Thematische Bibliographien / Theatre (philosophy)

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Auswahl der wissenschaftlichen Literatur zum Thema „Theatre (philosophy)“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 20. Februar 2023

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Zeitschriftenartikel zum Thema "Theatre (philosophy)"

PUCHNER, MARTIN. „The Theatre of Alain Badiou“. Theatre Research International 34, Nr. 3 (Oktober 2009): 256–66. http://dx.doi.org/10.1017/s0307883309990058.

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This article examines the relation between philosophy and theatre in the work of French philosopher Alain Badiou. First, it focuses on Badiou's central categories, such as event and character, that resonate with the theatre. Second, Badiou's own engagement with the theatre, the place theatre occupies in his philosophical world, is identified. Finally, the article argues that Badiou's thought must be understood as a return to Plato. Plato here is understood not as an enemy of theatre, but as a philosopher who invented philosophy through a constant, if often critical, engagement with the theatre. Dramatic Platonism is the name proposed for this tradition of philosophy of which Alain Badiou is the most significant current representative.

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Wu, Yi. „Philosophy as Memory Theatre“. Politeia 1, Nr. 3 (2019): 28–44. http://dx.doi.org/10.5840/politeia20191318.

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Contrary to its self-proclamation, philosophy started not with wonder, but with time thrown out of joint. It started when the past has become a problem. Such was the historical situation facing Athens when Plato composed his Socratic dialogues. For the philosopher of fifth century BCE, both the immediate past and the past as the Homeric tradition handed down to the citizens had been turned into problematicity itself. In this essay, I will examine the use of philosophy as memory theatre in Plato's Republic. I shall do so by interpreting Book X of the Republic as Plato's “odyssey” and suggest that such Platonic odyssey amounts to an attempt to re-inherit the collapsed spatial and temporal order of the fallen Athenian maritime empire. In my reading, the Odysseus in the Myth of Er comes forth for Plato as the exemplary Soldier-Citizen-Philosopher who must steer between the Scylla of ossified political principles and the whirling nihilism of devalued historical values, personified by Charybdis. I shall further suggest that Plato’s memory theatre also constitutes a device of amnesia and forgetting. The post-Iliadic Odysseus must drink of forgetfulness from the river Lethe, so that the revenant soldier, Er, and those who inherited the broken historical present during and after the Peloponnesian War, would be enabled to remember in a particular way. Such remembrance, I shall conclude, may be what Plato means by philosophy, a memory theatre of psychic regulation and moral economy that sets itself decidedly apart from earlier tragic and comic catharsis.

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Tassi, Aldo. „Philosophy and Theatre“. International Philosophical Quarterly 35, Nr. 4 (1995): 469–81. http://dx.doi.org/10.5840/ipq199535448.

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Tassi, Aldo. „Philosophy and Theatre“. International Philosophical Quarterly 38, Nr. 1 (1998): 43–54. http://dx.doi.org/10.5840/ipq199838166.

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Jory, E. J. „Gladiators in the Theatre“. Classical Quarterly 36, Nr. 2 (Dezember 1986): 537–39. http://dx.doi.org/10.1017/s0009838800012301.

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While restating the correct interpretation of the prologue to the Hecyra of Terence in CQ 32 (1982), 134 F. H. Sandbach has this to say: ‘Possibly the widespread view which the translators and I reject has been encouraged by disbelief that the theatre could be used for gladiatorial combat. It is true that there is no reliable evidence for such use at Rome, for Donatus' statement “hoc abhorret a nostra consuetudine uerumtamen apud antiquos gladiatores in theatro spectabantur” may be no more than inference from Terence's text.’ There is, in fact, a certain amount of evidence for gladiatorial combats in the theatres at Rome, that is at venues where ludi scaenici were performed, which it is difficult to regard as unreliable and which is consistent with what we know of the relationship between the theatre and gladiatorial games.

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Wilmer, Stephen Elliot, und Karen Vedel. „Theatre and Continental Philosophy“. Nordic Theatre Studies 31, Nr. 1 (13.03.2019): 2–7. http://dx.doi.org/10.7146/nts.v31i1.112997.

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Cull Ó Maoilearca, Laura. „Notes toward The Philosophy of Theatre“. Anglia 136, Nr. 1 (08.03.2018): 11–42. http://dx.doi.org/10.1515/ang-2018-0007.

