Scenic Performance Research Articles

PROJECT “COMMUNICATION CAMPAIGN OF THE LNAA GALLERY”: PROMOTION OF THE ACTIVITY OF YOUTH ART SPACE IN THE 2020 REALITIES

The article deals with the specifics of the artistic structure of modern pop vocal performance in the dimension of art synthesis. The combination of tendencies to theatricalization and bringing the technical aspect of performance to virtuosity are singled out as the leading features of the relevant artistic practice. The author highlights the need for mobility, entertainment and competitiveness as prerequisites for the successful implementation of vocal performance in the modern context. The independence of each performance and the dynamics of repertoire change are analyzed as necessary elements of the artistic composition of this genre. Conciseness, thematic invention, and sharpened grotesqueness of stage image are also regarded as necessary tools to convey the artistic message of the performer and director to the modern audience. The lack of a mandatory methodological model for staging a scenic performance is revealed as a prerequisite for emphasizing the individuality of every artist.

CORPO EM PROCESSO CRIATIVO SEMPRE

Este artigo versa sobre o estudo do corpo e suas práticas somáticas e expressivas na pesquisa das artes da cena. Seu objetivo é o estudo o processo criativo do espetáculo “Não posso esqu cer”, XXXXXXXX, estreado em novembro de 2016, em Goiânia-GO. Os estudos do corpo e suas expressividades (sob a base da abordagem do Body-Mind Centering®) foram as práticas subsidiárias dos processos de criação, ensaio e apresentação do espetáculo em questão. O resultado do processo de pesquisa culminou em um espetáculo cênico realizado junto a uma árvore gameleira. O estudo deste processo criativo permite investigar alguns aspectos que configuram hoje a estética do teatro contemporâneo e da performance do ponto de vista do corpo do ator, refletindo acerca da diluição das fronteiras das artes.

Representation and the Internal View of the Instruments of Scenic Creation

Abstract The actor, through his/her memories, images and own representations, will confer the perfect resonance to his/her gestures and scenic actions. Linked to the performance, the representation, the mental images and the internal view give life, uniqueness, beauty and truthfulness to the part, construct the scenic imagery in an expressive and original manner. The actor, in his/her creation, uses on one hand his/her memory (sensorial, visual, auditive, gustatory, olfactive, kinesthetic, imagistic, voluntarily cognitive, involuntary and affective) and his/her past experiences and, on the other hand, sensations, perceptions, representations and reproductive imagination. Memory and imagination, the representations and mental images, thus become primordial tools in scenic creation, having the extraordinary power of updating on an intuitive level, relevant and significative, the actor’s experiences. If through memory the actor has the possibility of reproducing, evoking and experiencing sound, image, situations, spaces, circumstances and relations from his/her prior experience, through representations, images and his/her reproductive memory, he/she detaches him/herself from this concrete reality and is able to create a new world, imaginary and fantastic. The actor has to be aware of the tools he/she works with, has to develop his/her flexibility and the mobility of his/her imagination through the reconstruction and recombination of certain representations, by elaborating images: evoking an image, studying it in detail, completing, developing and direct influence of the image through subtle intervention, suggestion and collaboration, as to incorporate it in his/her scenic performance.

Профессиональная подготовка руководителей фольклорных коллективов к сценическому воплощению регионального фольклора в современной социокультурной среде

Профессиональная подготовка руководителей фольклорных коллективов к сценическому воплощению регионального фольклора в современной социокультурной среде

Профессиональная подготовка руководителей фольклорных коллективов к сценическому воплощению регионального фольклора в современной социокультурной среде

Профессиональная подготовка руководителей фольклорных коллективов к сценическому воплощению регионального фольклора в современной социокультурной среде

Symbolist Ideas in the Scripts of Gubpolitprosvet

During the period of the so-called Silver age of Russian culture, three outstanding translators of the Greek tragedy, Tadeusz Zieliński, Innokentiy Annensky and Vyacheslav Ivanov, put forward the idea of the third, Slavonic Renaissance – the new rebirth of Antiquity, with the leading role of the Slavic peoples, particularly the Russians. They claimed that while the first Renaissance was Romanesque and the second German (in the era of Winckelmann, Goethe and German classical philology), the third one was supposed to be Slavonic. In the early Soviet period, the idea of Slavonic Renaissance brought about some unexpected results, first of all precisely in the sphere of theater. The paper focuses on how symbolist ideas got to be expressed in the performances of classical tragedies. Ivanov authored the expression “creative self-performance” that later, in the Soviet era, acquired the meaning of “non-professional performance,” such as comedies staged by “sailors and the Red Army soldiers,” Adrian Piotrovsky’s “amateur theatre,” and the pioneer reconstruction of the scenic performance of Aristophanes’ comedies done by Sergey Radlov, Adrian Piotrovsky, and others.

