, first in courts and then in theaters. Does justice require both courtrooms and stages? In Staged, Minou Arjomand draws on a rich (...) archive of postwar German and American rehearsals and performances to reveal how theater can become a place for forms of storytelling and judgment that are inadmissible in a court of law but indispensable for public life. She unveils the affinities between dramatists like Bertolt Brecht, Erwin Piscator, and Peter Weiss and philosophers such as Hannah Arendt and Walter Benjamin, showing how they responded to the rise of fascism with a new politics of performance. Linking performance with theories of aesthetics, history, and politics, Arjomand argues that it is not subject matter that makes theater political but rather the act of judging a performance in the company of others. Staged weaves together theater history and political philosophy into a powerful and timely case for the importance of theaters as public institutions. (shrink)

The abilities to read, to write, and to compute are of crucial importance. Students who cannot read, write, or compute are in deep trouble. But important though these skills are, they do not encompass all of what people know or the ways in which what they know. An innovative literacy/theater project implemented in two sixth-grade classrooms of a high-poverty, urban, western Pennsylvania middle school was designed to help urban teachers address aliteracy by engaging their students in the discovery of three (...) young adult novels.1 The project was built on a partnership with a semiprofessional theater company that produced adaptations of the literature and designed instructional support materials to meet .. (shrink)

The London‐based Oily Cart theatre company aims to produce shows that are suitable forallyoung people. This paper closely examines one of their productions,Splish Splash, which was developed for children with profound and multiple learning difficulties. The paper's central purpose is to understand the value of this type of theatrical experience for these children. It argues that Winnicott's conception of play, and his account of the conditions that enable the capacity for play to unfold, provide a persuasive theoretical framework (...) that makes sense of Oily Cart's achievement. Winnicott's framework can integrate the views expressed (in interviews) by adults who were involved with or observed the show; arguably it is also corroborated by more recent infant research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionSherri Irvin, Guest Editor (bio)The idea for this special issue of the Journal of Aesthetic Education had its origins in the December 2007 event “The Art of Performance: Symposium in Honor of Jim Hamilton,” organized by Sandra Lapointe and Marcelo Sabatés and hosted by the Department of Philosophy at Kansas State University with the kind support of President Jon Wefald and the dean of the Faculty of Arts and (...) Sciences. The symposium was designed to celebrate the 2007 publication of Jim Hamilton’s The Art of Theater by Blackwell, as well as his many years of leading experimental theater programs for Kansas youth. Noël Carroll, David Davies, Aaron Meskin, and I were critics in an author-meets-critics session on The Art of Theater at the symposium, while Paul Thom was a critic for a session on the book at the 2007 Annual Meeting of the American Society for Aesthetics.The Art of Theater bears the stamp of Hamilton’s dual roles as a philosopher and an avid participant in contemporary theater practice. It is a philosophically sophisticated and richly informed treatment of the theoretical issues surrounding the practice of theater. It contributes greatly to filling what was a rather glaring hole in the philosophical literature: whereas music has received quite extensive treatment in recent decades, only a few philosophers have ventured into the complex territory of theater.Hamilton holds that theater is an independent form of art: theatrical performances are artworks in their own right, not subsidiary to or derivative of works in any other form (particularly literature). The process by which a theatrical performance is constructed, he suggests, involves such an extensive array of decisions by the performing company—including decisions about whether and how to make use of any preexisting text in the performance—that no text or literary work can be thought of as “the work” that is performed. Instead, the company’s activities generate the only work [End Page 1] at issue: namely, the performance itself. When a performance seems to bear a special relation to some repeatable entity, such as Hamlet, we should understand this as a relation the performance bears not to some literary text but to a tradition of other performances that have been collected under the Hamlet rubric. Accordingly, basic understanding of a theatrical performance does not require prior acquaintance with a text or literary work; spectators can have basic understanding of a performance as long as their responses demonstrate that they have followed what is happening as the performance itself unfolds. Spectators lacking extensive acquaintance with recent text-based theatrical practices, then, need not be stigmatized as lacking the resources to appreciate works of theater.In this issue Hamilton’s précis of the book is followed by the contributions of five critics who challenge the book’s central theses. The critics ask, Does Hamilton provide sufficient reason to reject the claim that at least some performances are of literary works, and can a satisfactory ontology of theater be developed if this claim is rejected? Even if theatrical performances are not of some text-based literary work, could they be of some other work, perhaps a work of theater that is generated through the performance practices of a company? Should spectators who follow what is happening moment-to-moment in a given performance, but fail to recognize that the performance parodies or satirizes some literary work, be said to have even basic understanding of what they have seen?Hamilton’s extensive replies to the critics will, I think, serve as a valuable supplement to the book, clarifying some of its central arguments and, in some instances, supplying new arguments for its theses. In particular, he points out that he did not intend for the book to provide a definitive argument for the thesis that theatrical performances are never performances of some other work; instead, he takes this thesis to emerge from a careful examination of theatrical practice. The aim of the book is to explore the implications of the thesis and to show how identification and appreciation of theatrical performances are possible if it is true. In this spirit, many of his claims should be given... (shrink)

This book, the first of its kind, surveys the career of the renowned Australian-German theatre and opera director Barrie Kosky. Its nine chapters provide multidisciplinary analyses of Barrie Kosky’s working practices and stage productions, from the beginning of his career in Melbourne to his current roles as Head of the Komische Oper Berlin and as a guest director in international demand. Specialists in theatre studies, opera studies, musical theatre studies, aesthetics, and arts administration offer in-depth accounts of (...) Kosky’s unusually wide-ranging engagements with the performing arts – as a director of spoken theatre, operas, musicals, operettas, as an adaptor, a performer, a writer, and an arts manager. Further, this book includes contributions from theatre practitioners with first-hand experience of collaborating with Kosky in the 1990s, who draw on interviews with members of Gilgul, Australia’s first Jewish theatre company, to document this formative period in Kosky’s career. The book investigates the ways in which Kosky has created transnational theatres, through introducing European themes and theatre techniques to his Australian work or through bringing fresh voices to the national dialogue in Germany’s theatre landscape. An appendix contains a timeline and guide to Kosky’s productions to date. (shrink)

Lukacs participation in the establishment and running of the Theater Company Thalia will reflect on his reflection on the modern drama in his first book (History of the evolution of modern drama". Our study is based on the correspondence between Lukacs and his companions and analysis of the early writings of Lukács, usually in Hungarian.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 12-19 [Access article in PDF] Seeking the Aesthetic in Creative Drama and Theatre for Young Audiences Nellie McCaslin Introduction Is an aesthetic experience ever achieved in a creative drama class or in attending a performance of a children's play? If it is, how do I know and how can it be achieved? This is a question to which I have given (...) much thought and in so doing have been flooded with memories of my own passion for theatre in all its forms, first as a child and years later as a teacher. These memories have shaped my perception of the aesthetic presence, elusive but powerful, which comes in its own way and in its own time. The following is an account of revisiting those memories in the light of today's practices and objectives. The result is not a scholarly piece or approach to the question but simply a record of one person's journey through the theatre arts as she experienced it at a particular point in time, when the pedagogy and the terminology of today were nonexistent, or at least were not generally known. Nor, I might add, was the question.From that journey through time, I have reached a few tentative convictions. First among them is that the most important element in teaching creative drama or producing children's plays is the one too often marginalized by practitioners today in their pursuit of practical ends and contemporary issue-oriented scripts.1 It is the aesthetic. Is theatre an art form worth studying in its own right or is it an educational tool, appealing to administrators and producers because it is effective? I believe that it is an art and should be taught as an art form first and foremost, but that skillfully done, it can accomplish both objectives. The grey area between art and education is difficult for the inexperienced teacher to negotiate without the loss of one goal or the other. It is the intent that charts the course. [End Page 12] Early Recollections What was it that first drew me to the theatre? Was it the play? The players? Or the combined skills of all who were involved in the production whether it was a professional company in a theatre downtown; a puppet show at a community center; "dramatics" in the classroom, when the teacher allowed us to "act out" a history lesson or favorite story; or an assembly program put on by the eighth grade in the school auditorium? To me, they were all theatre, and theatre in whatever form it took was magic. To us, theatre was real, regardless of the performers or the venue. Even the puppets ceased to be inanimate figures in the hands of an artist who shared his belief in their reality with his young audiences. Indeed, the puppets assumed human proportions before our eyes and have remained so in my memory ever since. Was this not just as much of an aesthetic experience for us, the viewers, as the performance of living actors? I believe that it was, although at the age of eight I had never heard the word "aesthetic" or stopped to analyze my reactions.The reason, among others, for my lack of discrimination as a child was the fact that in America at that time no differentiation was made between what we did and what we saw, never mind who did it. There was a clear distinction between the amateur and the professional; it didn't concern us. We flocked to the few shows, both amateur and professional, deemed appropriate for children, and we made up shows of our own in our own backyards. Our shows were improvised (another term we didn't know then), but even minus a script, it was still theatre because we believed in it and so did the little ones on our block who were the audience.It was Winifred Ward, an American pioneer in the field, writing a few years later, who was to distinguish between process and product... (shrink)

