Academic literature on the topic 'Spectator’s place'
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Journal articles on the topic "Spectator’s place":
1
Christoffersen, Erik Exe. "Intermedial Performance and the vertical perspective." Peripeti 14, S6 (January 1, 2017): 23–30. http://dx.doi.org/10.7146/peri.v14is6.110658.
Abstract:
Why Does Night Come Mother can be considered as a focus change or paradigm shift in relation to intermedial performing arts. The performance re-inscribes reality in the participatory process that takes place in the body of the consciousness of the spectator. At the same time the performance is a staged construction with an audience taking part. The performance destabilizes the balance of the spectator’s sense of vision.
2
Shmatova, G. A. "“Open space”: The spectator’s place in contemporary theatre communications." Shagi / Steps 3, no. 3 (2017): 97–107. http://dx.doi.org/10.22394/2412-9410-2017-3-3-97-107.
3
Klobukova (Golubinskaya), N. F. "At the Crossroads of Cultures: A Story of Two Performances." Russian Japanology Review 5, no. 2 (January 24, 2023): 95–115. http://dx.doi.org/10.55105/2658-6444-2022-2-95-115.
Abstract:
The article describes two theater performances: the first took place in the Chinese Theater of Tsarskoye Selo in the summer of 1803, and the second one (or, rather a series of guest performances) – a hundred years later, in 1902, in Moscow and Saint Petersburg. The first performance was shown for Emperor Alexander I and his guests including the Japanese sailors who were leaving for their motherland with Ivan F. Kruzenshtern’s global circumnavigation. The description of the performance the Japanese sailors left became part of the manuscript Kankai Ibun (“Surprising Information about the Seas Surrounding [Earth]”) written in 1807. The performances of 1902 were presented by the Kabuki guest company headed by Otojirō Kawakami with actress Sada Yacco, the star of the company, attracting most attention. The performances shown in Russia aroused a mixed reaction among spectators and art critics, which is proven by periodical editions of those days. The article analyzes specific perception of foreign-language theater culture reflected in the spectators’ descriptions and concludes that, regardless of the reaction to strange and unusual things, the acquaintance with other culture dramatically broadens the spectator’s horizons and allows discerning something new in one’s national culture.
4
Stańczyk, Marta. "Liberté, égalité, sororité. Kobiece gatunki cielesne i francuskie „ekstremistki”." Literatura i Kultura Popularna 24 (April 18, 2019): 97–112. http://dx.doi.org/10.19195/0867-7441.24.8.
Abstract:
Liberté, Égalité, Sororité: Female body genres and the women of the New French ExtremityIn the essay Film Bodies: Gender, Genre, and Excess, Linda Williams coins the concept of body genres. These genres include melodrama, horror and porn, which are linked through their impact on the spectator’s body and intensifying viewing experiences. According to Williams, these three film genres emphasize the notion of spectacle, but they place the female body in its centre. The female body is moving and is being moved, which causes its vulnerability to the hegemony of the male gaze. But we can conduct research from a feminist perspective and find films that simultaneously tell about a visceral excess and develop an intellectual transgression through the body. The best example of this tendency is the New French Extremity, precisely the female directors such as Catherine Breillat, Mariny de Van or Virginie Despentes. They maximize the somatic spectacle in their films, which annihilates the pleasure that the male spectator derives from the fetishized female body.
5
Staniškytė, Jurgita. "Reinstalling the Fourth Wall: Digital Performance and Spectatorship in (Post-)Pandemic Era." Art History & Criticism 19, no. 1 (November 30, 2023): 31–38. http://dx.doi.org/10.2478/mik-2023-0003.
Abstract:
Summary Theatre can be interpreted as a place where various modes of participation in the community or patterns of citizen behaviour can be rehearsed. In pre-pandemic Lithuanian theatre (as well as theatres of other Baltic countries) various forms of audience engagement were conspicuously emerging, ranging from physical co-creation practices to interactive forms of entertainment. After the global lockdown of theatre institutions the emerging forms of “virtual theatre”, ranging from performance recordings to zoom theatre, redefined the role of theatre spectatorship, in particular the notions of “active”, “passive”, “collective”, “individual”, fundamental for the understanding of the role of publics. Analysing the abundant examples of “pandemic theatre” one starts to think about the return of the digital “fourth wall”, where audiences are becoming distant spectators. This poses important questions to theatre research: whether these forms of theatre are strengthening the feeling of passivity and isolation, serve as platforms for much-needed psychological escapism or offer a critical revaluation of the essential principles of theatre art. With the help of two case studies, this paper will define and analyse the prevailing practices of pandemic Lithuanian theatre and will outline whether and how the fundamental categories associated with the spectator’s experience of theatre have changed in the post-pandemic era.
6
Davydova, Olga S., and Larisa E. Muravieva. "The spectator’s anxiety in film narrative: Notes on films by Bertrand Bonello." Media Linguistics 9, no. 1 (2022): 64–76. http://dx.doi.org/10.21638/spbu22.2022.105.
Abstract:
The representation of emotions and affects in cinematic narrative can participate in the construction of narration in the same way as the representation of events. Anxiety as one of the “expectant emotions” (E. Bloch) is of particular interest in this regard. By anxiety in the narrative, we mean any zone of uncertainty associated both with the field of the narrator or participant in the world of history, and with the field of the viewer. It is interesting in this regard to consider cases when anxiety ceases to be related to a specific character and is created at the intersection of the event-receptive field, referring to the entire structure of the narrative and thereby causing anxiety in the viewer. Films directed by Bertrand Bonello, regarded as an example of a special type of sensuality in contemporary French cinema, find themselves involved in the construction of this particular type of anxiety. By destabilizing the narrative, depriving the viewer of the familiar landmarks during the unfolding of the story, Bonello in every film refuses to provide the viewer with a habitually safe “place,” as happens in classic Hollywood cinema. Instead, films provoke a state of gripping, affective engagement, which arises, among other things, in a situation of failure of the usual strategies of narrative perception. This article attempts to describe the narrative strategies in three films by B. Bonello (“L’Apollonide: Souvenirs de la maison close” / “House of Tolerance”, 2011, “Saint Laurent”, 2014, and “Nocturama”, 2016), provoking “viewer’s anxiety” and also consider the mechanism of this anxiety, which is closely related to the experience of experiencing pain.