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AbstractThis article draws from the contemporary French thinker François Laruelle to perform a ‘non-philosophical’ analysis of recent literature from the analytic or Anglo-American philosophy of theatre. Much of this literature, I argue, suffers from the problem of application, namely: non- or extra-theatrical assumptions are both brought to bear upon and remain unchallenged by the philosopher’s encounter with theatre – particularly in the form of assumptions as to the nature of philosophy or the role or position of philosophy with respect to other forms of thought, such as theatre and performance. Having sought to articulate some of the problems arising from the conception of the philosophy of theatre as a definitional project, the article then considers – via Laruelle – what kind of ‘stance’ a philosophy of theatre might need to occupy in order not to impose its thought on theatre but to be open to theatre’s thoughts.

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Kornhaber, David. „Philosophy and Theatre: An Introduction“. PAJ: A Journal of Performance and Art 39, Nr. 3 (September 2017): 99–100. http://dx.doi.org/10.1162/pajj_r_00385.

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Cull Ó Maoilearca, Laura. „Equalizing Theatre and Philosophy: Laruelle, Badiou, and gestures of authority in the philosophy of theatre“. Performance Philosophy 3, Nr. 3 (21.12.2017): 730. http://dx.doi.org/10.21476/pp.2017.33162.

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In this article I engage François Laruelle’s notion of ‘non-standard’ aesthetics to provide a critical perspective on Alain Badiou’s various pronouncements on the philosophy of theatre. Whilst in works such as In Praise of Theatre (2015), Badiou initially appears magnanimous in relation to theatre’s own thinking, and indeed to demote the function of philosophy in relation to an ontological privilege now accorded (by him) to set theory, I will argue that this very benevolence, from a Laruellian perspective, constitutes another form of philosophical authoritarianism. That is, whilst Badiou famously describes theatre as ‘an event of thought’ that ‘directly produces ideas’ (Badiou 2005a, 72), this article draws from Laruelle to suggest that he ultimately positions himself as the authority on what ‘counts as theatre properly speaking’ (Badiou 2013, 109); performatively positioning his own thought as normative exception and as the gatekeeper to that exception.

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Meyer-Dinkgräfe, Daniel, und Anita S. Hammer. „Performance as Philosophy — the universal language of the theatre revisited“. Nordic Theatre Studies 28, Nr. 2 (21.02.2017): 97. http://dx.doi.org/10.7146/nts.v28i2.25520.

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The history of philosophy is widely considered as the history of exercises in speculation. However, it is also possible to understand philosophy not as the outcome of speculation, but at the attempt by philosophers to explain, make sense of, and ultimately share, their own experiences of a very subtle, powerful and spiritual nature. The growing field of performance philosophy begins to acknowledge the potential of considering philosophy as an expression of immediate experience rather than distant speculation. This acknowledgement can take the shape of employing performance to express philosophy — in more immediately experienced ways than verbal language is ever able to convey. Writing about this non-verbal dimension is difficult, and the result limited by its very nature, but in this article, we discuss the principle, and provide an example in the performance philosophy, captured under the term of body thinking, of German philosopher and dancer Aurelia Baumgartner.

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Dissertationen zum Thema "Theatre (philosophy)"

Darroch, Michael. „Theatre and the materialities of communication“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102797.

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This dissertation is situated within the field of media studies, with a particular focus on the "materialities of communication." The concept of "materialities" is oriented to the underlying conditions that allow communication to take place: the places, carriers and modes of communication that serve to shape and even alter meaning. My dissertation asks how this "material turn" can usefully be applied to and help develop the study of theatre.
The dissertation is divided into four chapters. In Chapter 1, I undertake a critical review of the theoretical literature regarding materialities and its applications to media theory. In Chapter 2, I begin to explore the implications of the material turn for theatre. Scholarly interest in the relation of media and theatre has largely been focused on the use of media and technology within theatrical practice. I argue that theatre cannot be conceived of separately from the prevailing communicational possibilities of a given era, even if we accept the capacity for artistic intervention within these parameters. I integrate theoretical standpoints on the reproducibility, iterability and liveness of theatrical presence into a broad discussion of media and communication and thereby demonstrate a more fundamental relationship between theatricality and mediality.
In Chapter 3, I extend my discussion of a "materialities of theatre" to the subject of translatability. Translation has long functioned as a metaphor for media as well as for theatrical representation. Discourses of the translatability between media forms have recently been revived by digital technologies that present translation as a model of universalization: the search for the perfect language into which all forms of knowledge can converge. Theatre works to converge media forms as a point of intersecting bodies, texts, voices and technologies, yet also remains persistently aware of the economy of shifting linguistic exchanges that renders total translation an impossible pursuit. I thus develop a study of the materialities of theatre that can attend to this disjunction in translation theory by addressing theatre as a point of medial convergence as well as a site of linguistic difference.
In Chapter 4, I elaborate upon these standpoints by discussing circulation as a theoretical concept that, on the one hand, complements the study of materialities of communication and, on the other hand, seeks to overcome the abovementioned disjunction of translation theory. Concentrating on the case of Montreal as a site of heightened linguistic interaction, I investigate theatre as a medial system that works to absorb, interrupt and rediffuse the linguistic materialities of this city.

