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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.
Анотація:
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.
Анотація:
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.
Анотація:
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.
Анотація:
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.
Анотація:
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.
Анотація:
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.
Анотація:
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.
Анотація:
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.
Анотація:
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.
11
Borody, Claire. "Michel Tremblay at Ralph Connor House." Canadian Theatre Review 126 (March 2006): 58–61. http://dx.doi.org/10.3138/ctr.126.011.
Анотація:
It is a frosty January night in Winnipeg. People are scattered throughout the foyer, parlour and dining room of Ralph Connor House, sipping drinks and commenting on the architecture and the artefacts on display. The event underway may appear to be a cocktail reception, but it is not. Although spectators may not be aware of the fact, Avera Theatre’s1 Stories for Late Night Drinkers has begun. The performance can best be described as a theatrical collage, in which spectators are moved from room to room in a kind of Boulevard-style progression and which uses a collection of short stories as its point of departure. As such, it needs a setting and a structure that immediately alter the expectations of the spectator. From the moment that spectators walked through the front door, the undeniable character of the twenty-three-room, 11,0000-square-foot Jacobean Revival house, placed a focus on the space as a principal element of production. Spectators were also immediately made aware of the fact that they had entered space with a history, representative of another time, with a different reality. They were encouraged to explore the ground- and lower levels of the house prior to the start of the performance but not the upper floors. The conspicuous lack of formal markers to suggest the boundaries of the performance space, such as a raised stage area or theatrical lighting, further altered performance expectations. Spectators were thus offered the suggestion of possible boundaries rather than given a clear indication of actual boundaries. The staircase to the second floor remained unlit until characters descended to the ground floor to wander among the gathering spectators. This action served as a transition to the official opening of the performance and as a means to establish conventions that would be used throughout the performance: staircases as one of the signs indicating a shifting reality, the dissolution of physical boundaries between actors and spectators and the notion that actors would react to spectators without inviting interaction. Ralph Connor House thus set the context of the performance and provided the concrete framework for the spectator’s journey.
12
Orel, Barbara. "Fusing the Fictional and the Real in the Contemporary Performing Arts." Nordic Theatre Studies 26, no. 1 (October 1, 2018): 44–54. http://dx.doi.org/10.7146/nts.v26i1.109739.
Анотація:
The exploration of the relationship between the fictional and the real in projects by ViaNegativa, a performance group from Slovenia, is based on the presumption that therecognition of what we experience as fictional or real is decisively influenced by the perceptualactivity of the spectator. The article argues that the exchange between the elements of fictionand reality takes place in two different concepts of representation: theatricality and absorption.These are two opposing notions used for defining the relationship between the imagerepresented and the spectator. Theatricality is the effect of the address that the image makes tothe spectators and thus makes them conscious of their own act of perceiving. Absorption, inturn, describes the context in which the image is put to view as a closed, self-sufficientsign-system establishing such conditions of perception that make the spectator focuscompletely upon the object represented; the audience is so overcome by the presented imagethat they experience this as if they were absorbed into the staged world. These two concepts areelaborated on the basis of Denis Diderot's essays on theatre and fine art. The essay provesuseful for the argumentation of the thesis since they testify that theatricality and absorption,each in their own way, include the spectator's personal investment into what comes across asfictional or real. A detailed analysis of selected performances by Via Negativa shows that thereal assuch (i.e. theauthenticity of the real that isconfirmed in the identity with its own self)is impossible to achieve. Under the gazeof the spectator, the real is always compelled to revealitself through some kind of representation. As also found by Alain Badiou, the authenticity ofthe real can only be presented through the role of semblance, mask or fiction.
13
Wakefield, Kirk L., Jeffrey G. Blodgett, and Hugh J. Sloan. "Measurement and Management of the Sportscape." Journal of Sport Management 10, no. 1 (January 1996): 15–31. http://dx.doi.org/10.1123/jsm.10.1.15.
Анотація:
The physical environment of the stadium may have a significant effect on the extent to which spectators will desire to stay and return to the stadium. Specific aspects of the stadium experience may lead directly to spectators' pleasure with the place, while other factors may contribute to negative feelings that may decrease pleasure. This study provides sports facility managers with a reliable survey instrument to determine how spectators perceive their facility. Recommendations are provided to guide stadium owners and managers in the effective management of the facility to maximize spectator satisfaction.
14
Lee, Hyun-Woo, Heetae Cho, Emily M. Newell, and Woong Kwon. "How multiple identities shape behavioral intention: place and team identification on spectator attendance." International Journal of Sports Marketing and Sponsorship 21, no. 4 (May 25, 2020): 719–34. http://dx.doi.org/10.1108/ijsms-09-2019-0097.
Анотація:
PurposeThe purpose of this study was to investigate the complexity of how spectators' multiple identities influence their behavioral intention. Specifically, the authors examined the effects of spectators' place identification, team identification and an interaction effect on attendance intention using social identity complexity framework.Design/methodology/approachData were collected from spectators attending professional baseball games in South Korea. While 550 questionnaires were returned, 475 (86.36%) were used in the analysis after excluding incomplete responses. The research model was tested using latent moderated structural equations modeling.FindingsResults indicated place identification only influenced attendance intentions through an interaction effect, while team identity directly affects attendance intention. Highly identified sport consumers intended to attend future games regardless of place identification, while the sense of love for the team's home region motivated low-identified sport consumers more to attend future games.Originality/valueThe findings of this research led to understanding the relationships between multiple identities and behavioral intention and provided the spectator sport industry with valuable strategies to manage their sport consumers.
15
Ndlovu, Jenitha. "Spectator Violence in Football Matches in Bulawayo Metropolitan Province." International Journal of Research and Innovation in Social Science VII, no. IX (2023): 734–44. http://dx.doi.org/10.47772/ijriss.2023.70962.
Анотація:
Spectator violence is a phenomenon that has been associated with professional football in Europe. Issues of hooliganism, tribal tendencies and insecurity have found their place in African football. This paper interrogates issues of spectator violence in football in Bulawayo Metropolitan Province. The paper is grounded on frustration-aggression theory (Miller & Dollard, 1939) in trying to determine the causes, nature and impact of violence in sports. A descriptive qualitative approach was adopted in which interviews were conducted to collect views, attitudes and opinions of the spectators, players, referees, and football clubs’ management. Document analysis augmented findings from interview schedules. Expert purposive sampling technique recruited thirty participants comprising of referees, managers, coaches, players, and spectators to establish causes of spectator violence in football. Participants were voluntarily selected and protected as they were assured of their anonymity and confidentiality. Findings from interviews and document analysis point out that spectator violence seems to be influenced by hooliganism, escapism, tribalism, and frustration in football among other issues. Seventy percent (70%) of the participants also indicated that matches are a representation of historical and ethnic conflicts between tribal groups, hence these tendencies trigger violence in form of hooliganism. On the other hand, 85 % of football managers pointed out that songs and chants in the stadia by football spectators trigger violence. There were 65% of the spectators who pointed to unfair calls by referees as an indicator of football violence. Similarly, 86% of the referees indicated that frustration and escapism by spectators promotes football violence when spectators try to settle scores and vent their anger through sports. Based on the findings, the study recommends that football should be taken as an industry where outreach programmes are held to educate the football players, spectators, managers, referees, and the nation at large. Conduct of the different personalities at matches should be imparted at grassroots level through schools, clubs, and media.
