Director Production Research Articles

Features of the specificity and uniqueness of the contemporary Canadian Cirque du Soleil in the context of circology research

The statement of the problem in the article determines the specificity and uniqueness contemporary Canadian Cirque du Soleil in the context of circology research under the terms of this. The purpose of the study is to determine the specific features of the robot, staging theatrical circus performances, as well as the uniqueness of this company today among other circus structures. The state of research on this issue in the scientific literature on circus genres is analyzed. The specific features and genres of circus juggling are characterized. The historical characteristics and features of the demonstration of Canadian Cirque du Soleil circus shows to the audience are highlighted.
 The article defines the characteristic features of formal technical means in the architectonics and directing of circus genres, as well as their embodiment in the stage representation of theatrical circus show programs.
 The research methodology is based on the application of an integrated approach to the study of the circus culture of related arts. In addition, methods are used – empirical, descriptive, general scientific, as well as methods of comparative analysis and synthesis. The article provides a brief analysis of the studies of predecessors on this issue in the context of history and circus performance. The specificity of the artistic and applied features of the director's production of contemporary Cirque du Soleil today, which contributes to the attractiveness of the perception of the viewer today, is described. And also, a demonstration of the uniqueness of circus genres and techniques: vaulting acrobatics and eccentricity, juggling with diabolo, antipode, air flight, air belts, clowning, vocals, contemporary choreography with a high level of theatrical acting, pantomime and plastique.
 Contemporary Canadian Cirque du Soleil today is a unique example and synthesis of the interaction of stage genres, namely the contemporary conceptual circus (without animals), theater and performance, ballet, as well as demonstrations of the latest pyrotechnic and computer technologies, materials, forms, structures and devices.

Directing Ballet Performances on Stage and Screen

The purpose of the article is to outline the problems of directorial skill in the adaptation of the most famous ballet productions on the screen and to define scientific guidelines that will contribute to the comprehensive study and analysis of the phenomenon of ballet directing in the audiovisual space. Research methodology. An interdisciplinary approach based on the use of a number of general scientific methods was used in the study of the issue, in particular: a system of theoretical methods (induction, deduction, identification, complex art analysis, and synthesis), which made it possible to study the historical and factual basis of the implementation of ballet productions on stage and screen. The methods of systematisation and generalisation came in handy for arguing the originality of ballet directing in the context of screen arts. The typological method made it possible to consider common artistic principles in the creative pursuits of masters of screen and stage art. In addition, analytical and systematic methods have been applied in their unity, which is necessary for the study of the art history aspect of the problem. The scientific novelty of the study consists in the definition of directing as a universal and multi-vector type of artistic-aesthetic and creative-production activity; in clarifying the mutual influence and mutual enrichment of the stage and screen arts in the use and development of director's production tools; in the determined specifics of the director's work in the process of screen adaptation of works of ballet art in cinematographic and television productions, which became the subject of a special study for the first time; in revealing the original principles of the construction of screen works based on well-known ballet productions. Conclusions. It has been proven that screen directorial work contributes to the popularisation of both ballet productions and the creativity of ballet masters and ballet performers, refuting the sometimes-irrevocable judgments of practitioners and theoreticians of cinema and television about the threat of the intervention of stage culture in the screen space as a destructive factor.
 Key words: directing, screen arts, ballet, directing tools, stage production, choreographer, television.

Colacasia Plants Used Treat Waste Water from Homes

One of the low-cost wastewater treatment options is Root Zone Technology. We can treat non-point sources effectively, with the help of this method. To achieve this purpose, trailed by the source area bed, we must distinct non-point bases into created channels inside the river bank, or if the non-point bases are natural nulls, we are able to deliver this system through their channel. We set up a channel on which I created a source area bed and conducted a laboratory examination the director's production on a variety the factors. The two parameters for which channels must be built are flow rate and detention time. As a result, I'm adjusting the flow rate to see how the parameter changes over time. When we obtain the best result with the most flow, we say we've optimized. For the three-day, seven-day, and twenty-one-day detention periods, I received satisfactory results. Using this information, I created a root zone bed system for the identified actual domestic sources.

O lado bricoleur de Pedro Costa

Neste artigo, analisa-se a evolução do método de filmagem do cineasta português Pedro Costa. Grande admirador do movimento punk dos anos 1970, Costa não esconde a influência que o movimento exerce no seu modo de fazer cinema. A partir da ideia do DIY – do it yourself – o diretor torna-se um bricoleur ao se utilizar da técnica da colagem na realização de seus filmes, principalmente na pré-produção. Trata-se aqui da bricolagem enquanto técnica. Desde O Sangue (1989), primeiro longa-metragem de Costa, até Cavalo Dinheiro (2014), o processo de produção do diretor tem progredido em direção a uma maneira de filmar própria e que cada vez mais se aproxima da Antropologia. O termo bricolagem surge consagrado na Antropologia por Lévi-Strauss, ao se referir ao pensamento mítico, contrapondo-o ao científico. No cinema, a figura do bricoleur é representada, especialmente, por Jean-Luc Godard. Procura-se ainda analisar as etapas em que consiste o processo de Costa, seu modus operandi, a partir do material extrafílmico que permeia sua obra, como suas entrevistas, escritas e o curso ministrado pelo diretor.

CAMPO MINADO/MINEFIELD: War, Affect and Vulnerability – a Spectacle of Intimate Power

This essay reflects on the different spectatorial, political, cultural, affective and bodily experiences of attending Lola Arias's MINEFIELD/CAMPO MINADO, both at the Royal Court in London and at a university auditorium in Buenos Aires. Drawing upon the 1982 Malvinas/Falklands War, the Argentine internationally recognized director's production featured six former soldiers who used to be enemies on the battlefield telling real stories about the conflict. Although there was almost nothing that could be called traditional theatre onstage, the production received standing ovations on both sides of the Atlantic. But what was applauded at the end of each performance? The audiences’ reactions, including my own, were very different at the two venues. I argue that Arias's production hinged upon a high-risk, highly exposed public encounter that envisioned a change of perspectives, not only for the ex-soldiers involved but also for the spectators. Rather than staging veterans as war heroes, Arias's social experiment exposed both teams on a common ground of vulnerability. MINEFIELD constructed a spectacle of intimate power that delineated a naked form of transnational citizenship.