7
Yeung, Lorraine. "The Nature of Horror Reconsidered." International Philosophical Quarterly 58, no. 2 (2018): 125–38. http://dx.doi.org/10.5840/ipq2018326104.
Abstract:
There is a growing interest in the role of non-cognitive affective responses in the philosophical literature on fiction and emotion. This flurry of scholarly interest is partly a reaction to cognitivist accounts of fiction and emotion that have been found to be inadequate. The inadequacy is particularly salient when this approach is employed to account for narrative horror. Cognitivist conceptions of the emotion engendered by narrative horror prove to be too restrictive. Cognitivist accounts also fail to give the formal devices and stylistic elements deployed in narrative horror a proper place within the spectator’s emotional engagement with it. In this paper I propose an alternative conception of the emotion “horror” that incorporates non-cognitive affective responses. I argue that this conception of “horror” is more fine-grained than the one characterized as a cognitivist approach. It captures more literary examples of the horror experience and it accommodates better the fear of the unknown. It also makes possible an aesthetics of horror in which formal devices and stylistic elements are given their proper place.
8
Sofer, Andrew. "Catastrophe Practices and the Ontological Gambit: Nicholas Mosley’s Plays for Not Acting." Theatre Journal 75, no. 4 (December 2023): 455–67. http://dx.doi.org/10.1353/tj.2023.a922216.
Abstract:
Abstract: This article explores three experimental closet dramas by British writer Nicholas Mosley, part of the novel Catastrophe Practice (1979), which deserve wider recognition in the context of theatre studies’ current focus on catastrophe and futurity. Mosley’s enigmatic “Plays for Not Acting” promote a leap in consciousness, fostering fresh mental patterns to invigorate humanity. This evolutionary leap, which can be practiced for, is akin to a catastrophe as defined by catastrophe theory: a sudden rupture in a seemingly steady state system. Departing from assigned roles, Mosley’s neo-Brechtian actors exhibit self-awareness of their unconvincing performances and moments of deliberate non-action. By abstaining from conventional acting, they create space for a transformational event beyond linguistic expression. The reader/spectator’s comprehension of the irrelevance of dramatic action, dialogue, and plot to the true “catastrophe” taking place offstage is crucial. Mosley’s concept of productive catastrophe offers a compelling dramaturgical innovation, anticipating performance theory’s insights on self-aware performance’s potential to disrupt rote performativity constructively. Mosley presciently links performance and performativity to human survival.
9
Silva, Carlos Nogueira da. "O objecto estético como mundo, na phénoménologie de l’expérience esthétique i, de mikel dufrenne." Phainomenon 3, no. 1 (October 1, 2001): 57–66. http://dx.doi.org/10.2478/phainomenon-2001-0010.
Abstract:
Abstract With this article we intend to explore the concept of «esthetical object» proposed in Dufrenne’s text entitled La Phénoménologie de l’experience estéthique I. The potentiality/activity binomial appears as the ground for Dufrenne’s definition of esthetical object as perceived work of art. According to this, the happening of any artwork truly finds its proper place in esthetical experience, which arises as the meeting point of art’s expressive potentiality and the spectator’s perception act. Establishing an accurate distinction between esthetical perception and other kinds of human perception, Dufrenne sees the former as the pure presence of the sensitive. Advocating the inseparability of significant and signification for the esthetical object, the author declares the meaning of esthetical experience as immanent to its own sensitive presentation. Dufrenne presents authentic esthetical perception as something, which has the power to, engage subjectivity in a radical experience. Under the light projected by the work of art, human beings are enabled to actualise other modes of being-in-the-world. With expression as its proper signifying mode, the esthetical object reveals itself as a world beginning, proposing an affective atmosphere, which opens the subject of esthetical experience to new existential possibilities.
10
Boczkowska, Kornelia. "The Homely Sublime in Space Science Documentary Films: Domesticating the Feeling of Homelessness in Carl Sagan’s Cosmos and its Sequel." Kultura Popularna 4, no. 54 (May 7, 2018): 24–35. http://dx.doi.org/10.5604/01.3001.0011.6717.
Abstract:
The paper discusses the ways of domesticating the feeling of sublime homelessness when contemplating the realm of outer space in Carl Sagan’s revolutionary television series Cosmos: A Personal Voyage (1980) and its present-day sequel Cosmos: A Spacetime Odyssey (2014) hosted by Neil deGrasse Tyson. Following World War II, a novel trend emerged in the science documentary film fueled by “popular science boom” or the “post-war bonanza” (Gregory and Miller, 37) and characterized by a gradual tendency to move toward more complicated representational extremes. Its form, best exemplified by the late 1970s and 1980s space science documentaries, relied on the scientist-hosted and stunningly realist format as well as a mediated experience of the astronomical and dynamic sublime. Partly contrary to this conception, the new ways of deriving spectator’s pleasure also involved both domesticating and trivializing the productions’ content, observable in references to domestic surroundings as well as familiar cultural and historical conventions, such as the frontier myth or urban sublime of New York City. The paper argues that examined documentaries, seen as multimedia spectacles, tend to domesticate outer space through reconciling the cosmic sublime with the notion of a homely, lived-in place.
Dissertations / Theses on the topic "Spectator’s place":
1
Lauraire, Héloïse. "Parcours scéniques : un genre de dispositif esthétique spécifique dans l'art contemporain occidental des années 2005-2012 : étude d’une sélection d’œuvres de Christoph Büchel, Mike Nelson, Jonah Freeman & Justin Lowe." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080034.