16
Jun, Se-Hyun, Min-Seok Lee, and Chul-Won Lee. "Relationship among Retro Marketing, Place Attachment and Viewing Satisfaction for K-League Visitors: Focused on FC Seoul." Korean Society for Leisure Sciences 14, no. 3 (November 30, 2023): 213–26. http://dx.doi.org/10.37408/kjls.2023.14.3.213.
Анотація:
This study investigated the relationships among FC Seoul's retro marketing, place attachment to Seoul World Cup Stadium, and the satisfaction of K-League spectators. A survey was employed as the primary data collection method gathering total of 306 questionnaires through non-probability convenience sampling. Data analysis used SPSS 26.0 and AMOS 22.0, involving techniques such as frequency analysis, reliability analysis, confirmatory factor analysis, correlation analysis, and structural equation modeling. The key findings were summarized as follows: Firstly, FC Seoul's retro marketing significantly influences place attachment to Seoul World Cup Stadium. Secondly, place attachment significantly impacts the satisfaction of K-League spectators. Thirdly, FC Seoul's retro marketing does not directly affect spectator satisfaction in a significant manner. Lastly, place attachment serves as a complete mediator in the relationship between FC Seoul's retro marketing and the satisfaction of K-League spectators. This research provided valuable theoretical support and data for K-League clubs aiming to implement retro marketing strategies.
17
Da Costa, Luiz Cláudio. "AS “SITUAÇÕES” GRÁFICAS DE ANNA BELLA GEIGER E O LIVRE JOGO DAS TRANSFIGURAÇÕES / Anna Bella Geiger's “situations”: the free play of transfiguration." Arte e Ensaios 27, no. 41 (July 24, 2021): 315–30. http://dx.doi.org/10.37235/ae.n41.17.
Анотація:
O corpo, o lugar, o imaginário constituem três núcleos de interrogações na prática artística de Anna Bella Geiger cujo gesto crítico consiste em salientar as passagens e imperfeições nos sistemas de representação, desestabilizando esquemas simbólicos em prol das imagens e suas transformações. Os três núcleos não formam polos estanques ou fases. Interpenetram-se, comunicam-se, contaminam-se por força das passagens, da circulação, da transmissão que corrói as formas e as aparências, quer camuflando, esquecendo ou substituindo representações, quer cruzando as fronteiras dos enquadramentos, das convenções, dos esquemas normativos. As “situações” de Anna Bella Geiger ajudam a compreender outra modalidade da participação do espectador.Palavras-chave: O corpo na arte; Cartografias artísticas; Arte contemporânea. AbstractThe body, the place, the imaginary constitute three cores of interrogations in the artistic practice of Anna Bella Geiger whose critical gesture consists of highlighting passages and imperfections in the systems of representation, destabilizing symbolic schemes in favor of images and their transformations. The three cores do not form watertight poles or phases. They interpenetrate, communicate, become contaminated by means of passages, circulation, transmission that erodes shapes and appearances, whether by camouflaging, forgetting or replacing representations, or by crossing boundaries of framings, conventions or normative schemes. Anna Bella Geiger’s “situations” helps us understand another modality of the spectator’s participation.Keywords: The body in art; Artistic cartography; Contemporary art.
18
Confederat, Olga, and Natalya Dyadyk. "Scopic regime and its place in the epistemological plan of visual culture." Socium i vlast, no. 3 (September 2022): 71–82. http://dx.doi.org/10.22394/1996-0522-2022-3-71-82.
Анотація:
Introduction. The interest of modern humanities in the field of the visual involves systematic work with the structural and content elements of the spectacle, encoding important information about social being and thinking, about the value systems of man and society, about the nature of receptions and models of cognition adopted in a particular era. The subject of attention in the article is the basic coding tool of visuality - the gaze mode or the scopic mode. Elucidation of its nature and mode of action opens up the possibility of a philosophical consideration of the cognitive models of the era. The purpose: of the article is to present models of scopic modes in the aspect of the philosophical theory of visuality, to reveal their epistemological significance and to consider examples of the practi- cal operation of such modes in films of the 20th and 21st centuries. Methods. In the course of the study, general scien- tific methods of analysis and synthesis were used; the method of phenomenological reduction, which allows fixing the sensually perceived qualities of ob- ject-spatial screen images; a hermeneutic method that allows, on the basis of visible sign structures, to reveal the deep intentions of a visual image, as well as methods of structural and discursive analysis of a visual source, which make it possible to identify markers of the philosophical and cultural content of a visual text and the objective causes and conditions for its appearance. The scientific novelty lies in the fact that we ap- proach the visual source from the standpoint of epistemology, which allows us to find out the na- ture of the cognitive strategy of a particular era. We systematize the types of scopic modes accepted in visualism and reveal the possibility of theorizing an additional, “observational” mode, which is relevant for the beginning of the 21st century. Results. In the course of the analysis, we applied the tools and conceptual base of philosophical epistemology to modern visual culture, namely, to photographic and cinematic images. This made it possible to see a certain cognitive strategy behind the same type of way of organizing the spectacle and controlling the spectator’s gaze, and thereby open up a possible path to studying the epistemo- logical “a priori condition” of cognition characteris- tic of a particular era. The five most effective scopic regimes are considered: “Cartesian perspectivism”, “topographic” regime, “baroque” regime, “impulse” and “observational” regimes. Conclusions. Structural and discursive analysis of visual material (photographic series and films) of different decades of the 20th and 21st centuries makes it possible to highlight a special tool that encodes the cognitive intentions of the era in a visual image: the scopic mode or the gaze mode. Using the type of selectivity inherent in it and the dynamics of the gaze as the basic characteristics of the scopic mode, we distinguish five basic scoping modes in the visual practice of the XX—XXI cen- turies.. At the same time, understanding the regime of gaze as an expression and action of the episteme that dominates in a particular era, we discover the philosophical and epistemological field of study of photography or film.
19
Golosov, Oleg, Ilya Selyuzhenkov, and Evgeny Kashirin. "Data-Driven Methods for Spectator Symmetry Plane Estimation in CBM Experiment at FAIR." Particles 4, no. 3 (July 21, 2021): 354–60. http://dx.doi.org/10.3390/particles4030030.