In the context of the launch of a new theater company whose mission is to bring entertaining theological content to audiences in and around Jerusalem, Roy Doliner’s Divine Right was chosen as the company’s first production. This play about the Disputation of Barcelona balances historical accuracy and creative dramatic content in a satisfying and intellectually honest portrayal of the events of the Disputation for educated lay audiences. Many theological and dramaturgical issues arise, especially in producing a play with (...) a high level of Christian content and theology for mainly Orthodox or at least traditionally educated Jewish audiences. English speaking audience members in Jerusalem tend to be well-informed, both on the historical level and on the level of Jewish law and mores. This makes them exacting viewers, critical of inaccuracies of history or interpretation, wary of challenging positions but mostly willing to learn, and delighted by thorough research and characterization. This paper examines the technical, dramaturgical, and theological issues that arose during this production for the playwright, director, actors, and audiences. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.1 (2002) 111-118 [Access article in PDF] Brief MentionSupplices, The Satyr Play: Charles Mee's Big Love Rush Rehm Berkeley Repertory Theater, long the most adventurous theater company in the San Francisco Bay area, opened its new Roda theater in style this spring with Aeschylus' Oresteia (trans. Fagles), followed (on the more intimate thrust stage) by Charles L. Mee's adaptation of Aeschylus' Danaid trilogy, entitled (...) Big Love. Seeing these productions in tandem reminds one of the similarities between the two trilogies, as if Aeschylus in his Oresteia developed and expanded ideas introduced five years earlier in Danaides. These include the horrific consequences of male violence, not the least of which involves the tragic female response of killing husbands and turning households into bloodbaths. The primal compulsions that affect human beings--particularly eros and vengeance, immortally hypostasized as Aphrodite and the Furies--drive through both trilogies, countered somewhat by the religious and moral imperatives to grant beleaguered foreigners asylum. Reflecting Athens's radical democracy, Aeschylus emphasizes the perils and responsibilities of a polity that must face the consequences of its own decisions. In dramatic terms, both trilogies tap the power of choral lyric to wash over plot and action, almost like a force of nature, moving the human drama into a wider spatial and temporal context. Aeschylus also exploits the apparent finality of a trial in both works to bring matters to a dramatic close. However, ultimate resolution depends on the fundamentally comedic faith in the curative powers of marriage, family, and time to restore the human community. Addressing these themes in Big Love, Mee uses them to construct an entertaining romp. One could say he converts Aeschylus' Danaides into a contemporary satyr play, the paratragic genre for which Aeschylus was famous in antiquity (none of his survive, but one called Amymone ended the Danaid tetralogy).Although only Supplices is extant, most scholars agree on the [End Page 111] trilogy's dramatic arc. 1 Led by their father Danaos, the fifty Danaids flee from detested marriage with their Egyptian cousins. They receive asylum in Argos, until the Argive leader Pelasgos is defeated in battle and the victorious Egyptians have their connubial way. Commanded by their father, the Danaids murder their husbands on their wedding night--all save Hypermestra, who spares Lynkeus. A trial absolves Hypermestra of disobedience, and Aphrodite celebrates the power of eros, manifest in the marriage of earth and sky. Due to its incomplete story line and the absence of all but a few short fragments from the latter two plays, Supplices has not proved popular on the modern stage.Enter Charles Mee, whose updated version Big Love follows (mutatis mutandis) the reconstruction outlined above. Missing is Danaos, and (as one might expect) Aeschylus' lyrically and poetically charged language. According to Mee, "getting into a Greek plot is like stepping into a Rolls Royce," and he clearly enjoys the ride. 2 In earlier plays, Mee has stepped into the plots of Euripides' Bacchae, Orestes, and Trojan Women (in the first half of his Trojan Women a Love Story). 3 His updated treatments have attracted the interest of classicists, drawn to new translations, contemporary productions, and modern adaptations of ancient material. 4 Regarding Mee's creative use of Greek tragedy, key questions remain: where is he heading in his smooth-riding import? does some destination guide the journey? whom does Mee pick up along the way?Answering the last first, Big Love--as directed by Les Waters at Berkeley, with a strong cast--sweeps up the audience with its energy and sense of play. It offers an evening of kitsch, froth, stage blood (over-the-top and inoffensive), and body-slamming physical humor. Although set in Italy--the Pelasgian Piero is a suave villa-owner who "makes arrangements" and "has connections"--this is very much an American play, full of commercial pop culture. For example, the first "chorus" has three representative Danaids singing Leslie Gore's schlock rock "You Don't [End Page 112] Own Me," using champagne flutes and empty bottles as microphones, like... (shrink)

Shakespeare was easily the most inventive writer using the English language. His plays give us intricacies of vocabulary and usage that have enriched us immeasurably. This book provides a series of analytical essays on the marginalia relating to the plays. Each of them is a searching and authoritative account, packed with details, of some of the more peculiar conditions under which Shakespeare and his peers composed their playbooks. Among the essays are two completely new contributions. Altogether they reveal fresh details (...) about the input of the playing companies, playhouses, individual players and even their controller, the Revels Office, to the complex fragments that we now have of the Shakespearean world. Gurr examines Shakespeare's own choice between playwriting and poetry, the requirements of working in a playhouse that wraps itself around the stage, and its impact on the creation of such figures as Henry V, Shylock, Isabella, King Lear and Coriolanus. (shrink)

This paper analyzes from a pragmatic postphenomenological point of view the performative practice of CREW, a multi-disciplinary team of artists and researchers. It is our argument that this company, in its use of new immersive technologies in the context of a live stage, gives rise to a dialectics between an embodied and a disembodied perspective towards the perceived world. We will focus on W (Double U), a collaborative interactive performance, where immersive technology is used for live exchange of vision. (...) By means of a head mounted omni-directional camera and display the fields of vision of two participants are swapped, which enables the participants to perceive the world through another person’s point of view. This intermedial experience brings a classic dichotomic perception of space to falter: material reality as a ‘live’ condition can no longer be opposed to a virtual mediated reality. In the shifting moment between the embodied and the perceived world, on the fracture between what one sees and what one feels, the distinction between live and mediated is blurred, moreover, can no longer be made. The perception of the body is pushed to the extreme, causing a most confusing corporal awareness, a condition that intensifies the experience and causes an altered sense of presence. In a dynamic cognitive negotiation, one tends, however, to unify the divergent ontologies of the ‘real’ and the ‘virtual’ to a meaningful experience. In this respect, we refer to recent neurological experiments such as the ‘rubber hand illusion’ in order to clarify the spectator’s tendency to fuse both ontologies and to embody a coherent image-world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Replies to CriticismsJames R. HamiltonI am grateful to Noël Carroll, David Davies, Sherri Irvin, Aaron Meskin, and Paul Thom for stimulating discussions of The Art of Theater over the past year, culminating in these carefully crafted critical comments on various aspects of the book.1 I especially appreciate the efforts of Sherri Irvin, who edited this special issue and without whose encouragement, enthusiasm, and careful editing this would not have (...) happened.Whenever the central proposals made in The Art of Theater were made by theater people during the past hundred years, they were greeted with a kind of baffled outrage by many traditionalist literature scholars who had taken it as an obvious fact that theatrical performances are nothing more than illustrations or interpretations of works of dramatic literature, at best requiring artistry for performance but not issuing in independent works of art. Quite a few contemporary literature and theater scholars have seen errors in the traditionalist view and proposed that theatrical performances are capable of even great artistry and, perhaps, of being works of art in their own right. It must be said, however, that they will not find my defense of that position congenial. Indeed, it will seem worse still from their point of view because my defense of the position does not require semiotic analysis, let alone any sort of poststructuralist thinking about theatrical performances that depends on seeing performance as a novel kind of text—a “theater text.” This will disappoint because, unlike many contemporary literary theorists (and even some theater theorists), I do not think of theatrical performances as something to be read and, further, as something that falls within the purview of literary scholarship after all. Performances are actions and are to be understood in the ways we understand all other actions.I knew the central proposals in The Art of Theater would seem a little strange to philosophers. Some of the strangeness that they have felt about the view—if not the baffled outrage felt by literary theorists—can be mitigated, I believe, by considering three facts that served as motivations for making the proposal. I encountered these facts while teaching experimental theater techniques in a workshop format. Only gradually did I come to realize they are facts about any theatrical performance—its presentation, its [End Page 80] preparation, and its reception. It was only after I realized how general these facts are that I began to wonder why the view they seem to suggest is not more widely held, or even discussed, among philosophers working on the performing arts. My book was designed to get that discussion going. And, to judge by the quality of the discussion in this volume, it has succeeded admirably in meeting that goal. I think the book is also largely correct, however, so it is worth beginning at the beginning, with the basic facts I encountered in teaching experimental theater.First, it is undeniable that what typical spectators for any theatrical performance grasp is delivered to them entirely during the time of the performance itself. The typical spectator—which excludes academics and professional critics—is usually unfamiliar with what she is about to see and hear, in content if not in kind. Nevertheless, most spectators are successful in tracking most theatrical performances, even some in wildly unfamiliar styles and traditions. This is an important fact. Its importance lies in the implication that spectators do not need to recognize anything beyond what they see in the performance to regard the event as something they can assess aesthetically and artistically.Second, rehearsal processes for theatrical performances involve a lot of experimentation that focuses on how to make features of actors’ bodies and voices render clearly what the audience is supposed to see and hear and on how to make the sights and sounds generated by the ensemble, the set, the lighting, and so on focus audience attention in the places that will best enable them to understand what the company is presenting. This too is an important fact, for it highlights what any spectator has to know something about in order to make cogent artistic assessments of the event she has witnessed.Finally, consider the following case... (shrink)