Abstract:
Entre le début des années 2000 et celui des années 2010, quatre artistes contemporains occidentaux Christoph Büchel, Mike Nelson, Jonah Freeman et Justin Lowe construisent en Europe et aux États-Unis de gigantesques et énigmatiques installations multi-pièces. Notre hypothèse initiale était qu’il existait des relations entre les super-productions labyrinthiques de ces artistes, tant du côté de leurs conceptions que de celui de leurs réceptions. Notre étude s’attache à décrire et analyser les spécificités (construction, accueil du public, thèmes et références …) et les enjeux (exploration, élaboration d’un récit, mise en danger et prise de risques du spectateur…) des expériences esthétiques offertes par ces dispositifs aujourd’hui invisibles. La réunion et le dépouillement d’archives inédites concernant dix de ces œuvres et leurs génétiques ainsi qu’une enquête de terrain menée auprès de leurs spectateurs nous ont permis de reconstituer des images mentales de ces œuvres. Les plans et les ekphraseis, récits fictionnels illustrés, que nous présentons dans cette thèse témoignent des dimensions spatiales et temporelles de ces parcours scéniques et mettent au jour un ensemble de mises en scène, matériaux, thématiques analogues. Prenant pour objet les stratégies scénographiques des artistes et les ressentis des spectateurs, notre analyse nous conduit à envisager ces œuvres comme des installations émotionnelles et comme des narrations environnementales dystopiques. La traversée de celles-ci, tel un voyage initiatique, permet à chaque spectateur de déployer son imagination et de se ressaisir comme individu et sujet-agissantBetween the early 2000s and the early 2010s, four contemporary Western artists Christoph Büchel, Mike Nelson, Jonah Freeman and Justin Lowe built gigantic and enigmatic multi-room installations in Europe and the United States. Our initial hypothesis was that there were relationships between the labyrinthine super-productions of these artists, both in terms of their conceptions and their receptions.Our study describes and analyzes the specificities (construction, visitors reception, themes and references ...) and the issues (exploration, elaboration of a story, visitors’ endangerment and risk-taking...) of the aesthetic experiences offered by these works of art, nowadays invisible. The gathering and assessment of unpublished archives concerning ten of these artistic devices and their geneses as well as a field survey carried out among their spectators have enabled us to reconstruct mental images of these works. The plans and ekphrases, illustrated fictions, presented in this thesis reveal the spatial and temporal dimensions of these aesthetic walkthroughs and bring to light a set of similar set ups, materials, and themes. Based upon the scenographic strategies of the artists and the feelings of the spectators, our analysis leads us to consider these works as emotional installations and as dystopian narrative spaces. Walking across these, as if journeying through a voyage of initiation, sparks the spectator’s imagination and makes him fully conscious of his individuality and ability to take action
2
CATALANO, ANA ROSA SARAIVA. "THE PLACE OF THE PARTICIPATING SPECTATOR IN LYGIA CLARK S AND HÉLIO OITICICA S WORK." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=6409@1.
Abstract:
O objetivo desta dissertação é analisar a relação entre a
obra de arte, o artista e
o espectador a partir da produção de Lygia Clark e Hélio
Oiticica. Esses dois
artistas foram escolhidos como objeto de estudo por terem
direcionado sua
pesquisa no sentido de incluir o espectador como agente
modificador e até mesmo
criador da obra de arte. Ambos são reconhecidos por propor
novas questões a
respeito ocupação do espaço real pela obra de arte e pela
busca da libertação da
bidimensionalidade da tela e da moldura. Esta pesquisa se
baseia na idéia de que
os dois pintores se tornaram referência para a história da
arte no Brasil e investiga
suas trajetórias desde a participação no grupo Neoconcreto
até seus últimos
trabalhos, estudando os problemas propostos na produção de
cada um, em
especial, no que se refere ao diálogo que estabelecem com o
público.The goal of this dissertation is to analyse the existing relationship between the art work, the artist and the spectator within the context of Lygia Clark s e Hélio Oiticica s work. These two artists were chosen as the object of this study because both were committed to proposing new issues regarding the inclusion of the spectator as a direct agent in the modification and even creation of the art work. They stood out in the artistic world by proposing innovating issues, searching to occupy the real space and free themselves from the bidimensionality of the canvas and the easel. The research is based on the premise that both are current references in the history of Brazilian art and investigates the span of their trajectory, from their participation in the Neoconcrete group up to their last pieces, stressing the problematics involved in each one s work and, specially, to what point they were able to establish a direct dialogue with the public.
3
Besson, Roger. "Les lieux de l'interaction : fréquentation du stade et intégration sociale à Neuchâtel." Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1017.
Abstract:
Au cours du mois de février 2007, Neuchâtel célèbre l’inauguration d’un stade de football flambant neuf. Pour le club de Neuchâtel Xamax, qui fait face à des difficultés économiques chroniques, cette infrastructure laisse miroiter un avenir prometteur. On vante alors sans retenue le plus grand confort de la nouvelle enceinte que l’on décrit comme un lieu convivial et propice à la rencontre, sensé attirer un public toujours plus nombreux pour de longs après‐midis festifs consacrés au spectacle du football. Analyser l’impact social réel de la modernisation de ce type d’infrastructure s’apparente toutefois à un exercice d’équilibriste. Il implique non seulement une réflexion critique sur des attributs qui peuvent être considérés comme « socialement vertueux » pour la collectivité, mais nécessite également de décrypter le fonctionnement du lieu dans toute sa complexité. Dès lors, cette recherche passe au préalable par la construction d’un outil théorique et méthodologique permettant d’organiser l’étude du « potentiel intégrateur » d’un tel type d’espace. Dans le cadre d’une analyse portant sur le stade de football, l’utilisation de cette grille de lecture nous montre alors que, à Neuchâtel, ce lieu joue un rôle social plutôt important. Fondée sur différentes sources (enquêtes par questionnaire, statistiques relatives aux affluences, analyse des discours sur un forum de discussion en ligne, etc.), la comparaison des situations qui caractérisent l’ancienne et la nouvelle infrastructure conduit néanmoins à tirer un bilan nuancé du processus de modernisationIn February 2007, Neuchâtel celebrates the inauguration of a brand new soccer stadium. For the club of Neuchâtel Xamax, which has been facing economical difficulties since a long time, this infrastructure represents a promising bright future. Everyone praises without restraint the comfort of the new arena, which is described as a friendly place, convenient to encounters, able to attract bigger crowds of people for long festive afternoons dedicated to the soccer entertainment. The analysis of the real social impact of the modernisation of this type of infrastructure is nonetheless very tricky. It implies not only a critical reflection on the attributes that can be considered as “socially virtuous” for the community, but also requires deciphering how the place works in its whole complexity. Following that, the research first requires the construction of a theoretical and methodological tool, which allows the study of the “integration potential” of this kind of space. Within the framework of the soccer stadium analysis, the use of this tool shows us that, in the case of Neuchâtel, this place plays a quite important social role. Based on various sources (questionnaire surveys, statistics relative to affluences, discourse analysis on a forum, etc.), the comparison of the situations that characterize the old and new infrastructure leads nevertheless to a nuanced assessment of the process of modernisation
4
Wang, Gang. "CORRELATIONS RELATIVE TO THE REACTION PLANE AT THE RELATIVISTIC HEAVY ION COLLIDER BASED ON TRANSVERSE DEFLECTION OF SPECTATOR NEUTRONS." Kent State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=kent1144770985.