Анотація:
The Compressed Baryonic Matter experiment (CBM) at FAIR aims to study the area of the QCD phase diagram at high net baryon densities and moderate temperatures with collisions of heavy ions at sNN=2.8–4.9 GeV. The anisotropic transverse flow is one of the most important observable phenomena in a study of the properties of matter created in such collisions. Flow measurements require the knowledge of the collision symmetry plane, which can be determined from the deflection of the collision spectators in the plane transverse to the direction of the moving ions. The CBM performance for projectile spectator symmetry plane estimation is studied with GEANT4 Monte Carlo simulations using collisions of gold ions with beam momentum of 12A GeV/c generated with the DCM-QGSM-SMM model. Different data-driven methods to extract the correction factor in flow analysis for the resolution of the spectator symmetry plane estimated with the CBM Projectile Spectator Detector are investigated.
20
Doroszuk, Hanna. "Applying the Avant-Garde: Display Experience in the Exhibition of Modern Art (1948)." Ikonotheka, no. 29 (September 16, 2020): 229–48. http://dx.doi.org/10.31338/2657-6015ik.29.9.
Анотація:
The Exhibition of Modern Art (Wystawa Sztuki Nowoczesnej) organized in 1948 in the Palace of Art (Pałac Sztuki) in Cracow was one of the most prominent art events in Poland during the last century. It is considered one of the unprecedented moments in shaping the modernity. The exhibition was thought to be designed as a whole venture, integrating the modern art demonstration with the will to make it accessible to all the social groups. The desire of the authors was to endear the authorities, since the Stalinist repressions were approaching, and present the modern art as accessible to the society and needed in the “new socialist order”. Simultaneously, the primal context for the exhibition, underlined by its authors as well as the critics in subsequent years, were the surrealist exhibitions in Paris. This new avant-garde mode of displaying, so attractive for the Polish artists, put in the foreground not the traditional reception of art, implied by the traditional museology, but mostly focused on the spectator’s experience and used all possible kinds of tools to enhance it. These two approaches were usually presented as antagonistic and impossible to reconcile. The article attempts to analyze the tools which the display’s authors used to merge the avant-garde display with didacticism. While looking at the Recovered Territories Exhibition which took place a couple of months earlier, one might notice that the Exhibition of Modern Art was not the first display that accommodated the avant-garde solutions to the didactic and propagandistic venture.
21
Nogueira, Patrícia. "Ways of affection: How interactive documentaries affect the interactor’s felt experience and performance." New Cinemas: Journal of Contemporary Film 17, no. 1 (March 1, 2020): 49–68. http://dx.doi.org/10.1386/ncin_00004_1.
Анотація:
This article intends to explore how interactivity and new technologies promote new spectatorship performances and subsequently affect the interactor’s subjectivity. Through the analysis of three interactive documentaries, I propose and describe a taxonomy for addressing the felt experience of interacting in digital environments. Each selected documentary corresponds to a different mode of interaction and, therefore, engages the audience in a particular way: Bear 71 (hyperlink mode), Fort McMoney (conversational mode) and A Journal of Insomnia (participative mode). Throughout the analysis, I consider the interactor and the digital object as two interrelated and dependent entities that influence and shape one another. I argue the objects of interaction affect the viewers by inducing bodily felt sensations and shaping their subjectivity. As so, the sensuous encounter between the interactor and the digital documentary provides a virtual gratification for the spectator’s performance. Delving into a phenomenological and post-phenomenological investigation, I focus my attention in the microperceptions, as structures of sensory perception in the bodily dimensions of experience, translated as senses. As fragmented, multilinear and dynamic forms, interactive documentaries provide the audience with the agency of manipulating and developing the narrative, while conversely engender in the interactors what I address as ways of affection. I propose or adapt eight digitally disrupted and induced sensations, or senses of, for describing how interactive documentary affects users during the interaction performance: sense of control, sense of presence, sense of Self, sense of place, sense of belonging, sense of almightiness, sense of endlessness, sense of incompleteness.
22
Cook, Amy. "Shadow Play." TDR: The Drama Review 67, no. 4 (December 2023): 57–71. http://dx.doi.org/10.1017/s1054204323000424.
Анотація:
We perceive loss by tracing the contours of what we invent in its place. When a work of art invites spectators to engage with it, it offers them an opportunity to process loss. Such artworks can be theatrical, visual, or architectural—like a public memorial; what unites them is the experience of the spectator. Individual and personal experiences of grief connect with the social expressions of large-scale loss when the one shows up, fractal-like, in the details of the other.
23
Pręgowski, Filip. "W przestrzeni wymiany. Obrazy Jacka Goldsteina i fotografie Olivera Wasowa." Artium Quaestiones, no. 28 (May 22, 2018): 87–110. http://dx.doi.org/10.14746/aq.2017.28.4.
Анотація:
The paper, focused on the works of two American artists of the 1980s, Jack Goldstein and Oliver Wasow, is an attempt to consider the process of crossing boundaries between two different kinds of art. That phenomenon was a characteristic feature of the late twentieth-century art, including also The Pictures Generation to which both artists actually belonged. Both Goldstein, in his paintings from the 1980s, and Wasow, in his photos from the same period, used mediated images and simulated the effects achieved by the advanced technology of nature watching and picture transmission. In consequence, among several features common to the works under scrutiny, one realizes in the first place a significant change in the defining of the medium understood not just as a material and technological aspect of the work, but as a dynamic and complex structure connecting different forms and spaces of artistic expression with the spectator’s experience. Challenging the autonomy of art and the separate identities of its kinds, rooted in the historical avant-garde, leads to a revision of the modernist idea of the medium, as well as to reconsidering the ways in which its changing status influences the semantic potential of paintings and photos. Moreover, the spectacular paintings of Goldstein and photos by Wasow, made and taken in relation to the rapidly changing technology of image transmission, provokes questions about their critical potential: do they denounce the spectacle-making techniques or, as fetishized merchandise, do they just take part in it? The frame of reference are analyses conducted by American critics and art historians who redefined the concept of the medium in contemporary artistic practices, examined the role of photography, and considered the subjection of the late twentieth-century art to the logic of spectacle, such as Rosalind Krauss, Douglas Crimp, and Hal Foster.
24
Zhang, Yiqian. "Analysis of Female Gaze in Lesbian Films from the Perspective of Camera Language —Taking Portrait of a Lady on Fire as an Example." BCP Social Sciences & Humanities 21 (February 15, 2023): 227–31. http://dx.doi.org/10.54691/bcpssh.v21i.3482.
Анотація:
Western feminist film theory was formed in the 1960s and 1970s and it has been widely discussed since then. With the help of Freud’s psychoanalysis, Laura Mulvey analyzes the interweaving of erotic pleasure in film, its meaning, and the central place of the image of the woman. At the same time, the improvement of film technology and photography methods provide more chances for female spectators to seek pleasure as counterparts in films. The lesbian film is a category that crosses many film genres and highlights female subjectivity. Both female characters and spectators can be the subject of different kinds of gaze, looking at others while experiencing the story about a woman’s affection. Based on Freud’s psychoanalysis and Laura Mulvey’s theory, this paper analyzes how camera language embodies the female gaze in Céline Sciamma’s esbian film Portrait of a Lady on Fire (2019). The study of interaction among the camera, the character, and the spectator is of great significance in the realization of the female gaze, which can be inspired for future films, especially feminist films, to stress the value of female roles and pay attention to female spectators’ emotions.