In three elegant and important essays, originally published as pamphlets by Field Day Theatre Company, Terry Eagleton analyzes nationalism, identifying the radical contradictions that necessarily beset it; Fredric Jameson pursues the contradiction between the limited experience of the individual and the dispersed conditions that govern it; and Edward Said explores the work of Yeats as an exemplary and early instance of the process of decolonization. The introduction is by Seamus Deane. Paper edition (1863-1), $9.95. Annotation copyrighted by Book (...) News, Inc., Portland, OR. (shrink)

continent. 1.4 (2011): 242—252. Introduction The following two works were produced by visual artist Jonas Staal and writer Vincent W.J. van Gerven Oei during a visit as artists in residence at The Bag Factory, Johannesburg, South Africa during the summer of 2010. Both works were produced in situ and comprised in both cases a public intervention conceived by Staal and a textual work conceived by Van Gerven Oei. It was their aim, in both cases, to produce complementary works that could (...) be read “through each other,” in which the movement of artistic construction would be imitated by textual deconstruction and vice versa. Both works deal with the way in which capital, apartheid, and monumentality are interwoven in South-African society. The Missing Link addresses a monument for democracy, erected on the premises of a private corporation running both an amusement park and the Apartheid Museum franchise. The textual intervention accompanying this public intervention investigates the limits of the inclusiveness of the anti-discrimination section in the South-African constitution, itself a monumental work of democracy. The Monument for the Distribution of Wealth deals with the history and eventual dissolution of a monumental square, commemorating the Soweto Uprising, in one of the poorest townships of Johannesburg. The history accompanying this public dismemberment of memory is equally fragmented, which is expressed by the many voices recounting uncertain and perhaps even irrelevant “facts” about the genius loci, the way in which the memorial space has actually entered into the memory of the inhabitants surrounding it. Next to their individual practices, Staal and Van Gerven Oei have worked together on a number of projects ever since 2007, including several art residencies. Their work involves an investigation of the different interfaces between art, politics, and public space in media ranging from theater and public interventions, to video installations and (co-authored) textual works. The Missing Link Missing Link (1) Missing Link (2) Missing Link (3) Intervention on the monument entitled The Seven Pillars of the Constitution , part of the Apartheid Museum in Johannesburg, South Africa. The Seven Pillars represent the constitutional values propagated in South Africa since the abolition of the apartheid regime. The monument and museum were built by the Gold Reef Resorts corporation, which is also responsible for the theme park and casino next to it. By placing the word “capitalism” on the wall surrounding the museum, the capitalist system and the constant social divisions that it implies are interpreted as sophistic continuations of apartheid politics. Through the capitalist system, apartheid is still operational within South African society. Whereas during the apartheid regime, the separation clearly ran along race divisions, in the current, “democratic” system, the same actual separation is sustained without it being an explicit element of the foundations of the country, i.e. the constitution. This intervention foregrounds the constant role of capitalism is both periods. At the same time the intervention acknowledges that contemporary Western artisthood is a mirror of the privileges that are offered by the capitalist system, and the type of artist that it produces. The intervention initiates a critical discourse concerning the capitalist system situated within the disaster of capitalism itself, in other words: through the desire to break with the presumption that art would be able to operate outside the capitalist system and to confirm that art—and the artist himself—is in fact modeled on this system. The public intervention by Staal was supplemented by a textual intervention by Van Gerven Oei: a proposition to alter the seventeenth amendment of the South African constitution. Even though the anti-discrimination legislation in South-Africa is one of the most stringent and inclusive in the world, one factor—wealth—remains outside its scope, thus continuing the schisms along racial lines produced during the apartheid regime: §9.3. The state may not unfairly discriminate directly or indirectly against anyone on one or more grounds, including race, gender, sex, pregnancy, marital status, ethnic or social origin, colour, sexual orientation, age, disability, religion, conscience, belief, culture, language, birth, and wealth. Monument for the Distribution of Wealth Intervention concerning the June 16 Memorial Acre in Central Western Jabavu, one of the poorest townships of Johannesburg. The monument comprises a park on which different are placed recalling an important protest the black population against the former apartheid regime. In 1976, from a school adjacent to the park, they started a massive protest against the introduction of Afrikaans in the school curriculum. The police reacted violently, and shot several hundreds of students. The construction of the June 16 Memorial Acre was started in 2005, and from the start was the paragon of corruption. Coordinated by local politicians, some family members of the protest leader from 1976 gained control of the realization of the monument, outside the regulation through external institutions. The available budget of 41 million rand (at that time well over 5 million euro) was largely embezzled. In the meantime, the monument has become fully dilapidated and defaced. The park has become overgrown with weeds and covered in a layer of dirt, and the local population is slowly plundering the square to use the material for the construction and decoration of their own houses. The Monument for the Distribution of Wealth develops the dynamics already existent around the June 16 Memorial Acre. Without obtaining official permission in advance, several local inhabitants were hired to break down the monument, sort the materials, and offer it to the neighborhood. Thus, the redistribution of wealth after the fall of the apartheid regime is finally taking place, albeit from the mere remains of the capital that was once invested in the community. The words “monument” and “for free” are spray-painted on the stacks of material, both in English and Zulu, as these are locally the most common languages. Van Gerven Oei supplemented Staal’s public intervention with an account of the history of the monument based on a series of interviews. The account clarifies how the different interests within the protest 1976 are reflected in the exceeding decay of the park, and how in the end those interests were represented by the June 16 Memorial Acre. Monument for the Distribution of Wealth 1: Removing stones Monument for the Distribution of Wealth 3: Pulling down statues Monument for the Distribution of Wealth 4: Offering the material Monument for the Distribution of Wealth 5: Offering the material Monument for the Distribution of Wealth 6 The next day A Fragmentary History of the Monument for the Distribution of Wealth, Formerly Known as the June 16 Memorial Acre in Central Western Jabavu, Soweto Vincent W.J. van Gerven Oei The following text, based on interviews and online research aims to provide parts of a history of the park in front of Morris Isaacson High School in Central Western Jabavu, Soweto. The idea for the transformation of the park into a memorial site has its source in the events of June 16, 1976: the start of the the student uprising in Soweto. The development of the park was started in the early 1980s, and the actual transformation into a memorial site, the June 16 Memorial Acre, was initiated in 2005. Over the last few years, several monumental additions have been made to the park: A marble monument with three pillars was revealed on June 16, 2006. A sculpture of a book and several billboards on June 16, 2008. A sculpture of student leader Tsietsi Mashinini on June 16, 2010. The park was transformed into the Monument for the Distribution of Wealth on August 3, 2010. According to the entry “Youth Struggle” on the website South African History Online, the Bantu Education Act was introduced in 1953 . In 1954 , Dr Verwoerd, Minister of Native Affairs, stated: “What is the use of teaching the Bantu child mathematics when it cannot use it in practice? That is quite absurd.” According to the entry “Soweto uprising” on Wikipedia, the Afrikaans Medium Decree was issued in 1974 , forcing all black schools to use Afrikaans and English in a 50-50 mix as languages of instruction. The Regional Director of Bantu Education (Northern Transvaal Region), J.G. Erasmus, told Circuit Inspectors and Principals of Schools that from January 1, 1975 , Afrikaans had to be used for mathematics, arithmetic, and social studies from standard five (7th grade). English would be the medium for general science and practical subjects. Indigenous languages would be used for religion instruction, music, and physical culture. According the entry “Soweto uprising” on Wikipedia, on April 30, 1976 , students from the Orlando West Junior School in Soweto went on strike, refusing to go to school. Their example was followed by other schools in Soweto. A student from Morris Isaacson High School, Toboho “Tsietsi” Mashinini, proposed a meeting on June 13, 1976 to discuss further action. According to Weizmann Hamilton’s article “The Soweto Uprising 1976,” which appeared in the September 1986 edition of Inqaba Ya Basebenzi (Fortress of the Revolution), on June 13, 1976 , the South African Students’ Movement called a meeting at the Donaldson Community Center in Orlando. 