« Ce n’est pas un livre, mais une pièce de théâtre… » : la lecture de Harry Potter et l’enfant maudit par les utilisateurs du réseau social littéraire Babelio

“It’s not a book, it’s a play… ”: Harry Potter and the Cursed Child Read by the Users of Babelio, a Social Network for Book Readers. On the 31st of July 2016, Harry Potter and the Cursed Child, a play written by Jack Thorne in collaboration with J. K. Rowling and John Tiffany, was performed for the first time at the Palace Theatre in London. On the same day, the bookshops of Great Britain were literally invaded by the young wizard’s fans, whom were curious to know what happens next to their favorite heroes. Thereby, The Cursed Child is a play, not only to be performed, but also – and mostly – to be read. Whereas the Theater Studies, at least in France, consider the drama text mainly as a scenic performance element and thus, limits the drama text reading to text analysis, the reception of Thorne’s play allows to ask about the possibility of reading the drama text as a self-sufficient fictional text and invites us to investigate the specificities of this kind of reading. In order to do this, I have analyzed three hundred Cursed Child readers’ reviews, which are located on the babelio.com website, one of the biggest French social networks for book readers. It appears that the Cursed Child’s readers tend to read that drama text by comparing it to the seven Harry Potter novels. The main two differences perceived within the scope of this comparison (and which the readers often tend to attribute to the dramatic form specificities) are the so-called lack of descriptions and the rapid reading rhythm. However, these differences may receive a completely opposite evaluation, depending on the reader’s openness to the dramatic form. In this way, for the “reluctant” readers, it constitutes an obstacle which prevents the fictional immersion and therefore the pleasure of reading, whereas for the “enthusiastic” readers, it allows them to go through a new and pleasant experience. Moreover, it is not unusual to see that the reading of The Cursed Child markedly reduces the reader’s reluctance towards the dramatic form. In fact, the reader reviews analysis proves that The Cursed Child text activates the reader’s imagination, regardless of his reluctance. Consequently, the Thorne’s drama example demonstrates that a drama text can be considered as a self-sufficient fictional text which is able to arouse the pleasure of reading and we can therefore conclude that the reluctance or the pleasure is led by the reader’s own readiness to accept the alterity of the dramatic form.

The Concert Performance as the Way of Vocal Training of the Student-Actor

The purpose of this article is to highlight the value of a concert performance as an important modus of vocal training of the student-actor.Research methodology. General scientific methods are used in this article: cognitive, analytical, psychological and comparative methods; special attention is paid to the music and psychological methods.Results. Mastering student-actors art of singing is based on the general level of their endowments in the music and artistic sector. The public performance as one of the types of vocal training contains rather high requirements to the performer, especially in the psychological aspect. At the same time the successful scenic performance provides considerable rise, first of all, in the art performing professional area. Forming the correct singing mindset, the preservation of a state «vocal and creative tranquility» have a crucial role in the setting of scenic nervousness, during the concert performance. Against the backdrop of a scenic stage the singer has to show the abilities concerning overcoming enormous nervousness. The basic in the solution for this problem is the following: systematic training and improvement of the vocal and artistic equipment of the student; a detailed preliminary work on the subject matter of the vocal work; the concentration on a music artistic image; good training of singing of the vocal work; first-hand practical experience of concert performances acquired by the student. During the concert performance the vocal skills acquired by the student and music artistry of the performance of works are shown, on the one hand; on the other hand — the experience of public music and artistic activities is acquired. Thus, the concert performance as a component of vocal training of students-actors, first, is an essential key for the successful mastering of vocal and performing skills, secondly, it provides a practical experience of a public vocal performance to future experts of theatre sector that considerably expands the possibilities of professional realization for the students.Novelty. The paper is the first attempt for the issue of using a concert performance as a way of vocal training of the student-actor; the most productive ways of overcoming onstage nervousness of the vocalist at the singing concert practice of the actor are highlighted.The practical significance. The article contains the information which is useful to Ukrainian vocal teachers concerning the development of vocal and scenic skills of students-actors in higher educational institutions.

Figuras palhacescas: um percurso até os palcos hospitalares

Este artigo busca investigar as figuras cômicas, em especial as palhacescas. Para isso, realizou-se pesquisa de natureza qualitativa, exploratória e bibliográfica, que tem em obras já publicadas - como livros, artigos e publicações online - suas principais fontes de pesquisa. Chegou-se à conclusão de que se pode traçar um percurso destas figuras aos palcos hospitalares, onde contemporaneamente geram novos saberes no campo da atuação cênica e de suas relações com o cotidiano.

CONSIDERAÇÕES SOBRE O CORPO MUSICAL

Neste artigo teço reflexões sobre o corpo musical, partindo das teorias do Gesto Musical. Para compreender o que seria um corpo musical, abordo conceitos das ciências cognitivas e do estudo do movimento, com o objetivo de problematizar as visões de corpo na música. A metáfora do corpo como instrumento é posta em discussão, a partir do momento que os estudos em Gesto Musical reivindicam diferentes formas de vivenciar/olhar para o corpo na experiência musical/sonora. Elementos como a Estética da Sonoridade e as intersecções entre música e teatro complementam uma discussão, acerca da intersecção entre as artes na performance cênica.