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Milne, Andrew Greg. „A critique of the philosophy of modern theatre“. Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385351.

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Rehorek, Karel. „The philosophy and practices of the Paperbag Theatre Company /“. Title page, contents and conclusion only, 1992. http://web4.library.adelaide.edu.au/theses/09AR/09arr3452.pdf.

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Katsouraki, Evanthia. „Theatre director's philosophical entanglements : aesthetics and politics of the modernist theatre“. Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33250.

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This thesis presents a conceptual examination of the modernist director read through Gillian Rose's speculative lenses of the 'broken middle'. Highlighting the significance of speculative philosophy, I explore the meaning of the director as a mediating subjectivity. I demonstrate how a speculative reading of the director can act as a corrective to the received totalitarian, despotic image of the director. I urge for the rehabilitation of the director as a history and as a practice and I propose the emergence of this figure as being the outcome of a complex theatrical articulation entangled with the discipline of philosophy. Combining close readings of philosophical texts by Rose, Plato, Castoriadis, Badiou, Rancière, Laclau and Mouffe, among several other intellectual references in this study, I explore the director as a mode or trope of embodied philosophy. My argument also proposes the director as an Event, in Badiou's definition, and I trace this configuration as already taking place with the 'tragic' paradigm of the Athenian theatre. This Event of the director, I then argue, gets fully inaugurated in modernism as the Event of thought in theatre. I explore how the director acting as a mediator transforms theatre to what Puchner calls 'a theatre of ideas' while simultaneously philosophy becomes itself transformed to a theatre of thought. Chapter 1 outlines the key strands of Rose's thought and sets out the theoretical parameters of my examination. The chapter argues for a speculative reading of the director cross-examined with current positions within theatre historiography. The chapter paves a new understanding of the director, not historically, but conceptually, as a mode of embodied thought. Chapter 2 explores the relationship between the primacy and centrality of the aesthetic paradigm of theatre in philosophy and the role and practice of the poet - or 'chorodidaskalos' - who I consider as an early philosophical figuration of the modern director. I highlight speculative 'aporia' which in Rose indicates a path 'without a path' as the primary modality of thinking philosophically, already at work in tragedy, that renders the modernist director as a theatrical thinker. Chapter 3 puts forward the case of the director's mediating subjectivity by arguing for the Event of the director. I analyse Badiou's philosophy of the Event, making connections to speculative philosophy and illuminating the Evental dimension of this figure. Chapter 4 moves the examination to the Event of the director that I locate in Richard Wagner. My reading explores the philosophical dimension of Wagner as an artist and a thinker by which I rehabilitate his overtly negative image. I do this by reading Left Hegelianism, and anarchist philosophy more broadly, in Wagner's operatic works, writings, and political activism. Chapter 5 examines the 'speculative director' in the aesthetic project of Naturalism and Realism. The chapter includes a published section by which I explore the political mode of the director indirectly, by examining the articulatory discourse in Laclau and Mouffe's definition and the practice of affirmation. Chapter 6 looks at the avant-garde manifesto as a form of meta-language that seeks to actively re-shape theatre and the world as embodied, declaimed philosophy. The chapter repositions the avant-garde's aesthetic preoccupation with failure as a profoundly transformative project rather than as being incomplete. The included published article examines more closely the affinity between the Spartacus Manifesto by Rose Luxemburg (philosophy) and the more politicized forms of the Dada Berlin manifesto art (theatre). Chapter 7 is the concluding chapter by which I argue the case of the director finally having entered the theatre as a philosopher; that is, through Bertolt Brecht.