300-400 Students representing 55 schools decided to hold a mass demonstration on June 16. According to Brian Mokhele, member of the Joint Community Safety Forum, Dr Edelstein was the first victim of the Soweto uprising and killed the day before the march on June 15, 1976 . Edelstein was an administrator at the pass office in Jabavu and gave golf courses to the local community. Edelstein was put in a garbage bin and pierced by pickaxes. The garbage bin was left at the very spot of the murder for many years. A few years ago, a child was beheaded at the same spot, and the basketball court next to it has been abandoned since. According to Marcus Neustetter, founder of the Trinity Session, this story is untrue. According the entry “Soweto uprising” on Wikipedia, on June 16 , Tsietsi Mashinini led students from Morris Isaacson High School to join up with others who walked from Naledi High School. A crowd of between 3,000 and 10,000 eventually ended up near Orlando High School. According to Raymond Marlowe, a local photographer, Tsietsi Mashinini was heading the march. According to the entry “Hector Pieterson” on Wikipedia, Dr Edelstein died on June 16, 1976 , stoned to death by mob and left with a sign around his neck proclaiming “Beware Afrikaaners.” The first child to die that day was called Hastings Ndlovu. According to Pat Motsiri, Orlando West is claiming struggle heritage through the Hector Pieterson Museum, while Hector Pieterson was from Jabavu. According to Pat Motsiri, his generation effectively struggled between 1980 and 1991, forcing the release of Nelson Mandela and negotiations with the apartheid regime while the 1976-generation was safely in exile. Nevertheless, this has not been recognized in any monument. After the abolition of apartheid, the generation from 1976 returned from exile, occupied important government and ANC positions, creating an abundance of 1976 memorials and refusing to acknowledge that this was only possible because of the younger generation’s struggle. He calls this a generational conflict. According to Archibald Dlamini, the park officer responsible for the Memorial Acre, he started working for the municipality in 1978. In 1981/82 , Isaac Makhele from Pimville, who used to work in the cemetery business, was the first developer of the park. It used to be just a normal park until City Parks decided to develop the Memorial Acre in 2006. In 2007 the work was stopped by the community. According to Brian Mokhele, he left the country in 1989 after he participated in the riots of 1986. But when he returned in 1999 he found that nothing had changed. He says that they were promised to be protected by the Constitution, but that reality is different. The police uses fear to suppress them so that they don’t come out to talk openly. He has been arrested twice, both times harassed and tortured by the police, but in the end always released without indictment. He says that this is their way to threaten communities to back off from politics. According to Moses, who is sitting outside rolling a joint, Brian knows everything. He tells Brian to tell me everything he knows. According to Brian Mokhele, Tsietsi Mashinini was possibly murdered in 1990 during his exile in New York. Two weeks before he was supposed to return to South Africa, his papers in order, he was found dead under mysterious circumstances. His coffin was sealed when he was buried. According to Pat Motsiri, he came up with the idea for the Memorial Acre in 2003 . He submitted the documents for the proposal to the council, which sidelined him as soon as the budget came out in 2005 . According to Brian Mokhele, there was on estimation R 41,000,000 spent to redesign the park and turn it into the Memorial Acre. The millions were divided by Amos Masondo, the mayor of Soweto, the local councilor Bongani D. Zondi, and the director of the city of Johannesburg, Pat Lephunya. They were dividing the money between several contractors: Tsietsi Mashinini’s brothers were involved in the development of the park, they got the tender to do the green areas, the landscaping. Construction was done by other companies, some did the paving, the toilets, etc. EMBA, a private company appointed by the municipality was in control of the money flow, but the money was quickly gone. According to Raymond Marlowe, the contractor bought a BMW with the money. According to Archibald Dlamini, the Mashinini brothers got the tender, so the space would look more like the other places around in Soweto. It was agreed that after they were done, they would return the property to the municipality. They did whatever they could do. According to Mafaisa, a member of the Jabavu business community, he was one of the contractors for the landscaping and the pavement under Mpho Mashinini, one of the brothers. He says that I should contact Mavi for information on Mpho. According to Poi Stuurman, a local youth worker, Mafaisa is one of the guys who ran away with the money. According to Mavi, Mpho Mashinini was never a contractor. The contracts were organized by Sbu Butelezi, the former head of the Gauteng Department for Public Works. The June 16 Foundation and the Mashinini brothers will be the beneficiaries of the park when it is finished. According to Brian Mokhele, City Parks did not accept the Memorial Acre because it was not finished. The rest of the year, the unfinished park is not maintained, as should have happened. This was done deliberately so that in the end they can just clean the whole thing up and have a reason to redo the whole park. According to Brian Mokhele, the Mashinini brothers now work for the government. People that manipulate for money purposes always come from the government’s side. Because the park was left unfinished, the people from the neighborhood are taking away the stones to decorate their own homes with. According to Archibald Dlamini, because City Parks doesn’t accept responsibility of the park, he officially has nothing the guard, except for his cottage, which is municipal property. The thieves come at night and destroy the park, but he cannot do anything because he is sleeping. According to the website of the Thanda Foundation on June 16, 2006 a bronze statue of Hector Pieterson, the first child to die in the 1976 protests, made by Kobus Hattingh and Jacob Maponyane was unveiled in the Maponya Mall in Soweto. The statue is sculpted after the famous image shot by Sam Nzima of Mbuyisa Makhubo carrying the dead body of the boy. The sculpture was sponsored by the Thanda Foundation, founded by the Swedish entrepreneur Dan Olofsson and South-African entrepreneur Matthews Phosa. According to the official website of the City of Johannesburg, the Memorial Acre and Artwork were unveiled in 2006. According to a blog post on sowetouprisings.com, the Memorial Acre was still under development on July 24, 2006. According to Archibald Dlamini, City Parks only cleans up the park once a year just before the June 16 celebrations. Everybody is waiting for the Mashinini brothers to finish their job. The last time he talked with them was in 2007 . According to a sign on the school grounds of the Morris Isaacson High School, the June 16 Trail will be finished in 2008 . According to a blog post on sowetouprisings.com, the Memorial Acre contains another monument erected in Tsietsi’s honor. The monument was created as part of the Sunday Times Heritage Public Art program. Its physical form resembles a giant book which symbolizes the crisis in education experienced in 1976. On the face of the book is the map of the route taken by the students from Morris Isaacson High School in Central Western Jabavu to Phefeni Junior Secondary in Orlando West (currently the site of the Hector Pieterson Museum), while the back cover of the ‘book’ is inscribed with a tribute to Tsietsi Mashinini. The monument was revealed on June 16, 2008 . According to Marcus Neustetter, the billboards on the Memorial Acre were part of a school project realized in 2008. Following several workshops, the students from different high schools along the June 16 Trail were invited to work with artists on the billboards, while the neighborhood community was invited to watch the process during the festivities on June 15 and 16, 2008 . The billboards were supposed to be removed because of construction works on the Memorial Acre, which never ended up happening. According to Brian Mokhele, the former toilet facilities were converted into a house for the park officer. This park officer has been working for city parks for more than 12-15 years, but does nothing here, because the park, including the new toilet buildings, is not finished. The government is now moving around looking for people to take this job because they stopped it. They confronted everybody who was going in and chased them away. According to John, in 2009 , some girls, around 16 or 17 years old, were raped by four men who had been drinking in a local shebeen. When the bar quit they said that they would go home by car, but instead raped the girls on the Memorial Acre nearby. This happened in the unfinished toilets, because the doors couldn’t be closed. According to Brian Mokhele, there used to be some fences around the park because of the construction work that was eventually stopped, but these were also stolen. According to Archibald Dlamini, people from the neighborhood started about two and a half years ago, and the last piece was stolen near the end of 2009 . Sometimes he would catch someone with a roll of fence, and then use it for his own cottage. According to the official website of the City of Johannesburg, a statue of Tsietsi Mashinini by Johannes Pokhela was revealed on June 16, 2010 , “Youth Day.” According to Shirley Makutoane, deputy principal of Isaac Morrison High School, the statue of Tsietsi Mashinini, funded by the June 16 Foundation, has temporarily been placed within the school perimeter. The statue will be moved to the Memorial Acre when it will be finished, in 2011 . According to Brian Mokhele, beside the June 16 Foundation, there is also a June 16 Memorial Acre Foundation. Both foundations are quarreling about the money involved in the Memorial Acre project. Nobody knows who’s involved in them. According to Marcus Neustetter, the June 16 Foundation consists of people that were part of 1976 protest movement, local government officials, representatives of the Hector Pieterson Museum, and the council. According to students from the Isaac Morrison High School, the statue of Tsietsi Mashinini is on the school ground because on the Memorial Acre it would be vandalized by youths from White City, an adjacent neighborhood. Accorcing to Brian Mokhele, the statue of Tsietsi should eventually be mounted on the Memorial Acre. It is wrong that the statue is in the school at the moment, because it is not a public school. He wants the statues to depict the massiveness of the force that was coming into Soweto after the protests. According to Brian Mokhele, City Parks, City of Jo’burg, City Lights, and SAPS are making some sort of plan to take the plan back. They want to remove the trees from the Memorial Acre, and redesign the Memorial Acre into a relaxing park, without political content. They want to depoliticize the square. In doing so,they will have their own employment and not use local workforces. According to Brian Mokhele, the community wants to remove the monuments, amphitheater, and sculptures from the Memorial Acre because they do not resemble anything. The sculptures should be depicting the truth of what happened, because the Memorial Acre is a political heritage site. He wants to involve the people that actually participated in the struggle to make the monument so that everyone can enjoy it and get a better understanding of the struggle heritage. Therefore, he proposes collective ideology in which everyone has a say. This would prevent future vandalization of the monument. According to Pat Motsiri, the sculptures must depict the event around June 16, 1976. Like the story of Dr Edelstein, who was pierced by pickaxes, forced into a garbage bin and burned alive. According to Jonas Staal, the Memorial Acre should be destroyed, its elements stacked on pallets, thus forming the Monument for the Distribution of Wealth . According to Mafaisa, his men can do the work quickly. He has about twenty men working under him. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 521-524 [Access article in PDF] Andrea Capra. Il "Protagora" di Platone tra eristica e commedia. Il Filarete: Pubblicazioni della Facoltà di Lettere e Filosofia dell'Università degli Studi di Milano, 197. Milan: LED, Edizioni Universitarie di Lettere Economia Diritto, 2001. 