<b>Mecanismo de performance cênica nas comédias de Aristófanes: ponto e focalização

Este artigo objetiva evidenciar dois importantes mecanismos de performance cênica existentes nas peças de Aristófanes, autor de comédias gregas do século V a.C. Partimos do pressuposto de que é possível encontrar no texto elementos que são importantes para a operacionalização cênica das comédias daquela época. Neste artigo mostraremos que, no momento de composição, sabendo das condições materiais da realização cênica, o comediógrafo utilizava algumas interessantes estratégias, dentre as quais destacaremos duas: (i) ele inseria falas-lembrete nos cantos corais que serviam como um ponto para a coreografia dos coreutas, e (ii) ele usava o corpo coletivo do coro como um sinalizador que indicava ao espectador os elementos cênicos que são importantes para o desenvolvimento do enredo e que, por isso, mereciam atenção da plateia. Essas duas estratégias presentes na composição das peças são similares, não idênticas, aos conceitos atuais de ponto e focalização.

Resonancias Vocales y Memoria Sonora en Helen Brown

Resumen: El artículo se concentra en indagar aspectos referidos a la intensificación de los usos de la voz y la sonorización musical que proponen Trinidad Piriz y Daniel Marabolí en Helen Brown (2013). Dando cuenta de un marco teórico que cuestiona la dimensión referencial con la que se analiza frecuentemente al teatro y proponiendo una aproximación fenomenológica que dé cuenta de la materialidad performativa que insta a intensificar las resonancias de la voz y la capacidad audible del sonido, el escrito analiza dos escenas o tracks en los que la memoria hecha cuerpo compromete de un modo particular a los espectadores que participan de la performance escénica.

PROCESSO COMPOSITIVO DA VOCALIDADE POÉTICA NA DANÇA-TEATRO FLOR DAS ÁGUAS

Neste artigo serão compartilhados os procedimentos criativos e compositivos para o desenvolvimento da vocalidade poética na dança-teatro Flor das Águas. O eixo temático este espetáculo foi o elemento água e suas relações com a natureza feminina, em seus aspectos culturais. A dramaturgia da obra cênica foi constituída através de práticas de improvisação, nas quais foram tecidas relações entre corpo, voz e palavra, entre dança e teatro. Serão compartilhados alguns dos procedimentos realizados na direção das atrizes e na direção da encenação, com vistas às composições da vocalidade poética, da palavra falada, da palavra cantada e das sonoridades das cenas.

Scham und Musik – Aspekte zur Darstellung und Wahrnehmung von Schamgefühlen in der Musik und ihrer Aufführung

The expression of and influencing of emotional states are basic functions of the composition and reception of music. Despite this, the musical treatment of shame as an emotion is scarcely existent in western musical culture. For many reasons, a purely instrumental realisation cannot succeed, with the exception of texted music and music within a scenic performance. Shame and surrogate shame in music relate mainly to reproduction and performance.

Le Roman Du Théâtre : La dernière Bande et le 'reste' didascalique

Most of Beckett's texts are difficult to strictly classify into one 'genre'. In order to put light on the mechanisms that establish a connection between drama and novel in Beckett's work, I would like to explore the problem of stage directions, of which the first and essential aim is to ensure the scenic performance of a play, but to which the author may give a complexity that cannot be reduced to this function alone. After a short presentation of the general problematics of the matter, I try to analyse the stage directions of a play that Beckett himself directed several times and about which he left numerous instructions in his production notebooks.

The Figure of the Hermit in Walther’ s von der Vogelweide Poetry: Between Religious and Political Discourse

Walther’ s hermit could be regarded as a role-figure because of his scenic performance and his reference to religious real-life patterns. However, the speech acts of this role-figure are related to political and social topics. Therefore, the religious role-profile turns out to be a persuasive guise for a secular ›Sangspruch‹-discourse. In detail, the hermit functions as a medium of articulation for an audience which cannot express itself and — in relation to church policy — as a quietist model of identification for anticlerical critics; as an explicit mouthpiece of polemics against papal power politics he goes beyond the bounds of his role. Apart from these functions, which are all based on the pragmatic reference of the role-figure to text-external data, the figure of the hermit — like other speech-roles integrated by Walther into his texts — is suitable to modify the discourse of the ›Sangspruch‹: In this way nonverbal utterances can be added to the performance of the ›Sangspruch‹, and its interactive structure can be differentiated. Research should also take into account the discourse-modifying qualities of speech-roles (not only) in the poetry in order to avoid the reduction of the analytic perspective to the extrinsic profile of speech-roles.