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Shadle, Jennifer Klicker. „Protect, Preserve, and Reform: An Analysis of Three Plays by David Mamet Through the Lens of Kirkian Conservatism“. Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1528484860315471.

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Hadley, Bree Jamila. „Habit in the theatre : Henri Bergson, Gilles Deleuze and performance, with particular reference to the physical theatre of Yumi Umiumare and David Pledger“. Monash University, Centre for Comparative Literature and Cultural Studies, 2004. http://arrow.monash.edu.au/hdl/1959.1/5287.

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Barclay, Julia Lee. „Apocryphal theatre : practicing philosophies“. Thesis, University of Northampton, 2009. http://nectar.northampton.ac.uk/3597/.

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Apocryphal Theatre: Practising Philosophies is a practice-based research project that consists of examples of my theatre practice (as research) and a written thesis. In this thesis, I argue that theatre can be seen to be an act of philosophy, by tessellating Maurice Merleau-Ponty's definition of philosophy as consisting of relearning to look at the world and Gilles Deleuze and Felix Guattari's proposition that philosophy is the creation of concepts, and pointing to post-WWII theatre artists whose work both fulfill this definition of philosophy and have informed Apocryphal Theatre's work. Included is an analysis of interviews with three contemporary theatre artists, Richard Foreman, Chris Goode and Ivana Muller, which explore their relationship with philosophical ideas in their work and how that informs their ability to create acts of philosophy. In practice, the research questions that underpin Apocryphal Theatre's research in labs, rehearsals and performance, are philosophical and create the potential for collective acts of philosophy. Apocryphal's practice as research as manifest in its ongoing lab and in the two productions included as part of this thesis, The Jesus Guy and Besides, you lose your soul or The History of Western Civilisation, will be analysed for the historical and philosophical bases of the primary concepts we have created through our research and the tools with which we embody them. The concepts and tools, which are used to address the research questions, are the witness, the grid, cutting up, levels of address and levels of presence. This thesis concludes that theatre and philosophy whilst separate disciplines can overlap in such a way that acts of philosophy can occur in the theatre, and that Apocryphal's theatrical project, which is collaborative, polyvocal and in performance invites the audience to be active witness/participants in the creation of the event, can be viewed as a collective act of philosophy.

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Dalmasso, Frederic. „Alain Badiou's transitory theatre“. Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/10180.

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This thesis explores how theatre informs Badiou's philosophy through detailed analysis of Badiou's theory of theatre and his six plays L'Écharpe rouge, Incident at Antioch and the Ahmed tetralogy . It argues that theatre has provided an ideal and material ground for Badiou to rehearse concepts he developed in his Logics of the Worlds (2006) and Second Manifesto for Philosophy (2009), such as that of ideation and incorporation. By placing theatre at the core of Badiou's work, this thesis provides a different point of entry into Badiou's philosophy: it demonstrates the overarching nature of Badiou's materialist dialectic, which leads to exploring the relationship between politics and theatre. By ultimately defining Badiou's theatre as a theatre of inexist[a]nce and insisting upon the ontological nature of theatre, this thesis heralds new approaches to the relationship between theatre and philosophy.

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Johnston, Daniel Waycott. „Active Metaphysics: Acting as Manual Philosophy or Phenomenological Interpretations of Acting Theory“. Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/3984.