237 pp. Paper, 22.72. This is a book of two halves and Two Parts, perhaps, respectively, "literary" and "philosophical": one primarily concerned with the (...) form of the Protagoras, the other more concerned with the dialogue's argumentative content and context. More helpful, however, is the author's own subtitles for the Two Parts: "Plato 'persuades' his audience" and "Socrates 'persuades' the sophists." Capra is admirably conscious throughout of the need to distinguish between what Socrates is saying and what Plato is trying to achieve through what Socrates is saying; between the audience for whom the written artifact is composed, on the one hand, and the fictional audience that the character, Socrates, is addressing, on the other. Plato—so Capra claims—has constructed a dialogue for hearers or readers who would have been thoroughly familiar with the dramatic theater and its conventions and who would immediately have recognized the allusions to comedy in setting, action, even characterization. Why construct a dialogue in this extraordinary fashion? No other dialogue is so constructed, even if there are comic touches in many. Here is one of the most interestingly worked parts of Capra's overall thesis: It isn't just any comedy that the Protagoras resembles—it's the Clouds, which figures so centrally in Plato's account of Socrates' accusers in the Apology. Only everything is turned upside down, so that it's Socrates who's outside (the right side?), the sophists inside (the house of Callias), whereas in Clouds, it was Socrates inside (the phrontisterion/pensatoio), and Socrates was a sophist. So here is Plato, as it were, talking over the heads of his characters and replying to Socrates' critics by turning the tables on them.But that is only half of the picture, half of Capra's book (or a pretty inadequate description of half of the book), and, of course, rather less than half of the Protagoras itself. What about the conversation between Socrates and Protagoras that occupies by far the largest proportion of the pages? To say that it resembles a comic agon is of course only a beginning; if it is to be an effective riposte to Aristophanes and to those jurors he so fatally influenced, then Socrates has to win. And that, of course, he does hands down. But then we have the problem, or rather Capra has the problem, that he seems to win by taking over [End Page 521] the very method that his sophistic opponents use, i.e., eristic; and this is bizarre, given the way that the opening dialogue between Socrates (or Strepsiades) and Hippocrates (or Pheidippides) in Socrates' house emphasizes the distance, and difference, between what Socrates has to offer and what his opponents offer. What is afoot here? Capra's answer is that crossing the threshold of Callias' house, into the company of Protagoras and the rest, is like the philosopher's descent into the Cave in the Republic. Being with the prisoners, Socrates takes up their methods, their ways of doing things. But he has no option but to do that with an opponent like Protagoras in the other corner, for Protagoras denies the very basis of Socratic dialectic. There is, for him, no such thing as science, no such thing as objective knowledge; Socrates is therefore forced to fight by Protagoras' rules to get a grip on him at all. What emerges, paradoxically, near the end of the dialogue is the requirement—even on popular (the prisoners' own) premises—for a measuring art, which makes measuring not the prerogative of each and every Protagorean individual but rather a matter of technical expertise. And so (according to Capra's argument) we arrive back at that very realm of knowledge, which in the Republic is the means by which we shall raise... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.1 (2002) 1-34 [Access article in PDF] Ninagawa's Production of Euripides' Medea Mae Smethurst [Figures]The Japanese theater director Yukio Ninagawa, known for expressing his opposition to repressive politics in his productions during the 1960s, claimed that he staged the Medea because he wanted Japanese women to know that they could be as strong, as straightforward, as the character Medea. Japan, which has been the largest (...) consumer of his Medea, was and still is a male-dominated society. According to Ninagawa, it is a country in which for a woman to be demure and weak is considered a virtue. 1 And yet, if you look closely at Euripides' Medea you might conclude that Medea, although strong, is not an ideal role model for women. 2 (This was the view of Leda Geh of the Singapore Sunday Star, who reviewed Ninagawa's production in 1992.)Ninagawa's Medea was enormously successful. It ran for more than 250 performances in Japan, in other parts of Asia, and in the West, even though all the performances were in the Japanese language. Between the first productions of the Medea in 1978 and the latest in 1999, Ninagawa played to oversold, sold-out, or virtually sold-out houses in Tokyo, Osaka, and Nagoya, as well as in smaller cities throughout Japan. 3 The 1993 [End Page 1] production in Tokyo had a three-night run, in a theater with a capacity of eight hundred seats, which was on average 84 percent filled. 4 During a second tour to Athens in 1984, over a two-night run at the Herodes Atticus Theater (which has a capacity of six thousand people), fourteen thousand attended the performances. According to the producer Tadao Nakane (whom I interviewed in Tokyo on 15 March 1999), the audiences, including those sitting on the sides of the Acropolis, applauded so long and hard that tears came to his eyes. 5 In London, in 1978, Tokusaburo Arashi's performance of Medea brought him a nomination for an Olivier award 6 and, in the fall of 1999, Ninagawa served as the first non-English-speaking foreign director of the Royal Shakespeare Company's production of King Lear. Given these and other successes, it is clear that Ninagawa was able to bridge the gap between the West and East, on the one hand, by appealing to Western audiences with his Japanese productions and, on the other, by bringing a Western play to Japanese and other audiences.In this article I will consider how Ninagawa was able to take this ancient Greek tragedy and make it popular, not only with other Asian or non-Japanese audiences but also with those in Japan. He based his Medea on the poet Mutsuo Takahashi's 7 line-by-line adaptation of Euripides' [End Page 2] Medea. Not all of Takahashi's lines are used in each production; however, Ninagawa's productions of Medea, like his production of Oedipus the King, do adhere to the words of the text much more closely and fully than do Tadashi Suzuki's Bacchae or Trojan Women. Ninagawa infused his productions of the Medea with a very strong Japanese presence, consisting of elements drawn from Japan past and present. And it is these elements that I believe have helped ensure his success with Japanese audiences who (like us) bring their own cultural baggage to the theater.To demonstrate the Japanese content of the productions, I draw on a live performance of the Medea that I saw in Tokyo in 1993 and on my translations from the Japanese of both Takahashi's adaptation of Euripides' text and Tange Kazuhiko's translation from the ancient Greek. 8 I also draw on programs, playbills, the published notes of Ninagawa, and videotapes of productions. I hope to show how Ninagawa infused the Greek tragedy with a Japanese presence in the Tokyo production of 1993 and to note how that production differed from the version of his Medea performed in Athens in 1984. I place the Tokyo performance within its cultural context by pointing out the Japanese elements... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BreathingLuk Van den Dries (bio)This text, "Breathing," was conceived for the book From Act to Acting: Fabre's Guidelines for the Performer of the 21st Century (2021). The book was conceived and designed by Jan Fabre, author, theatre artist, and visual artist, active since the 1970s. The book was written by Luk Van den Dries, dramaturg and theatre researcher of the University of Antwerp, in tight collaboration with (...) Jan Fabre and the three most important performers/teachers of the Belgian theatre company, Troubleyn (Annabelle Chambon, Cédric Charron, and Ivana Jozic). The book sheds new light on the physical, mental, and vocal training of the performer and furthermore gives insight into Fabre's revolutionary thoughts on contemporary theatre.1Breathing is the first of the ten performative principles that together create the basic grammar in which the language of the performers is grounded.Three-phased breathing (one part in, one part out, one part nothing) is a basic condition in the series of exercises Jan Fabre developed throughout his career. This respiration technique returns in all exercises. Also, it is the first principle that the performers are taught: by dividing breathing into three equal parts, energy is built up and stress or fatigue is canalized. It is a way to rebalance, to find a place of rest after a strenuous effort, or it can also be used as a springboard to a heightened performance. Very regularly during individual exercises, Fabre will refer to this respiration technique, especially in specific situations of high adrenaline, but of course the performers should learn to use this respiration technique autonomously. They should become so familiar with the rhythm of this breathing that they automatically fall back on it when necessary. Because this respiration technique is so crucial to Fabre's acting pedagogy, it is described in detail as the very first exercise in his book. Its basic principles are explained below as well, as the first performative principle.Breathing is a sign of life, and on this primal and essential level it needs to be understood that, through breathing, the performer gives life. He breathes life into the performance. Fabre himself has described this basic condition for the birth of theatre through breathing very precisely: [End Page 30]The most important weapon of the warrior of beauty is his respiration. When the performance starts, life stops. Life itself dies. The warrior of beauty is alive, but life itself is dead. The warrior of beauty remains with just his own breath. When he enters the stage, he needs to breathe life into deceased life. Like a god gives his breath to create life. In the same way he will create life with his breath. How will he achieve this? By breathing correctly: one-third inhaling through the nostrils, one-third exhaling through pursed lips, one-third without breathing. And then the miracle happens. The breath becomes imagination and the imagination breathes. The warrior of beauty is the master of breath and life.2Fabre's abdominal breathing differs from regular forms of breathing, such as techniques derived from Asian yoga techniques, Chi-kung or Tai-chi, as it stresses different parts. At the same time, it is closely related to it, because these practices also adopt the notion that breathing in the first place rouses vitality and spirit and that the right kind of breathing thus aims at controlling life currents and bringing about a clear mind. In yoga it is called pranayama: prana meaning spirit or force of life, ayama meaning 'control' or 'grasp.' Yoga knows many variants in directing the breath, depending on the asanas (yoga postures) in which they are bedded. Sometimes focusing mainly on the diaphragm and the flanks, sometimes on abdominal breathing. Also, suspending your breath (kumbhaka) is a yoga technique, applied at the end of inhalation as well as after exhalation and during taking breath.In Fabre's case, abdominal breathing is stressed: first, air is inhaled through the nose, subsequently sent in the direction of the peritoneal cavity and the flanks, and then again exhaled via a very precise blowing technique (a dosed flow of air through an imaginary straw). During the cycle the diaphragm remains... (shrink)