5
"The place of the participating spectator in lygia clarks and hélio oiticicas work." Tese, MAXWELL, 2004. http://www.maxwell.lambda.ele.puc-rio.br/cgi-bin/db2www/PRG_0991.D2W/SHOW?Cont=6409:pt&Mat=&Sys=&Nr=&Fun=&CdLinPrg=pt.
Books on the topic "Spectator’s place":
1
Canter, David V. Football in its place: An environmental psychology of football grounds. London: Routledge, 1989.
2
Sen, Amartya. Our Obligation to Future Generations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198825067.003.0007.
Abstract:
Our reasoned sense of obligations to others can arise from at least three possible sources: cooperation, having caused harm, and effective power to improve suffering. The last source, this chapter argues, is particularly important in considering our obligations to future generations. It draws on a line of reasoning that takes us well beyond contractarian motivations to the idea of the “impartial spectator” as developed by Adam Smith. The interests of future generations come into the story because they are important in our attempt to be impartial spectators. The obligation of power contrasts with the mutual obligations for cooperation at the basic plane of motivational justification. In the context of climate concerns and intergenerational justice, this asymmetry-embracing approach seems to allow an easier entry for understanding our obligations.
3
Harris, Joanne. Place in the Sun/Al and Christine's World of Leather/the Spectator (Storycuts). Transworld Publishers Limited, 2011.
4
Doane, Mary Ann. Bigger Than Life. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021780.
Abstract:
In Bigger Than Life Mary Ann Doane examines how the scalar operations of cinema, especially those of the close-up, disturb and reconfigure the spectator's sense of place, space, and orientation. Doane traces the history of scalar transformations from early cinema to the contemporary use of digital technology. In the early years of cinema, audiences regarded the monumental close-up, particularly of the face, as grotesque and often horrifying, even as it sought to expose a character's interiority through its magnification of detail and expression. Today, large-scale technologies such as IMAX and surround sound strive to dissolve the cinematic frame and invade the spectator's space, “immersing” them in image and sound. The notion of immersion, Doane contends, is symptomatic of a crisis of location in technologically mediated space and a reconceptualization of position, scale, and distance. In this way, cinematic scale and its modes of spatialization and despatialization have shaped the modern subject, interpolating them into the incessant expansion of commodification.
5
Bontemps, Arna. Recreation and Sports. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037696.003.0021.
Abstract:
This chapter describes Negro recreation and sports in Illinois in the late nineteenth and early twentieth centuries. In 1847, a ten-mile foot race in Chicago was witnessed by more than 1,000 spectators. The event was won by a Canadian. Nine years later, a Negro represented Cook County at the Alton Convention of Colored Citizens of Illinois. In 1854, a skating match took place on the canal at Elmira between Patrick Brown and George Tate, a colored man. In 1874, the Chicago Evening Journal announced that “the Napoleons, a colored baseball club of St. Louis, are coming to this city to play the Uniques, also colored, for the colored championship.” Pedestrianism also interested the Negroes in the early days of Illinois. This chapter looks at Negro participation in various sports and recreational activities such as racing, cycling, cricket, baseball, football, tennis, and boxing.
6
Schliesser, Eric. Philosophy of Science. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690120.003.0011.
Abstract:
This chapter articulates Adam Smith’s philosophy of science. The first section emphasizes the significance of Smith’s social conception of science—science takes place, not always comfortably, within a larger society and is itself a social enterprise in which our emotions play a crucial role. Even so, in Smith’s view science ultimately is a reason-giving enterprise, akin to how he understands the role of the impartial spectator. The second and third sections explain Smith’s attitude to theorizing and its relationship, if any, to Humean skepticism. Smith distinguishes between theory acceptance and the possibility of criticism; while he accepts fallibilism, he also embraces scientific revolutions and even instances of psychological incommensurability. His philosophy is not an embrace of Humean skepticism, but a modest realism. Finally, the chapter explores the implications of Smith’s analysis of scientific systems as machines.
7
Slocum, Karla. Black Towns, Black Futures. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469653976.001.0001.
Abstract:
Some know Oklahoma’s Black towns as historic communities that thrived during the Jim Crow era—this is only part of the story. In this book, Karla Slocum shows that the appeal of these towns is more than their past. Drawing on interviews and observations of town life spanning several years, Slocum reveals that people from diverse backgrounds are still attracted to the communities because of the towns’ remarkable history as well as their racial identity and rurality. But that attraction cuts both ways. Tourists visit to see living examples of Black success in America, while informal predatory lenders flock to exploit the rural Black economies. In Black towns, there are developers, return migrants, rodeo spectators, and gentrifiers, too. Giving us a complex window into Black town and rural life, Slocum ultimately makes the case that these communities are places for affirming, building, and dreaming of Black community success even as they contend with the sometimes marginality of Black and rural America.
8
Bailey, Doug. Cutting Skin. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190611873.003.0002.
Abstract:
This chapter provides a detailed description, discussion, and interpretation of the performance artist Ron Athey’s 1994 show 4 Scenes in a Harsh Life, and the controversy that it caused at local, national, and international levels. Discussion places that performance in the contexts of Athey’s other work, and the broader practice of performance art of the body, and then argues for the relevance of the Athey work for understanding the Neolithic pit-houses at Neolithic Măgura. Primary articulations of relevance are the previously under-represented role of the digger-as-performer, of the audience-as-witness and spectator, and of visibility and ephemera in performance. The chapter ends with a discussion about types of questions that we might now ask about pit-house sites such as Măgura.
9
Koehlinger, Amy. History of Sport and Religion in the United States and Britain. Edited by Robert Edelman and Wayne Wilson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199858910.013.34.
Abstract:
This chapter surveys scholarly writing about the intersection of religion and sport in the United States and Britain. It reviews the dominant historiography of works on religion and athletics, arguing that historians have focused primarily on clergy within Protestant traditions and the question of whether specific sports were considered licit or illicit in different places and times. This perspective occludes consideration of Catholic and other religions, the historical importance of bloodsport, and the informal nature of the interrelationship of religion and sport in daily life. The chapter also examines approaches to sport in scholarship from religious studies, highlighting the ways that scholars of religion have imagined sport as a form of religion (or “natural religion,” civil religion), often taking the perspective of the spectator and fan. The chapter concludes by exploring newer modes of analysis that explore the body as a site where religion and sport intersect.