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This thesis considers actors as ‘manual philosophers’; it engages the proposition that acting can reveal aspects of existence and Being. In this sense, forms of acting that analyse and engage with lived experience of the world offer a phenomenological approach to the problem of Being. But rather than arrive at abstract, general conclusions about the human subject’s relationship to the world, at least some approaches to acting investigate the structures of experience through those experiences themselves in a lived, physical way. I begin with the troubled relationship between philosophy and theatre and briefly consider the history of attacks on actors. I suggest that at the heart of antitheatricality is what Jonas Barish (1981: 3) calls ‘ontological queasiness’: theatre poses a problem in the distinction between ‘what is’ and ‘what is not’. Turning to phenomenology as a particular way of doing philosophy that challenges any dualistic understanding of subjectivity, I reflect on Martin Heidegger’s Being and Time as a lens for viewing the process of performing and preparing for a role. Heidegger emphasises the intermeshed relationship between the human subject, Dasein (Being-there), and the world to the point that it is impossible to consider one without the other. I have chosen three of the most influential theatre and acting theorists of the twentieth century and examine how each uncovers aspects of existence that are presented in Heidegger’s phenomenology. Firstly, I consider Constantin Stanislavski’s ‘system’ which emphasises action for a purpose within an environment, the individual’s relationship to objects in the world and its involvement with other people who share the same type of Being in the world. Secondly, I examine Antonin Artaud’s conception of theatre that seeks to resist the structures of Being, the way the world is interpreted by others (the ‘They’) and the way that the world gets handed over to consciousness for the most part. In many respects, Artaud’s theatre is the embodiment of Anxiety, a world-revealing state where Being becomes apparent. Thirdly, I discuss Bertolt Brecht’s theatre practice as an attestation to authenticity (a truthful engagement with human existence as possibility) through the medium of performance. Brecht seeks to engage audiences in philosophical debate and change the world. Like Heidegger, Brecht also stresses the historical and temporal constitution of the human subject, whilst emphasising practicality in theatre making. By examining these approaches to performance as case studies, this thesis rethinks the notional intersection of philosophy and theatre, concentrating on process rather than literary analysis. This application of phenomenology is new in that it does not merely consider theatre analysis from an ‘ideal’ audience point of view (i.e. provide a phenomenology of theatre). By focusing on acting, I emphasise the development of artistic creation and becoming, and show how certain types of acting are phenomenological. The bold upshot here is a conception of philosophy that acknowledges various theatre practices as embodied forms of philosophical practice. Furthermore, theatre might well be thought of as phenomenological because it can be an investigation of Being firmly entrenched in practical action and performance. Conversely, philosophy is more than just words on a page; it is a performed activity. Actors can be considered manual philosophers in so far as they engage with the problem of Being not in mere abstraction but in the practical challenges of performance.

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Fletcher, Narelle, University of Western Sydney, of Performance Fine Arts and Design Faculty und School of Design. „The Role of the translator in theatre“. THESIS_FPFAD_SD_Fletcher_N.xml, 1997. http://handle.uws.edu.au:8081/1959.7/757.

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The author approaches the subject of translating for theatre both as a theatre practitioner and professional translator working in three languages. Translation is generally regarded as process of linguistic transfer from one language to another language in written form. Theatrical texts are an unique literary form because their written form is a base, anchor and springboard for the text in performance. Until recently, translation studies have tended to oscillate between lofty pronouncements which remain too general to be easily applicable to the practical task of translating and close textual analysis which may appear fastidious and overly specific. The art of translation has often wanted to call itself a science, thereby ostensibly increasing its credibility. However nowhere more in the context of theatre can it be justifiably called an art, with all that entails in terms of subjectivity, cultural bias and transitory or timeless validity. There is no such thing as a perfect translation. Translation is a process of endless learning. Several translation theorists have offered broad categorisations or lengthy rationalised lists to help define the parameters of this most tangible practice. No such lists exist which addressed the specific criteria of translation for theatre. Through personal experience and critical reflection, this thesis will offer the beginning of a blueprint which may be useful for translators working in this field
Master of Arts (Hons)(Performance)

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Bücher zum Thema "Theatre (philosophy)"

Daniel, Watt, Meyer-Dinkgräfe Daniel 1958- und Theatre and Performance Research Association., Hrsg. Theatres of thought: Theatre, performance and philosophy. Newcastle, UK: Cambridge Scholars Pub., 2007.

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Theatre. New York: Faber and Faber, Inc., 2010.

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Daddario, Will. Baroque, Venice, Theatre, Philosophy. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49523-1.

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André, Helbo, Hrsg. Approaching theatre. Bloomington: Indiana University Press, 1991.

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Michael, Shanks, Hrsg. Theatre / archaeology. London: Routledge, 2001.

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Theatre sciences: A plea for a multidisciplinary approach to theatre studies. Brighton [England]: Sussex Academic Press, 2014.

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Reading theatre. Toronto: University of Toronto Press, 1999.

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Mike, Pearson. Theatre/archaeology. London: Routledge, 2001.

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Theatre & ethics. New York: Palgrave Macmillan, 2009.

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Reading the material theatre. Cambridge: Cambridge University Press, 2004.

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Buchteile zum Thema "Theatre (philosophy)"

Alloa, Emmanuel, und Sophie-Thérèse Krempl. „Philosophy and theatre“. In The Routledge Companion to Performance Philosophy, 174–81. Abingdon, Oxon; New York, NY: Routledge, 2020. | Series: Routledge companions; 18: Routledge, 2020. http://dx.doi.org/10.4324/9781003035312-19.