Reconciliation is one of the greatest challenges in Colombia’s postagreement scenario. This paper will focus on the case study of “Victus”, a theatre company, composed by victims and former combatants of various armed groups. It will sustain that this artistic experience configures a “micro-laboratory” of reconciliation in which a common space of interaction allows actors to transcend the borders of the armed conflict, to humanize the “other”, and to generate multiple processes of transformation and peacebuilding.

"This volume explores what it means for applied theatre practice to be conducted in an ethical way and examines how this affects the work done with communities and participants. It considers how practitioners can effectively balance aesthetics and ethics in the process of creating performance, particularly with relatively inexperienced and often vulnerable groups of people who are being asked to both tell and stage their stories. While Part One offers an overview of critical debates and the editors' reflections on (...) their own practice, Part Two presents a range of international case studies that explore how the theories and issues are worked out in a variety of diverse practices. The two sections bring together both theoretical and practical ways for theatre-makers to examine the ethics of their applied theatre projects. In Part One, readers are presented with a critical introduction to ethics in applied theatre practice, informed by the thinking of philosophers, scholarly literature on applied theatre, and the editors' own experience, as they consider the question - What is the good? For practitioners working in the field of applied theatre, it provides recommendations for community-based ethical approaches working with principles of voice, agency, collaboration, relationality and reciprocity. Part Two presents a range of international case studies that consider ethics from varying critical perspectives and contexts, including projects in Australia, Nigeria, Sri Lanka, Bangladesh, the United Kingdom, and Canada. Covering work with participants of many ages, from children to seniors, the case studies include indigenous perspectives on a language revitalization project with the Hul'q'umi'num' people of British Columbia; the work of a professional dance theatre company working with addicts and people in recovery; interactive drama used in an educational context in Nigeria, and applied theatre projects in situations of trauma with refugees on the Greek island of Lesbos, among others"--. (shrink)

Consciousness is known by the company it keeps. Story is its constant companion. This is the case even when it addresses itself to itself and says what it sees. It is like the pilot of a ship in one tale, but a thinking "I" in another. It is a theater where perceptions come and go, or an aviary where thoughts fly in and out like birds, or a stream. It is the manifestation of an immortal soul, or perhaps the (...) first rumor left behind by the disappearing soul on the air of philosophy. It is an ineffective nothing, a lyric cry in the midst of business, or the whistle of a steam engine. It is a mill, a tablet written on by experience, a telephone switchboard, a hologram, a computer. Anciently and most pertinently here... (shrink)

This article theorises the process of adapting my research on intercultural communication for public performance in collaboration with a theatre company. I frame the collaboration as taking place within a hospitable institutional space, and then consider what it means to enact hospitality interpersonally, given Derrida's understanding that the condition of its possibility is at the same time the condition of its impossibility. I suggest that the enactment of hospitality can be understood through the application of an intercultural theoretical (...) framework based on Mikhail Bakhtin's concept of outsideness, and that this framework can be applied to both the collaboration with the theatre company and to the purposes of public engagement with research. I conclude with a consideration of the relationship between hospitality and hope, and a call to move towards a ‘condition of possibility’ for working as academics, for public engagement, and for living. (shrink)

This chapter contains section titled: The Case of the Culturally Lethargic Company Broader Implications of the CLC Problem The “Imputationalist” Solution Solving the CLC Problem without Resorting to Imputationalism Full Appreciation of a Theatrical Performance and the Detection of Theatrical Failures.