25
Legan, Michał. "Z głębokości milczę do Ciebie, Boże! "Milczenie" Endō/Scorsese jako traktat teologiczny." Studia Filmoznawcze 40 (June 27, 2019): 155–63. http://dx.doi.org/10.19195/0860-116x.40.12.
Анотація:
From the depth i am silent to you, Lord! The Silence by Endō/Scorsese as a theological treatmentThe Silence by Endō/Scorsese is a masterpiece, and it is a fundamentally Christian masterpiece. The beatification of Ukon Takayama 7.02.2017 — a samurai, who sacrificed his life to Christ — took place in the moment when the Japanese Catholic Church only half a million people of the 127 million inhabitants is being touched by crisis and attacked. In this social-cultural perspective the film by Scorsese should be placed. The Silence talks about the core of Christianity — it is a meditation on silent God. The main hero of the movie is a young Jesuit searching in Japan that is hostile towards Christianity, his master — the apostate. The whole drama of the action is implicated by the question: Will he — the protagonist — betray his faith or not? And yet Endō’s novel and Scorsese’s movie only seemingly tell the story about Jesuits in Japan of the 17th century. The point is that we are experiencing today the moments of triumph and expansion and tomorrow we may stand in front of the drama of the most tragic choices. If the measure of the size of a film work is its depth of the questions, which bother a spectator after the movie projection, The Silence by Scorsese is the emanation of what is most important in cinema. Scorsese, with admirable theological instinct leads his spectators but only these astute spectators towards the discovery of the axis of the drama. Thus, the spectators for a short while have the chance to look at the wounded creature through the eyes of God. Through the eyes of merciful God who justifies human beings because He sees all these things which are hidden for them. The film bears on itself the weight of a theological treaty.
26
Flood, Maria. "Brutal Visibility: Framing Majid's Suicide in Michael Haneke's Caché (2005)." Nottingham French Studies 56, no. 1 (March 2017): 82–97. http://dx.doi.org/10.3366/nfs.2017.0169.
Анотація:
This article considers the figure of Majid in Michael Haneke's Caché (2005) and the cinematic structures that influence both the spectator's and the other protagonists’ ability to place his life within the sphere of the visible and the grievable. The formal tropes that Haneke employs emphasize Majid's exclusion and his impenetrability, as well as generating a persistent anxiety in the spectator around meaning and signification in the film. Drawing on Judith Butler's work on grievability and Jacques Rancière's thinking of visibility and the distribution of the sensible, this article argues that Haneke deliberately constructs a consistent tension between the seen and the unseen of representation, generating an anxious, uncertain rhythm which is violently ruptured by Majid's suicide. This disturbing scene shatters the familiar frames and cadences that have thus far constituted the diegetic space of Caché, imposing a form of brutal visibility upon both Georges and the spectator. Ultimately, this article suggests that this scene forces the spectator into an unavoidable, albeit uncomfortable, form of political recognition, a recognition which points towards wider socio-political exclusions of marginal populations in twentieth- and twenty-first-century France.
27
Delage, Christian. "A Place for the Spectator." Television & New Media 3, no. 2 (May 2002): 163–67. http://dx.doi.org/10.1177/152747640200300206.
28
Åkervall, Lisa. "A Differential Theory of Cinematic Affect." Deleuze and Guattari Studies 15, no. 4 (November 2021): 571–92. http://dx.doi.org/10.3366/dlgs.2021.0458.
Анотація:
This essay offers a critical rejoinder to affect theories prevalent in the humanities since the 1990s. In film and media studies, affect theories display an opposition to ‘screen’ and apparatus theory of the 1970s and 1980s alleged to have marginalised the spectator's body and affects and privileged cognition over affection. Yet film and media studies’ turn to affect came with its own set of problems: in emphasising the affective over the cognitive aspects of cinematic experience, theories of the affective turn invert and reproduce the dichotomies (e.g. body/mind, affect/thought) they seek to contest. Critically reconsidering the turn to affect and its place within film and media studies, this article challenges the relation of affect theories to Gilles Deleuze's concept of affect, highlighting these theories’ failure to account for Deleuze's indebtedness to Immanuel Kant's aesthetics and his theory of the faculties. Suggesting a conception of cinematic affect beyond dichotomies of body and mind, affect and thought, this essay instead shows how cinematic experience instigates transformations in spectators that are simultaneously affective and cognitive.
29
Schwartz, Stephen Adam. "Baudelaire's Two Cosmopolitanisms." Irish Journal of French Studies 21, no. 1 (October 1, 2021): 85–98. http://dx.doi.org/10.7173/164913321833983141.
Анотація:
In his text on the ‘Exposition Universelle 1855’, Baudelaire upholds what he calls ‘cosmopolitisme’ as the antidote to the constraining influence of universalizing principles of taste that are meant to define beauty for all times and places. Baudelaire’s view is that such aesthetic systems close off the possibility of beauty, which, he maintains must contain an element of novelty. Accordingly, the proper attitude for the viewer (or reader or spectator) to take before a work of art is one that remains always open to novelty and to the ‘universal vitality’ out of which it springs. This attitude is the cosmopolitan one. Yet Baudelaire characterizes this attitude in ways that seem fundamentally incompatible if not diametrically opposed. On the one hand, cosmopolitanism as described in this text seems to involve the slow, lived apprenticeship in the values, ways of life, and criteria of judgement of those in other places, the better to be able to appreciate the beauty of the objects produced in them. On the other, he speaks of the appropriate attitude toward an aesthetic object — indeed toward any object that presents itself to our senses — as one resulting solely from the spectator’s exertions on his or her own mind and will, exertions by which the spectator refrains from imposing criteria of judgement upon the putative aesthetic object in order, instead, to derive one’s criteria from it. While the text on the ‘Exposition’ provides the reader with no way of resolving this contradiction, Baudelaire’s remarks on fashion in ‘Le Peintre de la vie moderne’ (1863) provide a dialectical resolution.
30
Scott, Kathleen, and Stefanie Van de Peer. "Sympathy for the Other: Female Solidarity and Postcolonial Subjectivity in Francophone Cinema." Film-Philosophy 20, no. 1 (February 2016): 168–94. http://dx.doi.org/10.3366/film.2016.0009.