10
Holt, Robin. Unhomeliness. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199671458.003.0008.
Abstract:
Arguing that Smith’s spectator is notable for its bridging skepticism and Kant’s sense of a unified subject, but wanting in its presenting a somewhat cosy, moralized, and self-sustaining sense of self, this chapter brings in the more unsettling views of spectating propounded by William Hazlitt. Hazlitt takes up the ideas propounded by Smith and Kant, but refuses to entertain the idea of there being a certain or sustained sense of self outside of the effort of self presenting. The characters of King Lear, Lady Macbeth and Macbeth are used to illustrate this argument. In this sense the self is constantly being produced through spectating, and hence is always living alongside itself, so to speak, often in uncanny ways. The self is its continual attempt at self presenting. In relation to strategic inquiry, this places the work of strategy centre stage, literally, as that process of inquiry by which any organization is brought into meaningful form.
Book chapters on the topic "Spectator’s place":
1
Canter, David, Miriam Comber, and David L. Uzzell. "Spectators' Views." In Football in its Place, 22–56. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003482574-2.
2
Hill, Shonagh. "Feeling Out of Place: The ‘Affective Dissonance’ of the Feminist Spectator in The Boys of Foley Street." In Performance, Feminism and Affect in Neoliberal Times, 269–81. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-59810-3_21.
3
Lo, Dennis. "Translocalities of Sadness." In The Authorship of Place, 145–64. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528516.003.0007.
Abstract:
This chapter explores how Hou Xiaoxian and Jia Zhangke have responded critically and reflexively to the commoditization and neoliberal redevelopment of place by challenging their own notions of authenticity and realism in two iconic shooting locations: Jiufen and Chongqing. By the production of Goodbye South, Goodbye (1996), Jiufen has transformed into what Urry calls a “tourist place,” a nostalgia themed space where film-induced tourism has all but overwhelmed the historical aura so cherished by Hou. I argue that the film’s disruptions of Hou’s realist style are reflexive responses to his own sense of complicity in transforming Jiufen into a tourist place. Operating like an alienation effect, moments of spectacular excess expose how the spectator’s perception of Jiufen is far from natural, but mediated through images popularized by Hou’s own films. Whereas Hou seems unable to experience Jiufen outside the dichotomy of authenticity and inauthenticity, Jia makes meaningful sense of his hometown's neoliberal redevelopment through a critical lens shaped, surprisingly, by none other than Hou's cinema. It is with this translocal, cinephilic, and reflexive framework of place making that Jia Zhangke re-imagines the decimated landscapes of Chongqing in Still Life (2006). Rather than simply lament the disappearance of authenticity, the film carefully observes the place making practices of China's "floating population," who must depend on their resourcefulness to navigate a geography of ecological ruin. Importantly, these unexpected modes of agency show Jia's departure from the authoritative, detached, and privileged modes of place making institutionalized by Fifth Generation auteurs.
4
Parker, Fred. "Addison’s Modesty, or the Essayist as Spectator." In Joseph Addison, 164–81. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198814030.003.0009.
Abstract:
The disengaged position of Mr Spectator, who observes life without participating in it, is related to Addison’s interest in an inexpressive reticence or modesty in language and in manners. How can this valorization of reserve be reconciled with The Spectator’s saturation in the social scene, a scene which is everywhere held up as open to appraisal? Comparison with Adam Smith’s ‘impartial spectator’ in The Theory of Moral Sentiments reveals Addison’s greater emphasis on the function of the imagination, such that the spectatorial viewpoint is often felt as an imagined viewpoint, a place to visit rather than to reside. This chimes with Addison’s way of endorsing Locke as a thinker who emphasizes the role of the mind’s suppositions and projections in the construction of experience. Genial recognition of the provisionality of what is imagined is key to Addison’s celebrated humour (especially in the Roger de Coverley papers), while the sense of an elusive imaginative agency gives the apparent spontaneity of his ‘easy’ style its subtle irony and its power to delight.
5
Lie, Sulgi. "On Enunciation without an Enunciator: Suture." In Towards a Political Aesthetics of Cinema. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462983632_ch02.
Abstract:
Suture theory overrides the central identification concept of apparatus theory. Instead of the spectator’s primary identification with the camera, there is a primary disidentification between camera and spectator that can only be reconciled secondarily. With Oudart, suture theory can thus be reconstructed as a negative apparatus theory: the camera is an apparatus, but a phantomatic one. But in Daniel Dayan’s influential appropriation of Suture theory, the emptiness of the subject of enunciation is short-circuited with the repressed apparatus of production. Since Dayan’s reading, a false compromise has prevailed in film theory between suture theory and apparatus theory, which I try to once again separate from each other. Hitchcock remains an important aesthetic point of reference, because he stages (above all in Psycho) a free-floating subjectivity by means of acousmatic voices and unsutured glances, which spectralizes the site of enunciation as a diegetically unclosable (non-)place.
6
Strukov, Vlad. "A Plea for the Dead (Self): Renata Litvinova’s Goddess: How I Fell in Love (2004)." In Contemporary Russian Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474407649.003.0007.
Abstract:
The symbolic mode betrays the habit of thinking of mental and sensory events in terms of habitual places (the last is the task of allegorisation): instead it deals with cosmological states. Renata Litvinova’s film forward concerns of intentionality as a matter of discursive interruption and drawing the spectator’s attention to the film’s self-referential strategies. Film as a form of knowledge regains the discourse of the sacred place in that it operates from its own sacred grove of immanence, that is, it alludes to the ‘external world’ by means of the exegetical tradition. Goddess utilises the rhetoric of doubling which problematizes the distinction between objective reality and dreamed reality. The only way for the spectator to tell the difference between the realms is by paying attention to the politics of location. Cinematic enlargement serves as a form of the uncanny in that it presents the familiar object / texture in a completely different way by disturbing the conventions of haptics, kinesics and chronemics. The film demonstrates how the discourse speaks through the subject whose function is no longer to contain discourse but to provide its own commentary. The resulting effect in Goddess is a proposition that thought and signification are performances.
7
Budick, Sanford. "‘Conversion’ of the ‘Nothing’ by the Instrumentality of The Merchant of Venice." In Hazarding All, 33–54. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474493154.003.0002.