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Nellhaus, Tobin. „Philosophy, History, Theatre“. In Theatre, Communication, Critical Realism, 19–55. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230107953_2.

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Orozco, Lourdes. „Animals, Philosophy and Ecology“. In Theatre & Animals, 20–25. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-10431-1_5.

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Garcin-Marrou, Flore. „Theatre-thinking“. In The Routledge Companion to Performance Philosophy, 166–73. Abingdon, Oxon; New York, NY: Routledge, 2020. | Series: Routledge companions; 18: Routledge, 2020. http://dx.doi.org/10.4324/9781003035312-18.

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Conway, Jay. „Theatre of Operations“. In Gilles Deleuze: Affirmation in Philosophy, 35–124. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230299085_3.

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Johnston, Daniel. „Preparing the Part: Theatre and Philosophy“. In Theatre and Phenomenology, 11–25. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-53052-3_2.

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Johnston, Daniel. „Conclusion: Lights Up on Manual Philosophy“. In Theatre and Phenomenology, 175–88. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-53052-3_8.

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Haarmann, Anke. „The theatre of research“. In The Routledge Companion to Performance Philosophy, 117–24. Abingdon, Oxon; New York, NY: Routledge, 2020. | Series: Routledge companions; 18: Routledge, 2020. http://dx.doi.org/10.4324/9781003035312-13.

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Daddario, Will. „Introduction“. In Baroque, Venice, Theatre, Philosophy, 1–18. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49523-1_1.

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Daddario, Will. „Garden Thinking and Baroque Pastoral“. In Baroque, Venice, Theatre, Philosophy, 21–50. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-49523-1_2.

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Konferenzberichte zum Thema "Theatre (philosophy)"

Mantrali, I., A. Phillips, S. Abdul, V. Asher und A. Bali. „774 Changes in theatre utilisation following implementation and establishment of maximal effort surgical philosophy for advanced epithelial ovarian cancer“. In ESGO 2021 Congress. BMJ Publishing Group Ltd, 2021. http://dx.doi.org/10.1136/ijgc-2021-esgo.468.

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Bol'shakov, YA O. „Pre-revolutionary theater life in the Vologda province: coverage in the press“. In Scientific dialogue: Questions of philosophy, sociology, history, political science. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-01-02-2020-04.

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Brudasca, Ioana. „Intertextual Projections in the Theater of Matei Vișniec. Case Study“. In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.06.

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Matei Visniec’s theater is a process of dialogue with other writers and other literary works. Intertextual projections are also present in the play „Attic in Paris overlooking death” through quotes, allusions and a subtle parody. Beyond Visniec’s admiration for the Cioranian opera, the play reveals an identity problem present both in Cioran and Visniec, namely the profile of the Romanian writer exiled in France. We witness a metamorphosis of the philosopher Cioran into the character through memory loss. The presence of quotations from the philosopher’s work denotes in the dramatic work a genuine generic and linguistic hybridization, while the use of cinematographic projections in a stage performance leads to a cultural and artistic symbiosis.

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D. Herzberger, Nicolas, Marcel Usai und Michael Preutenborbeck. „Biologically Inspired Automotive User Interfaces for Partially and Highly Automated Maneuver Gestures: Final Results and Outlook“. In Intelligent Human Systems Integration (IHSI 2022) Integrating People and Intelligent Systems. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100975.

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Automated driving puts severe challenges on the design and testing of automotive user interfaces. In partially automated driving, the driver is still responsible for the vehicle control, but is strongly supported by technology. In highly automated driving, the driver can give control to the automation for a certain time and can get control back e.g., when the automation encounters limits. Despite great technological progress, a truly intuitive way to interact with these automated driving modes is still under research. Project Vorreiter is addressing this by using the inspiration of a rider and a horse to provide intuitive steering gestures on the steering wheel or an alternative device, which initiate maneuvers executed by the automation. These can be supervised, influenced or interrupted by the driver. The gestures are built up in a universal design approach, which helps all drivers, including beginners and drivers with disabilities. After an introduction into the overall philosophy and concept, the contribution focuses on a final step in the project, an overall evaluation of the concept in a driving simulator and presents new data especially on the comparison of swiping gestures and pushing gestures regarding false or true positive or negative detected gestures. Finally, a brief outlook sketches next steps with a new Wizard-of-Oz / theater vehicle.

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Мир-Багирзаде, Ф. А. „Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi“. In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.

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