Анотація:
In this article we explore how female sympathy and solidarity can be forged between transnational subjects and spectators. In particular, we place cinematic depictions of minority female suffering in the contexts of current feminist and postcolonial praxes. The aim is to demonstrate the ways in which world cinema can produce a transnational feminist solidarity through forms and narratives that reflect the experiences of women as gendered postcolonial subjects. Amongst the female and feminist theorists drawn upon, central to our understanding of a transnational feminist solidarity is Sandra Lee Bartky's ‘mitgefühl’ (feeling-with). From this understanding we suggest bonds of sympathetic solidarity between audiences and diegetic female subjects that bridge their ontological separation, without conflating the two, in relation to Rachida ( Yamina Bachir Chouikh, 2002 ) and Frontière(s) ( Xavier Gens, 2007 ). In combining film-philosophy, cinematic affect and feminist theory we formulate a radically new way of understanding and envisioning the construction of female suffering onscreen: as a means of producing transnational forms of spectator solidarity.
31
Krpič, Tomaž. "The Sleeping Spectator in Her/His Body-Home: Some Reflections on the Public Performance of Private Dreams." Maska 33, no. 189 (June 1, 2018): 76–80. http://dx.doi.org/10.1386/maska.33.189-190.76_1.
Анотація:
The performer who sleeps on stage is in a state of inverting theatre from the outside of the body towards the inside. While dreaming during the sleeping performance, the performer periodically transforms his or her own phenomenal body into the inner stage for him/her self, reducing the outer semiotic body and communication with the spectators to a minimum. The sleeping art performance thus contests several theatre and art performance elements: (1) it places under question the range of communication between the performer and the spectator, (2) by accepting sleep as a unique form of performance, it contests the traditional understanding of the theatre role and the performing body, and finally, (3) by placing the stage within the performer’s body-home, it contests the conventional concept of the stage and the existence of the theatre community.
32
Petersen, Frederik. "TRIANGULATION AND REPRESENTATION." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 1 (March 31, 2011): 67–72. http://dx.doi.org/10.3846/tpa.2011.08.
Анотація:
The erotic triangulation consisting of lover, beloved, lover’s image of beloved is a mechanism that automates a projection of self into a desired subject. The projection is provoked by the partly imaginary but reality inspired reconstruction of the beloved that takes place in the lover. The geometric construction is an attempt to categorize and name the elements we experience as seduction. One thing we can learn from the erotic geometry is that seduction is not exterior to the lover; it is instigated by him and takes place in him. This change in vantage point can be considered a sleight of hands. I choose to see it as an opportunity to consider the erotic ruse as a tool that can draw the observer into the ideas proposed in drawing of a space or drawing of a building, while using the observer’s empathy to generate meaning in a drawing that contain patches of yet indeterminate spaces, unknown programmatic functions and propositional subject matter that is ambiguous. The content of the triangulation (lover, beloved, image) is thus replaced by observer, drawing, and the observer’s projected image of the drawn proposition (this strategy can be described shorter and in terms familiar to the production of drawn exploratory propositions for architecture: fake it till you make it, or, keep drawing even if you have only a vague idea of what it is you are giving form, step back and allow yourself to add meaning to the drawn content with guidance from the detached spectator’s empathy). Caught in desire the lover is intensely present and vividly emphatic to what he desires. Through a number of drawn investigations I explore if a similar engagement between the observer and the imaginary content of the drawn architectural proposal can be a way into sealing or diminishing the gap between representation and realization, thus unloading the pressure from the representational yoke prominent in the production of architecture. Santrauka Straipsnyje nagrinėjamos architektūrinių piešinių prasmės. Meninio tyrimo pagrindu tampa autoriaus grafinėmis priemonėmis sukurti, tačiau fotografijų pavidalu pristatomi kūriniai, balansuojantys tarp piešinio atvaizdo ir paties piešinio. Eksperimentinės kūrybos procesas ir rezultatas yra apmąstomi, kontekstualizuojami ir konceptualiai plėtojami remiantis nevienalyčiais humanitariniais tekstais: Peterio Cook’o, Anne Carson, Rebeccos Solnit, Kester Rattenbury, taip pat Alfredo Hitchcock’s Vertigo filmo analize. Tiriamojo pobūdžio architektūrinius piešinius bandoma interpretuoti pasitelkiant trianguliacijos, kuri įvardijama kaip erotinė, analitinę struktūrą. Geometrinė schema naudojama siekiant apibrėžti reprezentacijos proceso komponentus: architektūrinį piešinį, jo suvokėją ir suvokėjo subjektyvų patyrimą, juos įvardijant kaip mylintįjį, mylimąjį ir mylimojo vaizdinį, ir išsiaiškinti jų sąveikos principus bei galimybes. Atskleidžiama, kad ši trinarė sąveikos struktūra yra dinamiška ir atvira, leidžianti naujai interpretuoti tai, kas vyksta daugiareikšmėje terpėje tarp reprezentacijos (idėjos vaizdavimo) ir architektūrinės realizacijos. Ieškoma galimybių išlaisvinti architektūrinį piešimą iš žanro suvaržymų, jam suteikiant suvokėjo kuriamų vaizdinių projektavimo plokštumos, savotiško geismo generatoriaus, lemiančio aktyvų suvokėjo dalyvavimą kūrybiniame procese, statusą. Daroma išvada, kad kuriančio piešimo naudojimas mažina atotrūkį tarp atvaizdo ir realizacijos, daro jį ne mažiau svarbiu realybės formantu nei realūs architektūriniai objektai.
33
Lian, Olaug S., and Geir Fagerjord Lorem. "“I Do Not Really Belong Out There Anymore”." Qualitative Health Research 27, no. 4 (July 9, 2016): 474–86. http://dx.doi.org/10.1177/1049732316629103.
Анотація:
In this article, we explore relations between health, being, belonging and place through an interpretive thematic analysis of autobiographic text and photographs about the everyday lives of 10 women and men living with medically unexplained long-term fatigue in Norway. While interpreting their place-related illness experiences, we ask: How do they experience their being in the world, where do they experience a sense of belonging/not belonging, and why do places become places of belonging/not belonging? The participants describe experiences of (a) being socially detached and alienated, (b) being imprisoned, (c) being spectators who observe the world, and (d) senses of belonging. They describe senses of being and belonging/not belonging as closely attached to physical and symbolic aspects of places in which they reside, and they wistfully reflect on the question of “why.” The study illustrates the influence of experienced place—material as well as immaterial—on health and illness.
34
Macías, Ricardo, José Bonal, Iyán Iván-Baragaño, Jairo León-Quismondo, Marta Herráiz, Mercedes Leguina, Javier Del Arco, Benito Pérez-González, Pablo Burillo, and Álvaro Fernández-Luna. "Golf players as a customer segment: the influence of handicap level and residency in customer satisfaction and expenditure." Retos 52 (December 18, 2023): 154–63. http://dx.doi.org/10.47197/retos.v52.101596.