Abstract:
In The Merchant of Venice a variety of voices clamour for conversion. Shakespeare shows that the precondition for achieving any genuine conversion is attaining to a standpoint outside one’s erstwhile consciousness. Crucial to the achievement of an onlooking standpoint by the instrumentality of this play is the numbers game of “hazard “that climaxes in the “three” and its variants of “the third.” In the footsteps of other scholars, Michel Foucault explained that the third “turn” or epistrophe is a rhetorical figure for the experience of “conversion.” So, too, in The Merchant of Venice the hazard of bracketing the human is made to occur in the intrusion—the Einbruch—of Christian Jew-hatred directly from the spectator’s (and Shakespeare’s) place and time into the space and time of the play. Here I cite and amend Carl Schmitt’s concept of an “intrusion of the time,”the “Einbruch” or “breaking-in” of an extra-fictional reality into the reality represented on stage. These are among the means that Shakespeare employs to produce the condition of the onlooker. Yet the full realisation of that condition—anticipated in this play—awaits chiastic partnership with Shakespeare’s other great representation of racist imagination—Othello.
8
Redmon, Allen H. "Adaptation." In Rewatching on the Point of the Cinematic Index, 142–84. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496841810.003.0005.
Abstract:
Chapter Four provides a full account for the process of adaptation the point of the cinematic index can invite spectators to enter. The section insists that cinema, as an indexical art, is constantly providing the opportunity for a new reality behind the image. The task of the spectator, to play on the ideas and title of Walter Benjamin's seminal article, "The Task of the Translator" (1921), becomes an opportunity to redress the images set on screen, to create a reality that has not-yet-been-known. In this way, an opportunity to rewatch the image on the screen always remains. The chapter ends with an extended discussion of the ways Christopher Nolan routinely plays and invites the spectator to play on the point of an index. This play rejects the idea of an authentic reality and, in its place, offers the knowing spectator a chance to extend the intertextual and imaginative indices in new directions in a performance of the image's elasTEXTity.
9
Şahbaz, Ramazan Pars, and Ali Turan Bayram. "The Role of Movies/TV Series in Building Country/City/Destination Brands." In Brand Culture and Identity, 1204–17. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7116-2.ch064.
Abstract:
TV series and movies which have become one of the most effective media tools, has a fairly determinative power on perceptions, opinions, reactions, and behaviours. The effect of movies and TV series on destination advertising can be appeared as informing, offering a perspective for the spectator, creating an image and directing the image. The places where the film is located in or the places that are told in the film take place relatedly in the spectators' minds. Accordingly, a destination can obtain an image and become a brand by presenting in a film or locating in a film. In that sense, this part is important in terms of analysing the role of TV series and movies on promotion of country and building a destination image, stressing that the power should be used to create an image about the region where is located or told in the film or to change the current image in individuals' minds by destinations efficiently. This part mainly inclines on these points and the subject will be analysed profoundly.
10
Şahbaz, Ramazan Pars, and Ali Turan Bayram. "The Role of Movies/TV Series in Building Country/City/Destination Brands." In Strategic Place Branding Methodologies and Theory for Tourist Attraction, 269–82. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0579-2.ch013.
Abstract:
TV series and movies which have become one of the most effective media tools, has a fairly determinative power on perceptions, opinions, reactions, and behaviours. The effect of movies and TV series on destination advertising can be appeared as informing, offering a perspective for the spectator, creating an image and directing the image. The places where the film is located in or the places that are told in the film take place relatedly in the spectators' minds. Accordingly, a destination can obtain an image and become a brand by presenting in a film or locating in a film. In that sense, this part is important in terms of analysing the role of TV series and movies on promotion of country and building a destination image, stressing that the power should be used to create an image about the region where is located or told in the film or to change the current image in individuals' minds by destinations efficiently. This part mainly inclines on these points and the subject will be analysed profoundly.
Conference papers on the topic "Spectator’s place":
1
Giurescu, Adina. "The aesthetic experience of the contemporary theater audience." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.21.
Abstract:
The purpose of this work is materialized in our attunement to the perplexities and feelings of the theater audience and, at the same time, we wonder if there are theater creators who have in their subsidiary, when starting a theatrical project, the express desire to excite the audience? The theater performance must retain its individuality gained in the art area, manifesting even its potentialcharacter as a trainer. The atrical creation must be carried out in an exclusively artistic manner, so that the estrangement from professional art is not placed under the sign of obligation when socio-political conditions (lack of money, few spectators) impose it. As Jerzy Grotowski said, the theater performance is fulfilled through this connection created during the theater performance between the actor and the spectator. A forced expression of a new theatrical vision, namely that of recounting banally an event that occured at the present time and subsequently materialized, without aesthetic value, on the stage of the theater, will lead to a split (perhaps irreparable) between the theatrical phenomenon and the spectator.
2
Olarewaju, Oluseyi, Athanasios V. Kokkinakis, Simon Demediuk, Justus Roberstson, Isabelle Nölle, Sagarika Patra, Daniel Slawson, et al. "Automatic Generation of Text for Match Recaps using Esport Caster Commentaries." In 6th International Conference on Computer Science, Engineering And Applications (CSEA 2020). AIRCC Publishing Corporation, 2020. http://dx.doi.org/10.5121/csit.2020.101810.
Abstract:
Unlike traditional physical sports, Esport games are played using wholly digital platforms. As a consequence, there exists rich data (in-game, audio and video) about the events that take place in matches. These data offer viable linguistic resources for generating comprehensible text descriptions of matches, which could, be used as the basis of novel text-based spectator experiences. We present a study that investigates if users perceive text generated by the NLG system as an accurate recap of highlight moments. We also explore how the text generated supported viewer understanding of highlight moments in two scenarios: i) text as an alternative way to spectate a match, instead of viewing the main broadcast; and ii) text as an additional information resource to be consumed while viewing the main broadcast. Our study provided insights on the implications of the presentation strategies for use of text in recapping highlight moments to Dota 2 spectators.
3
CONDURACHE, Dumitriana. "A Diverse Beauty: Amore, by Pippo Delbono." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0015.
Abstract:
To consider something or someone different is to discriminate. Objectively, this term has no moral connotation. You take a category and relate to it by choosing different references. Pippo Delbono manages to synthesize the beauty inside the difference; an intense, painful, even tough beauty. For him, contrast is not a method, but an acceptance of identity: marginalization as an existential condition. He places himself in both seats: in the audience – and inside the show. Spectator and actor, director, he changes the perspectives because he embraces them all, thus indicating that each of our roles is interchangeable. We can always be the other or different for someone, a group, a context, and the list could go on. One of the central images of Amore performance this year, at the International Theatre Festival in Sibiu, is a heartbreaking Pietà illustration.