This chapter offers an interpretation of the integrated dance theatre of the Restless Dance Company as involving a process of turning away from the determinations of intellectually disabled bodies in medical discourses using the Deleuzian concepts of ‘becoming’ and ‘affect’. It contends that bodies with intellectual disability are constructed through specific systems of knowledge and argues that performance spaces can offer radically new ways of being affected by people with disabilities. It also highlights the importance of Gilles Deleuze (...) and Félix Guattari's works in providing models for understanding minor or politically marginalised knowledge systems. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 122.4 (2001) 567-578 [Access article in PDF] Brief Mention Greek Tragedy Goes West:The Oresteia In Berkeley And Albuquerque Mark Griffith Aeschylus, The Oresteia, translated by Robert Fagles, directed by Tony Taccone and Stephen Wadsworth; Berkeley Repertory Theatre, 6 March-6 May 2001. Aeschylus, The Oresteia, version by Ted Hughes, directed by David Richard Jones; University of New Mexico Department of Theatre and Dance; (...) class='Hi'>Theatre X, 1-10 March 2001. Any opportunity to see a full-scale production of a Greek tragedy by a professional company is rare and precious, yet hedged with a certain anxiety. If things go well, the combined resources of designers, director, actors, and theater space promise to reveal things we had never previously imagined about a cherished text. But there are many ways for a production to go wrong, many obstacles to overcome in transposing the verbal, visual, and musical complexities of an Aeschylean drama into a modern idiom and context. Indeed, the more deeply committed we are to the idea that these plays depend upon live performance for their fullest effect, the more anxious we are likely to feel about seeing anyone try.In these days of videos and the Internet, fans of Greek tragedy can inform themselves far more extensively about previous productions and alternative performance styles than was possible even twenty years ago. Back then (as in the distant pre-phonograph days, when even an avid concert-goer might only get to hear her/his favorite symphony performed by a full orchestra a handful of times in a lifetime and had to be content otherwise with piano transcriptions and the printed score), we had only books, still photographs, and newspaper reviews. Nowadays, when teaching a course on Greek tragedy, one can expose students in quick succession to several radically different acting styles and directorial approaches; even a five-minute video clip of (e.g.) the Peter Hall/Tony Harrison [End Page 567] Oresteia or Julie Taymor's staging of the Stravinsky-Cocteau Oedipus Rex can immediately demonstrate to even the most inexperienced viewer how many more dimensions of meaning and emotional range reside in a tragic script than are evident on the printed page, or than can be conveyed by ordinary speech and "naturalistic" acting. Furthermore, as Helene Foley has recently remarked, the last twenty-five years have witnessed a veritable "deluge" of productions of Greek tragedy in all kinds of styles, all over the world. Indeed, it may be said that scholars, students, and audiences are in a better position these days to sample and critique the possibilities of Greek tragedy in performance than at any time since antiquity. 1The Oresteia has fared particularly well. Since the 1980s, in addition to the distinctive and internationally acclaimed productions of Peter Stein, Peter Hall, Karolus Koun, and Ariane Mnouchkine, several others have been mounted in London, New York, Epidauros, and elsewhere. And this spring brought two new productions to the American West, with an interesting and adventurous low-budget version at the University of New Mexico, and a full-scale professional production in Berkeley. The two were strikingly--and instructively--different.The Berkeley Repertory Theatre (BRT) was founded in 1968 by graduates and ABDs of UC Berkeley's Ph.D. program in Dramatic Art, as an alternative to a perceived blandness of mainstream Bay Area theater. A College Avenue storefront was converted into a 153-seat house, in which for several years enterprising and varied seasons were presented (including productions of Sophocles' Elektra and Antigone). With critical success and a growing reputation came the need for a bigger and better space, and in 1980 the company moved to a new building in downtown Berkeley, with a 450-seat thrust stage. Over the last twenty years, the BRT has built a national reputation and a solid subscription base (mainly upper-middle-class, well-educated, and liberal), with annual seasons that alternate original productions with imports from elsewhere. It is no [End Page 568] longer a "repertory" company (there are virtually none of these left in the United... (shrink)

I. We know fairly well how the City Dionysia at Athens was celebrated in classical times. But although the numerous dramatic festivals of the Hellenistic period were in many respects modelled on the Athenian Dionysia, it is not clear how the performances at these festivals were organized. The difficulty arises from the fact that apart from a few great centres which may have had their own theatre production, playwrights, actors, etc., the majority of cities depended on the travelling of (...) Dionysos’.1 It seems that the of Dionysiac artists were formed early in the third century. Three major Dionysiac associations—the Athenian, the Isthmian and Nemean, and the Ionian and Hellespontian—operated in Greece, Asia Minor, and the islands in Hellenistic times. The question is how these associations functioned. Were they theatrical companies as well as professional guilds? Did they undertake the organization of musical and dramatic performances at various festivals? Was there a division of territories between the and were certain festivals dominated by certain guilds? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning in Dramatic and Virtual Worlds:What Do Students Say About Complementarity and Future Directions?John O'Toole (bio) and Julie Dunn (bio)A top financial backer has arrived to determine which team of computer interaction designers has developed the most exciting and innovative proposal for the Everest component of the Virtually Impossible Computer Company's Conquerors of the World Series. Tension is high as the presentations begin, but this tension soon turns (...) to outright conflict as some proposals suggest George Mallory as the conqueror, and the financial backer will have none of him. The backer, it seems, has her own agenda and is determined to allow for only one view of history—the one that records Sir Edmund Hillary as a New Zealand hero and the only real conqueror of the tallest mountain on earth. The designers become more and more agitated until suddenly someone bangs their hand on the table and calls out, "Hang on... just because you've got the money doesn't mean... kids need to learn about both these men... they need to learn about history." With that the drama is cut by the teacher. The deep understandings about "history's purchased page" that can be generated when drama and computers are brought together for learning have been made explicit... but could these same outcomes have been achieved using just one of these approaches?IntroductionThe research explored within this article was generated as part of the Media Station, a project funded by the Australasian Collaborative Research Centre for Interaction Design (ACID), with an overall mission to investigate the potential of massively multiplayer online games for learning. This particular subproject, History's Purchased Page, saw researchers from interaction design [End Page 89] and drama education come together with a group of young learners to investigate their perceptions of the complementarity of computers and live classroom drama and to brainstorm future possibilities for applying computer-based technologies to drama-based learning. We sought to discover the following:• What do young learners say about how they experience and value learning in a context involving a combination of drama and computers?• What ideas do these young learners have about how future technologies might enrich the complementarity of this combination?As the drama researchers involved in this project, we had been experimenting with this perhaps slightly unusual combination for over a decade by incorporating computers into a number of our drama units within our primary textbook Pretending to Learn.1 Our goal in these experimentations had always been to enrich the classroom drama experience by taking advantage of the information capacity of the Internet and other computer-based resources, including databases. For example, we had used The First Fleet Database2 to support a drama unit where the learners take on the role of convicts arriving in Australia in 1788. We discovered that this material, combined with other documentation and historical materials available via the Internet, greatly enhanced not only the historical accuracy of the work but also the level of engagement experienced by the learners when in role. Therefore, we were very keen to extend this work by exploring new possibilities and were especially keen to develop a better understanding of what the learners made of this interactivity.In recent years the partnering of these two quite different approaches to learning has developed quite a research following, and a number of drama teachers and researchers have become interested in the complementarity of these ways of learning.3 At the same time, researchers and designers from the field of computer-assisted learning have also noted these connections. This goes back to the work of Brenda Laurel, who first drew attention to the intriguing links between computers and theatre in her now famous text Computers as Theatre.4 With the rapid growth of interactive learning tools such as 3-D immersive worlds, blogs, and online voice and text chat spaces, the opportunities for exploration of these connections have also grown, with each of these offering exciting new possibilities when used in conjunction with the highly interactive and engaging strategies of process drama.Process drama is a way of group learning, through whole-class improvised drama, with students (and sometimes the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Drama in Aesthetic Education:An Invitation to Imagine the World as if It Could Be OtherwiseFlorence Samson (bio)Maxine Greene, philosopher-in-residence for the Lincoln Center Institute (LCI), suggests that through aesthetic education "new connections are made in experience: new patterns are formed, new vistas are opened. Persons see differently, resonate differently." As Rilke wrote in one of his poems, and as quoted by Greene, "they are enabled to pay heed when (...) a work of art tells them, 'You must change your life.'"1 Greene interprets Rilke's words to mean that "a work [of art], when fully perceived and carefully attended to, makes a demand upon beholders—a demand that they change, look with new eyes, hear with new ears, become something they have not been before."2 Greene believes that "the perceiving, the noticing [about which Rilke spoke] are enhanced," for in the process of "[o]pening ourselves as perceivers to the work, entering into it kinaesthetically, we free ourselves to grasp it in its vital fullness and complexity."3This life change, to which Rilke refers, occurs as we take into our own being the experiences of others and realize that not everyone sees the world as we do. As we look critically at ourselves and our complicity in situations that position people as "other," we are moved to imagine that the world could be otherwise.Curriculum, Change, and Aesthetic EducationAesthetic education, an inquiry-driven engagement with a work of art, can be a catalyst to bringing about change. The aesthetic education experience consists of a number of components. LCI agrees upon a repertoire of "works of art" deemed likely to fulfill the requirements of engagement and inquiry. These may include, but are not limited to, music, drama, and opera performances, and mask, photo, and art exhibits. For each work of art, the LCI [End Page 70] researchers and other staff prepare a resource binder, entitled Windows on the Work. The teacher educator has several meetings with the teaching artist assigned to that work to develop the questions that will power the inquiry process, determine the structure and activities of the pre- and sometimes post-performance classes, and guide the students in their engagement with the work of art.I have included an aesthetic education experience program each term in my graduate and undergraduate elementary and early childhood education courses. My course outlines describe this component and the related student assignments. For the fall 2004 course, I chose Ping Chong's Secret History: Journeys Abroad, Journeys Within.4 This drama documentary, written and directed by Ping Chong and Leyla Mordirzadeh in collaboration with Sara Zatz, was directly related to one of my course goals—teaching for equity and social justice. This involves providing teachers with opportunities to "engage in productive dialogues about both inequities and possibilities for social reconstruction in the communities within which they and their students are developing."5Ping Chong & Company was founded thirty years ago "to create innovative works of theatre and art that explore the intersection of race, history, culture, and technology in the modern world."6Ping Chong, Insider/Outsider, and His Approach to TheatreCanadian-born and New York-reared Chong—theatre director, choreographer, and video and installation artist—is "fascinated and disturbed by the position of the outsider, the person made to feel 'other' in a society" and "probe[s] the drama of those pushed from one culture to another."7 He has done extensive research on both immigrants and refugees and recognizes that there is a psychological difference in the trauma experienced by members of both groups in the transition from one culture to the other.Chong's unique "talk, reveal, and seek to understand" approach to theatre "moves us toward unification, toward diminishing the barriers between peoples, and thus toward embracing all that is good in civilization."8 His work is grounded in his experience of sharing a common ethnicity and language with his community in Chinatown and occupying the position of "other" as the only Chinese student in his high school. Because of his experience of being "other," Chong has "a real kind of empathy and connection" with his projects.9 He considers... (shrink)