Анотація:
Segmentation has been proven to be one of the best tools to facilitate sports entities' achievement of their goals. The objective of this research was to analyze the influence on customer expenditure and satisfaction for an elite golf event based on segmentation variables such as residence (local vs visitor) and handicap level of the attendees (spectator vs spectator-player). In addition, this research aimed to establish a multivariate model that allows predicting the place of residence and the handicap based on the interaction of the analyzed variables, with the intention to establish a behaviour pattern based on these variables for those attending an elite golf tournament. Results revealed that attendees with a golf handicap exhibited higher satisfaction levels and were more likely to recommend and spend at golf events. On the other hand, non-handicap spectators and those attendees from outside Madrid displayed higher economic expenditure, indicating the importance of meeting their specific needs to achieve positive economic impact results. The decision tree models provided insights into attendee behavior, identifying factors influencing their satisfaction and likelihood to attend again. Factors including future attendance intention, satisfaction with the food court variety, and spending on accommodation and souvenirs were found to be significant predictors of residency and handicap level. In conclusion, this research contributes to the understanding of customer behavior at elite golf events, offering practical implications for event organizers and sport managers. Keywords: consumer expenditure, customer satisfaction, golf, handicap, segmentation, sport events, sport tourism.
35
Araujo, Patxi. "The Trained Particles Circus: Dealing with Attractors, Automatons, Ghosts and Their Shadows." Leonardo 52, no. 4 (August 2019): 389–94. http://dx.doi.org/10.1162/leon_a_01781.
Анотація:
The Trained Particles Circus proposes an improbable, precarious and potentially dangerous meeting place caged between the real and the virtual worlds. Embodied in the relationship between synthetic biomechanics and an automaton, it recreates the figure of the circus artist, the puppet with its own life or the fantastic animal; and it places us as spectators into a contemporary spectacle of hybrid and augmented subjects that conjugate light and shadow, fake and magic, virtual and physical reality, machine and organism [1].
36
Cilliers, L. "Aristoteles se siening van dramatiese spanning in die tragedie en die invloed daarvan op moderne dramateorie." Literator 13, no. 2 (May 6, 1992): 27–40. http://dx.doi.org/10.4102/lit.v13i2.736.
Анотація:
Aristotle’s remarks about dramatic suspense in the Poetics are so diffuse and divergent in nature that it seems highly unlikely that he meant them to be regarded as a systematic theory on this subject. Yet his views in this regard - although set down in writing some 2400 years ago - are still in many respects the basis of modern drama theory. The emphasis which he places on the linear plot and on causal connection is an early recognition of two very important requisites for unity in a drama. The phases in the course of action which he pointed out and on which scholars like Scaliger, Freytag and Verhagen have built their theories, are still accepted in broad outline today. The desirability of concentrated action and of the identification of the spectator with the dramatis personae are factors which are still valid. And finally, his discussion of the effect which tragedy has on the spectators is the point of departure of modern reader-oriented theories.
37
Min, Doo-Sik. "The effect of international sporting event marketing mix (7Ps) on foreign spectators’ destination image, satisfaction and revisit intention: An empirical evidence from 2019 Gwangju FINA World Championships." Korean Journal of Sport Science 31, no. 4 (December 31, 2020): 707–27. http://dx.doi.org/10.24985/kjss.2020.31.4.707.
Анотація:
Purpose Limited research has investigated the marketing mix of international sporting events empirically. This study filled this gap by identifying the marketing mix and examined the structural relationships among marketing mix, destination image, satisfaction and revisit intention focusing on foreign spectators of 2019 Gwangju FINA World Championships. Methods The questionnaire was structured in four sections: sporting event marketing mix (seven dimensions and 21 items), host city image (three items), satisfaction (three items) and revisit intention (three items). Analysis of data from 396 foreign spectators in FINA Championships indicated that the proposed model fit the data well. Within a attitude-behavior theoretical framework, this study proposed and tested a structural relationships among the constructs. Results The results of this study presented that (1) product, place, and people in sporting event marketing mix significantly impacted foreign spectators’ destination image, (2) product, price, place, promotion, and physical evidence were appeared to be significant predictors of satisfaction, and (3) destination image and satisfaction had a significant effect on foreign spectators’ revisit intention. Conclusion The findings suggest marketing mix for the international sporting event and its influential mechanism on foreign spectators’ revisit intention. Practically, this study provides important implications for event organizers that can be utilized to develop strategic marketing mix in sporting events to enhance spectators’ destination image, satisfaction, and revisit intention.
38
Knobling, Clemens. "Das Turnierhaus am Münchner Hofgarten." Architectura 47, no. 1-2 (July 24, 2019): 24–37. http://dx.doi.org/10.1515/atc-2017-0002.
Анотація:
AbstractThe tournament house at the Munich Hofgarten was once a place of glittering festivals and spectacles. There, tournaments on horseback, as well as elaborately staged theater performances and court balls took place. Despite its former importance, the building is more or less forgotten, possibly because it had to give way to the urban redevelopment of Munich in 1825. The great feature of the building was its construction, especially the roofing, which held additional places for spectators. The master builder, Marx Schinnagl, created a construction that spanned over 23.30 m, without any support and without tie beams. The tournament house with its roofing system, which was exceptional for the 17th century, was reconstructed in the course of recent research and rebuilt as a model.
39
Koski, Pirkko. "Challenging the Centre: Asylum Seekers Encounter Native Citizens." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 42. http://dx.doi.org/10.7146/nts.v27i1.24238.
Анотація:
In Paper Anchor (Paperiankkuri) at the Small Stage of the Finnish National Theatre in 2011 a group of actors, dancers, asylum seekers and eventually also stage technicians (re-)enacted the asylum seekers’ stories: how they had fled their home countries, feared for their lives and faced problems in their country of destination, Finland. It brought the spotlight on asylum seekers, who occupy a marginal position in society and made them visible on many levels: they were present in the stories that were told on stage, in the encounter between performers and spectators and in an art institution that has great national significance. The periphery and the centre, in this case the asylum seekers and the native Finns, met in shifting circumstances and also in a way that is characteristic of the theatre: the performers and spectators were simultaneously physically present, whereas the public debate on refugee issues usually takes place in written texts. In Paper Anchor, the asylum seekers also assumed the role of a witness, whereas in official processes they are obligated to defend themselves and search for evidence. The impact of Paper Anchor was largely based on the aesthetic form of the performance. Although the dominant power structures between the centre and the periphery remained untouched, theatre testified to its ability to affect the spectator through the presence of individual subjects and consequently their subject positions. The debate was shifted to differences within a culture instead of between cultures, as Rosi Braidotti writes: “It is the syntax of social relations, as well as their symbolic representation, that is in upheaval.” (Rosi Braidotti, Nomadic Subjects. Embodiment and Sexual Difference in Contemporary Feminist Theory, Columbia University Press, New York 2011, p.8.)
40
Zúñiga Vargas, Iván. "La comunicación entre actor y espectador: una aproximación al psicoanálisis." Investigación Teatral. Revista de artes escénicas y performatividad 11, no. 18 (October 20, 2020): 195–211. http://dx.doi.org/10.25009/it.v11i18.2656.