4
Stanković, Emilija. "ULOGA TRANSPORTA U SNABDEVANjU RIMA." In XV Majsko savetovanje: Sloboda pružanja usluga i pravna sigurnost. University of Kragujevac, Faculty of Law, 2019. http://dx.doi.org/10.46793/xvmajsko.103s.
Abstract:
At the time of its establishing, Rome was a city – state with not such a large number of citizens and of restricted territory. Thanks to historical circumstances, as well as to skills and pragmatism of the ancient Romans, the city was soon turned into a powerful empire. During the reign of the Emperor Augustos, Rome became a city with over one million inhabitants and with around hundred public baths and other numerous public buildings and parks, while the Coloseum itself could accommodate 55 000 spectators. All of this attracted people from other places to come to Rome, just for a visit, or to seek jobs and remain there. Whatever was the purpose of their comings and goings, this required organized transportation via well built roads or established sea routes. Also, it was necessary to organize the provision of food and other basic supplies. Certain Roman provinces specialized in the production of certain crops and goods they mutually exchanged – which, again, required an organized road and sea transportation. In one word, vivacious trading and exchanging of goods resulted in developed transportation system without which Rome could never have reached such an extent of expansion.
5
Thurston, Leanne. "How Staged Head-On Collisions Changed Public Perception of Railroads." In 2019 Joint Rail Conference. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/jrc2019-1329.
Abstract:
With any new mode of transportation comes new fears for both the public and those involved in the industry. The advent of the transcontinental railroad was no different. When the transcontinental railroad was complete and trains became more commonplace for travel, the biggest fear became the worst case scenario: a head on collision between two trains. The idea of the head on collision remained the biggest fear of the public because it happened and was based on reality, but was rarely witnessed, which made the idea even more lofty. But with the standardization of time in the 1880’s, there were fewer crashes and collisions of railroads, but people were still afraid. Railroad companies began to brainstorm the best way to change public perception, and began to stage head on collisions open to public viewing for a small fee. Naturally, the idea took off, and head on collisions between trains became the next source of entertainment. For $2, spectators could watch two locomotives crash into each other at speeds of 58 miles an hour in Crush Texas, or even cheaper in Ohio. But this was more than just entertainment. William Crush, the most famous locomotive smasher had actually worked on the railroad known as the Katy. When asked by the executives of the railroad to boost sales, head on collision was his solution. Despite multiple injuries suffered in the crowd from shrapnel and an exploded boiler, this showcase worked, and ridership of the Katy increased dramatically. Crush’s display was not the first, or last time this took place around the country, but it was the most deadly, which makes it the most memorable and begs the question “what role do these staged collisions play in railroad history?” Ridership in the decades leading up to these staged collisions was steadily declining, and safety measures were not taken into consideration. But with these staged collisions that turned around. People, not just the public were able to see and study the different collisions and put minds at ease. But it also tells about the United States population at the time. These staged collisions could not have happened in any other era because of the industrial revolution which allowed railroad companies to begin to replace old locomotives and iron tracks with steel.
6
Myers, Marie J. "BRIDGING LANGUAGE GAPS OF L2 (SECOND LANGUAGE) TEACHERS BY OPTIMIZING THEIR SELF-AWARENESS." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end112.
Abstract:
"During a Canada-wide consultation session of teacher trainers for future teachers of French, Canada’s official second language (L2), given the problematic situation of unprepared candidates with questionable mastery of the language, some instructors even retreated to a position stating that these students need to be encouraged although they are struggling with French. What this implies is placing role models in classes with inaccurate French, repeating the same situation if not making it even worse as indeed early French immersion is still the chosen protocol by Canadian non-French speaking parents. Young children absorb language like sponges repeating their teacher and if their French is inaccurate, learning the mistakes. What is however of more crucial importance is not to replicate language programs delivery from which learners emerge without sufficient mastery to make themselves understood because of inaccurately learnt language forms. Therefore, we have to uncover remedies to properly guide all learners, through strategies and techniques for their individual management of the language they are trying to acquire-learn. We want to ensure an economy of time in teaching programs with efficient contact times. Revisiting language programme approaches to uncover what was advocated for error correction, we looked at actional attention (Ellis, 1992), work on noticing (Fotos, 1993), markedness (Larsen-Freeman, 2018), interference (Abdullah & Jackson, 1998) interlanguage theory (Selinker, 1972), the monitor model (Krashen, 1982) and recent types of approaches, namely notional functional, communicative, and action-oriented. As well, we gleaned insights from a review of the literature on strategies and techniques including Raab, (1982) on spectator hypothesis with feedback to the whole class; through peer correction by Cheveneth, Chun and Luppesku (1983); with other innovative techniques suggested by Edge (1983); techniques advocated by Vigil and Oller (1976) for oral correction; and correction across modalities (Rixon, 1993). We will report on a qualitative study (Creswell & Poth, 2018) based on an analysis of instructor’s notes regarding the observed effect on some of the strategies that were tried and across different student groups. In this study, notes on how the instructor devised ways of drawing attention and using metacognition to obtain the best results are examined. In addition, ways involving the affective domain, through emotions and also using innovative ways through disruptions etc. were tried to see if they provided a further impact. Students reported that they appreciated the corrective feedback the way it was dispensed. However results show a variety of concerns, namely the problem with deeply fossilized errors, some students’ being over confident about their language ability, and either a deep concern for making errors that is paralyzing or a belief that over time correction will take place in interlanguage development without making any effort. Due to page limitations, in this paper we will essentially present overarching aspects."
7
Monteiro, Caique Cahon. "Aesthetic Experience and Digital Culture: New Flows in The Space of Art Exhibition." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.67.