I have a painfully vivid memory of performing the Venezuelan choreographer Vincente Nebrada’s ballet Pentimento.After graduating from high school at age 15 and before entering college, I spent a number of years working as a professional ballet dancer with North Carolina Dance Theatre , among other companies. I was a new member of North Carolina Dance Theatre, and although the company had presented the piece on a number of occasions, this was the first time the director was (...) watching from the audience rather than the wings. In the middle of a pas de deux, I choked big time and blanked out on the choreography; try as I may, I could not remember a single step. My partner, who had been with the company for years, knew what was going on and manipulated my limbs until something clicked and I was able to find the choreography again. Following the performance, when we gathered onstage for notes, the director was so appalled that the only comme .. (shrink)

This article addresses the pedagogical practices of the Worshipful Company of Barber-Surgeons of London during the seventeenth century. As artisans—trained by apprenticeship—their teaching and learning was embedded in the embodied actions performed in their anatomy theatre. The Barber-Surgeons held regular public anatomies for the benefit and ‘greater learning’ of the masters and apprentices of the Company, performed on the bodies of up to four felons per annum granted to them by the sovereign. The space in which these (...) anatomies were performed and the practices by which that knowledge was imparted, shaped the ways in which the human body was understood—in a slow and uneven process—by which the body was subjected to a process of abstraction. (shrink)

Interactive media arts offer us new approaches to the role of theatrical representation. Nowadays, digital technology allows us to explore self-representation in systems that cross over between installation art, theatre and performance. By confronting the subject with his or her own image, these devices question the mechanisms of identification and denegation. Both the theatrical creations and the interactive forms that are examined here invite the spectator to explore the relationship between identification and denegation. All the artistic productions that are (...) studied in this article call for a virtual double that the immersant meets: Liquid Views (1992) and Rigid Waves ([1993] 2008) by Monika Fleischmann and Wolfgang Strauss, Telematic Dreaming ([1992] 2007) by Paul Sermon and Eux (2008) by the Crew company and Sensorama (2009) by the Andwhatbeside(s)death company. In all of these artworks, the participant is encouraged to give less importance to his or her cognitive senses in order to allow his or her sensations to create a representation of himself or herself. The overlap between identity and otherness is therefore to be found at the very heart of the sensitive body. (shrink)

This paper argues that there is a relationship between the structure of live theater and the question of whether human beings have free will, and that the practice of live theater and the pursuit of philosophical certitude regarding free will are both constructive human experiences coalesced around roughly the same set of sensations.

"2009 realisierte [Jules Spinatsch] im Rahmen seiner "Surveillance Panorama Projects" während des Wiener Opernballs ein riesiges Panorama, das aus 10 008 Einzelbildern besteht. Zwei computergesteuerte Kameras nahmen diese vom Einlass der rund 7000 Gäste um 20:32 Uhr bis zum Ende des Balls um 05:17 Uhr auf. Das Sittengemälde aus chronologisch zusammengesetzten Fragmenten des umtriebigen Gesamtgeschehens zeigt eine ganze Reihe fotografischer Genres: Porträts, Stillleben, filmische Szenen und Paparazzi-Schnappschüsse.... Das Opernball-Panorama führt die Fotografie als Medium der Dokumentation, aber auch Überwachung vor Augen."--P.5 (...) of v.3. (shrink)

In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...) doing philosophy. This strange and elusive book introduces the difficult and counter-intuitive notion of repetition. Repetition is a category of performativity that aims to activate the subjectivity of the reader. This performative effect is achieved by confronting the reader with an “unresolved”existential problem that is not yet drawn into clarity but is staged in all its confusions and contradictions. Kierkegaard’s pseudonym Constantius relies here on a performative writing strategy that is animated by a dialectic of advance and withdrawal. In the last and third step, I will analyze Constantius’s own reflection on the performative dimension of his text. Constantius has left several clues behind, each of which suggests that he deliberately developed a performative writing strategy. (shrink)

Table of Contents: Illustrations Acknowledgments Conventions Introduction 3 Ch. 1 Kinds of Natural Philosophy 14 Ch. 2 Methods of Bookishness 49 Ch. 3 Modes of Argument 82 Ch. 4 Bodin’s Philosophy of Nature 116 Ch. 5 Theatrical Metaphors 153 Ch. 6 The Reception of the Theatrum 180 Epilogue: The Legacies of the Theatrum 225 Notes 233 Bibliography 331 Index 369.

The notion of implicature has been a matter of discussion since Grice put it forward. He proposed a schema to explain how implicatures are generated and inferred, but the key condition it contains has been surprisingly overlooked. Davis detected it and named it determinacy, though for him this requirement raises several problems that make the whole Gricean theory of implicature untenable. I claim that, although the determinacy condition is flawed, it still captures a crucial mechanism of how implicatures are interpreted. (...) I attempt to recover this requirement under the relevance theory approach and show that, unlike the determinacy condition, the strength condition does not face the problems Davis formulates. Keywords: implicature, determinacy, strength, Cooperative Principle, principle of relevance, Gricean theory, relevance theory. (shrink)

Diet directly affects children’s physical and mental development. Nonetheless, how food insecurity and household food consumption impact the cognitive performance of children at risk of social exclusion remains poorly understood. In this regard, children in Guatemala face various hazards, mainly related to the socioeconomic difficulties that thousands of families have in the country. The main objective of this study was to analyze the differences in cognitive performance considering food insecurity and household food consumption in a sample of rural and urban (...) Guatemalan children and adolescents at risk of social exclusion. Child cognitive performance was assessed in 134 children and adolescents from rural and urban settings. Language, attention, and executive functions were assessed using neuropsychological tasks. Differences in cognitive performance in each level of food insecurity and household diet consumption were compared using the Mann–Whitney U test. A stepwise multivariate regression analysis was conducted to determine which factors may influence cognitive scores. The results showed that rural and urban groups did not differ in terms of food insecurity. However, considering just rural areas, differences were found between groups with food security and insecurity in attention and executive function tasks. Moreover, differences were found in food consumption for certain groups of food. Regarding regressions, protein food consumption, which is related to having a more balanced diet, was a relevant factor in executive performance. Contrary to what we expected, performance in attentional tasks was not related to the consumption of any food group. These findings could help politicians and decision-makers to select actions focused on improving diet balance and food security in families at risk of social exclusion. It is necessary to carry out more specific studies on the factors related to diet that affect the cognitive development of minors at risk of social exclusion. In addition, it is necessary to study the implementation of alternative interventions that include low-cost nutrients, thus ensuring that minors have access to a more balanced diet. (shrink)