Анотація:
Este artículo se plantea una búsqueda de los vínculos que surgen entre actor, espectador y público en base a los escritos de Luisa Josefina Hernández en torno a un teatro trágico desde la perspectiva aristotélica, un teatro que nos lleva a desentrañar lo más sublime y lo más oscuro de nosotros mismos. A partir de la confrontación de la fórmula básica del código teatral de Erika Fischer-Lichte y las teorías de Lacan sobre el inconsciente, se propone un modelo de la comunicación en el teatro con el fin de evidenciar la complejidad psíquica del fenómeno escénico. The Communication Between Actor and Spectator: a Psychoanalytical AbstractThis article addresses how theatrical communication takes place between performers and spectators, seeking the links that are established between them. The author picks up Luisa Josefina Hernández’s vision of a tragic theater from the Aristotelian perspective, a theatre that leads us to unravel the most sublime and the darkest in ourselves. Starting from the confrontation of the basic formula of Erika Fischer-Lichte’s theatrical code and Jacques Lacan’s theories about the unconscious, the author proposes a model of communication in theater that demonstrates the psychic complexity of the phenomenon. Recibido: 15 de enero de 2020Aceptado: 06 de julio de 2020
41
Verner, Martin, Michal Polak, and Tomáš Plachy. "An Experimental Analysis of Grandstand Vibrations Caused by Crowd of Spectators during Two Football Matches." Applied Mechanics and Materials 827 (February 2016): 312–15. http://dx.doi.org/10.4028/www.scientific.net/amm.827.312.
Анотація:
A significant dynamic load may be induced by synchronize movement of larger spectators group (like as jumping, bouncing, jouncing, swaying or abruptly rising) on a sport stadium during a sport event. This load could generate discomforting grandstand vibrations and in some extreme cases, the large grandstand vibrations are detectable by spectators even visually. A dynamic experiment is described in the paper which was realized on a steel cantilever grandstand during two football matches in the place where the most active spectators were concentrated. Vertical grandstand accelerations were observed in three points that were located at the ends of three grandstand main beams. The results of the experiment had shown predictably that the most excessive grandstand vibrations were induced by fans in the particular situations when the home team scored a goal and during the fans celebration after the matches especially. In these particular situations, the detected vibrations could be perceived by spectators as uncomfortable.
42
Morrow, Jim. "Mermaid Theatre and its Place in Canadian Puppetry." Canadian Theatre Review 95 (June 1998): 13–16. http://dx.doi.org/10.3138/ctr.95.003.
Анотація:
Mermaid Theatre’s evolution as one of Canada’s foremost theatres for children and their families owes much of its success to its uncomplicated philosophy: tell a good story, tell it simply, tell it well and tell it often. Since its inception in 1972, Mermaid has been touring its unique brand of storytelling throughout Nova Scotia, Canada and beyond to more than two million children and their parents. The company has travelled from the coast of Newfoundland to Vancouver Island, from Alaska to Florida, from Mexico to Japan, from Australia to Northern Ireland. In an average year, Mermaid Theatre performances are seen by 100, 000 spectators, in venues from remote community centres and schools to some of the largest theatres in the world.
43
Berlova, Maria. "Playing King." Nordic Theatre Studies 26, no. 1 (October 1, 2018): 80–90. http://dx.doi.org/10.7146/nts.v26i1.109744.
Анотація:
The Swedish King Gustav III ruled from 1771 to 1792. His departure to the Russian war in1788 was staged as a grandiose spectacle. The King, who was also a playwright, made the dayof his departure coincide with the symbolic date of June 23. This was the date that Gustav IIAdolph (ruled 1611-32) went off to the Thirty Years' War in 1628. The parallel betweenGustav III and the great Swedish warrior King was further emphasized by his costume made inthe style of Gustav Adolph. In this article, the author analyzes Gustav III's departure to war as atheatrical event and explores the borders of theatrical events in the late eighteenth century.Gustav III's ceremonial departure is placed in the framework of Nikolai Evreinov's and YuriLotman's theories of theatricality which show how the King applied theatrical means toeveryday life in order to theatricalize it, i.e. to make it spectacular and symbolic. Bythe atricalizing life Gustav III idealized his role of king and thus performed his power.Theatricalization of political life not only adorned life but it also significantly changed reality;the theatrical playing of the King entailed real consequences - Gustav III enacted his role of amonarch in a memorabl eway and achieved his political goals. The interaction between politicsand theater is the main focus of the article. The author also explores the poetics of theatricalplaying in politics. Obviously, the relation between the King-performer and hissubjects-spectators was different from the usual actor-spectator relation in the traditionaltheater. During the communication of the King-performer and his subjects-spectators thepolitical context was of significant importance; the main purpose of such communication waspolitical propaganda. As a result of his ceremonial departure and, eventually, thetheatricalization of war, the King succeded in becoming a national hero among the simplepeople, which proves the efficacy of theatrical means.
44
Berlova, Maria. "Playing King." Nordic Theatre Studies 26, no. 1 (October 1, 2018): 80–90. http://dx.doi.org/10.7146/nts.v26i1.109744.
Анотація:
The Swedish King Gustav III ruled from 1771 to 1792. His departure to the Russian war in1788 was staged as a grandiose spectacle. The King, who was also a playwright, made the dayof his departure coincide with the symbolic date of June 23. This was the date that Gustav IIAdolph (ruled 1611-32) went off to the Thirty Years' War in 1628. The parallel betweenGustav III and the great Swedish warrior King was further emphasized by his costume made inthe style of Gustav Adolph. In this article, the author analyzes Gustav III's departure to war as atheatrical event and explores the borders of theatrical events in the late eighteenth century.Gustav III's ceremonial departure is placed in the framework of Nikolai Evreinov's and YuriLotman's theories of theatricality which show how the King applied theatrical means toeveryday life in order to theatricalize it, i.e. to make it spectacular and symbolic. Bythe atricalizing life Gustav III idealized his role of king and thus performed his power.Theatricalization of political life not only adorned life but it also significantly changed reality;the theatrical playing of the King entailed real consequences - Gustav III enacted his role of amonarch in a memorabl eway and achieved his political goals. The interaction between politicsand theater is the main focus of the article. The author also explores the poetics of theatricalplaying in politics. Obviously, the relation between the King-performer and hissubjects-spectators was different from the usual actor-spectator relation in the traditionaltheater. During the communication of the King-performer and his subjects-spectators thepolitical context was of significant importance; the main purpose of such communication waspolitical propaganda. As a result of his ceremonial departure and, eventually, thetheatricalization of war, the King succeded in becoming a national hero among the simplepeople, which proves the efficacy of theatrical means.
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BALME, CHRISTOPHER. "Editorial." Theatre Research International 29, no. 1 (March 2004): 1–3. http://dx.doi.org/10.1017/s0307883303001202.