Abstract:
Artistic institutions are traditionally places of cultural and social memory reverberation. Such spaces have a character of institutionalisation of the cultural market. Contemporary works of art and the exhibition format are factors that shape the possibilities of consumption and experience from visitors within these spaces. By taking advantage of the artifices of their time, art and artists appropriate new digital Technologies, digital culture contextualizes this movement, interweaving new paradigms in the exhibition spaces of museums, galleries and cultural centres. It is clear that the artistic production that involves digital media at some level creates increasingly subjective and hybrid paths between machine and human in the processes. This occurs not only in the scope of raw material and in the production of their poetics and narratives, but also in every present social context, of consumption, access, and dissemination of artistic works. In the last 10 years there has been a growing number of public in cultural institutions in Brazil (data from IPEA - Institute for Applied Economic Research), this curve does not resemble any increase in investment in public policies, improvement in education or culture. This rate of increase in visitors to cultural spaces is like the increase in access to mobile devices and use of the internet and social networks, perhaps, at some level, it shows that internet access and digital culture may be enabling an environment of spontaneous dissemination for the artistic market in Brazil. With the advent of smartphones and the constant use of this technology in various moments of leisure and work, the habit of taking a picture from any work of art has become something normalised in institutions. This process can create different media flows that reformulate the visitor's experience in front of the exhibition space. In this way, the traditional and passive spectator subject is mixed with the user subject present in digital culture, with its agency potential and sharing capacity. Although these photographs present themselves in society as a cultural product, their visualisation and distribution extend to a computational level. This master's research project proposes to establish dialogues between the field of communication and the arts, especially digital culture, and aesthetic experience. The object of study is the production of photographic images made by visitors to cultural exhibitions through smartphones and shared on the Instagram social network. Through the use of artificial intelligence, it will be possible to analyse hundreds of images from the Instagram social network that were taken at the Banco do Brasil Cultural Centre, located in the city of Rio de Janeiro, Brazil (Brazilian institution with the highest number of visitors in the last 5 years). This qualitative and quantitative analysis enables a reflection on the contemporary media character present in art exhibition spaces and the observation of new experiences between public, work, and digital culture.
8
Blidar, Crina-Rozalia. "Traditions and customs in the country of Codru, Maramureş." In Conferinţă ştiinţifică naţională "Salvgardarea şi conservarea digitală a patrimoniului etnografic din Republica Moldova". Institute of Cultural Heritage, Republic of Moldova, 2023. http://dx.doi.org/10.52603/9789975841856.04.
Abstract:
The current county of Maramureş is made up of four ethnographic areas, geographically, historically and ethnographically distinct, being an ancient Romanian hearth with history chiseled in wood and stone, in soul and in verb. These are called countries of Maramureş, and namely: Maramureşului Country, or Historical Marmaureşul or Voivodal, Lapuşului Country, Chioarului Country and last but not least, Codrului Country. One of the most controversial countries of Maramureş, Ţara Codrului, covers a rather narrow area compared to other ethno-folkloric areas, the ethno-cultural space of this area currently falls administratively in the counties of Maramureş, Satu Mare and Sălaj, although in in the past they belonged to Sălaj county, most of the localities being integrated into the Cehu Silvaniei network. The identification of ancient customs and traditions preserved to this day or the reconstitution of some long-forgotten customs or traditional occupations from the folklore area of Maramures Ţara Codrului would lead to the valorization of the way of transmitting local values, customs, occupations, beliefs and symbols shared by the community, so that, subsequently, they are implemented in the daily life of the new generations. Being one of the most important traditional dances of our country, the Caluşari dance dates back to the pre-Christian period, being related to the ancient cult of the Sun. Considered by some specialists as the decayed descendant of an ancient ritual, coming from the mists of time, this particularly spectacular Romanian folk dance is included in the heritage of humanity. The ritual dance of the Caluşaris, of high artistic value of Romanian folklore, is our symbol for the scenes of the world; it is the emblem that connects equally to history and myth, without ignoring its semantic and value universality. This living symbol of our culture represents the uniqueness of the Romanian people, both through the movements of the footmen and through their clothing. It must be emphasized that the people regarded the game of the Gags as an unusual fact, because the energy and frenzy that the Gags displayed during the game did not seem natural to them, perpetuating the idea that they are led by a supernatural force that gives them powers. In fact, it’s about the enthusiasm, passion and joy with which everyone interprets the role they have in this show, because in the end, the dance of the Horsemen is a majestic show, performed in the purest and most authentic style. In 1907 George Pop from Băseşti, driven by the desire to have an authentic Romanian dance, brought a master, Dr. Iustin C. Iuga from Alba Iulia, who stayed in Băseşti for three months and trained the troupe group that had its first official representation on the day of the great TRIBUN . Later, the Caluşari bands participated in all Astra events or other important events of the time because leading a national dance band was an occasion of pride and national affirmation, the dance of the Caluşaris from Transylvania becoming a national emblem for the artistic expression of the leading Romanian villages. It was believed, in that day that through this dance one contributes to the formation and strengthening of the spiritual unity of the national consciousness, because those who dance the Căluşarul can only be Romanians in origin. Băseşti commune is an area where the authenticity and values of Romanian folklore are preserved. Included in the community known generically under the term Şara Codrului, an area strongly impregnated with local traditions and customs, Băseşti remains a land of preservation of traditions and customs that have long since passed. For more than 100 years, in Băseşti, the bands of gaggles have appeared on the country’s stages, expressing the desire of Romanians everywhere to be united under a single, unique and unbroken banner, thus perpetuating the dream of the great tribune, George Pop of Băseşti. The stage appearances of the two caluşari formations, the big team and the small team, from Cluj and Baia Mare in the 80s, represented crucial moments for this dance, which has now become a constant habit in the lives of the people of Basăşti. The simultaneous dance of the two generations of gaggles symbolizes its antiquity and continuity in our traditional culture. Thus, the constancy and antiquity of the dance of the Caluşari from Băseşti gives it the right to be called a custom specific to Băseşti, with all the rights that derive from it. The dream of a human intertwined with the beauty of this beautiful dance of the Caluşaris, against the background of passion and dedication of the members of the formations established over time, make history in Băseşti, representing a reason for national and, above all, local pride. If the glorious past is the basic piece in maintaining our national consciousness, the present is the link between it and the young saplings, the future generations that can be formed in the spirit of love for nation and country, with the due place given to the elements of national identity, and of course with love for the perpetuation of traditions and customs, especially arousing and developing the passion to play the dance of the Caluşar from Băseşti, this should be a reason for pride and joy for them, like their ancestors. Any spectator who has the opportunity to watch the dance of the Caluşari from Băseşti can claim that it was shown to him in all its archaic splendor, reinforcing his feeling that Romanians have.
Reports on the topic "Spectator’s place":
1
Commonwealth Bank - Spectators in Martin Place at the opening of the new Head Office - 22 August 1916 (plate 645). Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-000850.