Анотація:
The first issue of the journal in 2004, and the first under my editorship, is devoted to a special focus on ‘Postdramatic Theatre’. While this term may not be familiar to many readers, the phenomenon it embraces most certainly is. Coined by the German theatre studies scholar, Hans-Thies Lehmann in his book Postdramatisches Theater,1 the concept refers to tendencies and experiments defining theatre outside the paradigm of the dramatic text. Also known, somewhat imprecisely, as postmodern theatre, it questions fundamentally the very tenets of the dramatic theatre. Postdramatic performances usually eschew clear coordinates of narrative and character and require therefore considerable effort on the part of the spectator. For this reason, it has been termed, in the words of New York theatre critic Elinor Fuchs, ‘spectator's response theatre: we write our own script out of the “pieces of culture” offered’.2 Like Lehmann, Fuchs tries to find an over-arching frame within which to make sense of the manifold experiments in theatre and performance that were taking place in the 1980s. Whereas Lehmann sees postdramatic theatre primarily as a question of form and history which affect the configuration of time, space and mediality of theatre, Fuchs regards the same developments as a response to the massive critique of Western models of subjectivity that we associate with terms such as poststructuralism and deconstruction.
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Hales, Mike. "Information Systems Strategy, a Cultural Borderland, Some Monstrous Behaviour." Sociological Review 42, no. 1_suppl (May 1994): 103–17. http://dx.doi.org/10.1111/j.1467-954x.1994.tb03412.x.
Анотація:
Does it help to think ‘culture’ when addressing multinational practices of information systems strategy? This paper says it depends on where you stand yourself, what you're attempting to articulate, and whether you can address topographies and systematic violations as well as meanings and situated actions. Discussing an actual case of organization-development consultancy, and seriously mixing its metaphors, the argument uses: a (materialist) distinction between meanings and powers, to suggest that the culture disciplines may not give sufficient help in producing actual change; ‘terrain’, to voice the possibility that computer systems strategy work may be done monstrously; and ‘theatre’, to invoke the construction of research-and-development borderlands which have as their harvest not only meanings but also (unacademic) powers. Antoine Artaud wrote tracts describing … another theatre … working like the plague, by intoxication, by infection, by analogy, by magic; a theatre in which the play, the event itself, stands in place of a text. (Brook, 1990:54). [Artaud] was always speaking of a complete way of life, of a theatre in which the activity of the actor and the activity of the spectator were driven by the same desperate need… . [I]t is easier to apply the rules to the work of a handful of dedicated actors than to the lives of the unknown spectators who happen by chance to come through the theatre door. (Brook, 1990:60–61).
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Wilkie, Fiona. "Kinds of Place at Bore Place: Site-Specific Performance and the Rules of Spatial Behaviour." New Theatre Quarterly 18, no. 3 (August 2002): 243–60. http://dx.doi.org/10.1017/s0266464x02000337.
Анотація:
Following her survey of site-specific performance companies and their understanding of their work and its circumscriptions in NTQ70, Fiona Wilkie here proposes that places as such can be characterized in terms of differing sets of rules in dialogue with one another. She examines one place in particular in order to suggest some principles for approaching site-specific performance. Various spatial experiences – visual, physical, and mythical – are read through a range of attempts to theorize our relationships with space (including Foucault's heterotopia and de Certeau's pedestrian tactics). Moving away from more mundane examples of site ‘dos’ and ‘don'ts’, Fiona Wilkie expands the notion of spatial rules to develop two related concepts – the repertoire and the inner rule – that offer complex ways of imagining and articulating the rule-bound site. Finally, she suggests that site-specific performance meanings emerge out of a process of negotiation between three sets of rules: those of the site, the performance, and the spectators. Fiona Wilkie is currently completing a PhD thesis (provisionally entitled Constructing Meaning/Performing Place: Site-Specific Performance in Contemporary Britain) at the University of Surrey, from which article is drawn.
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Khurshid, Saba, Hafsa Khalil Toor, and Farrah Pervaiz. "Violence behind the Closed Door: Depression, Suicidal Ideation and Future Concerns Among its Spectators." Pakistan Armed Forces Medical Journal 73, no. 6 (December 30, 2023): 1683–86. http://dx.doi.org/10.51253/pafmj.v73i6.9633.
Анотація:
Objective: To determine the depression, suicidal ideation, and future concerns among domestic violence spectators. Study Design: Exploratory study design. Place and Duration of Study: Shelter Homes and Community Centres, in Rawalpindi/Islamabad Pakistan, from Aug to Nov2022. Methodology: In-depth interviews with 30 participants aged 12 to 17 years were conducted to assess the future apprehensions and worries of domestic violence spectators. Interviews were recorded and transcribed for thematic analysis. Transcribed data were critically reviewed, and themes were identified. Inter-rater reliability was calculated with the help of Cohen Kappa and was found to be in substantial agreement. Results: The study findings identified major themes related to psychological issues and future apprehensions among participants who witnessed domestic violence. Maladaptive relationships with parents and intensification of social problems such as isolation, self-harm, social withdrawal, suicidal ideation, difficulty in making friends, and apprehensions about the future relationship with a partner were also perceived as serious future concerns among domestic violence spectators. Conclusion: Domestic violence takes a toll on the mental and physical well-being of not only its victims but also its spectators. Early detection and prevention of violent exposure are essential to mitigate its long-term psychological impact.
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Ellis, Robert. "Sporting Space, Sacred Space: A Theology of Sporting Place." Religions 10, no. 8 (August 10, 2019): 473. http://dx.doi.org/10.3390/rel10080473.
Анотація:
Religion often designates locations that are considered sacred, marked off from ordinary space. Sporting venues also take on a significance for players and supporters that is seldom adequately explained in solely sporting terms. Can theological understandings of place illuminate the way in which players and spectators relate to the ‘sacred space’ of their sporting endeavors? In this paper, I explore and assess the theological and religious significance of sporting space by reflecting upon descriptions of both religious and sporting special places. I use a range of types of descriptions of experiences of such spaces together with theological ideas and concepts, including Christian notions of incarnation, sacrament, and Trinity, which are found to be useful resources, undermining a strict binary of ‘sacred’ and ‘profane’ space. I then build upon previous theological and empirical work with sports participants to explore a theological understanding of special sporting places and the experiences of those who play and support sporting endeavors in them.
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Rodríguez, Karen, and Bradley Rink. "Performing Cities: Engaging the High-tech Flâneur." Frontiers: The Interdisciplinary Journal of Study Abroad 20, no. 1 (March 15, 2011): 103–19. http://dx.doi.org/10.36366/frontiers.v20i1.293.
Анотація:
The city is a place of intersecting cultures, identities and ideas that also serves as fertile ground for learning within the context of study abroad. Using the notion of the flâneur, this article problematizes students’ engagement with the spaces and places of the city with special attention to the mediating role now played by technology. We interweave a theoretical discussion with empirical examples from two urban study abroad locales and with suggestions for practice. We argue that despite the complex array of resources the student employs to take on the foreign city, it is only the savvy wanderer who picks up on the subtle differences that we elusively refer to as a city’s “character” or personality and who understands their own shifting role of spectator, wanderer, and performer—thus entering into a relationship with place.