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Tytuł:
Theatre as Contagion: Making Sense of Communication in Performative Arts
Autorzy:
Sugiera, Małgorzata
Powiązania:
https://bibliotekanauki.pl/articles/641687.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
contagion as communicable disease
epidemic as metaphor
the tipping point
mimesis
participation in performative arts
Opis:
Contagion is more than an epidemiological fact. The medical usage of the term is no more and no less metaphorical than in the entire history of explanations of how beliefs circulate in social interactions. The circulation of such communicable diseases and the circulation of ideas are both material and experiential. Diseases and ideas expose the power and danger of bodies in contact, as well as the fragility and tenacity of social bonds. In the case of the theatre, various tropes of contagion are to be found in both the fictional world on the stage (at least since Sophocles’ Oedipus Rex) and in many theories defining the rules of interaction between theatre audiences, fictitious characters and/or performers. In consequence, the historically changing concept of contagion has in many respects influenced how mimesis was conceived and understood. The main goal of my article is to demonstrate how the concept of contagion has changed over the last few decades and how it may influence our understanding of the idea of mimesis and participation in performative arts. This will be achieved in two steps. Firstly, I will compare the concept of contagion as the outbreak narrative that had influenced, among others, Antonin Artaud’s The Theater and the Plague with the more recent and dynamic concept of epidemic structured around the tipping point. Secondly, I will look for performative art forms with similar structure of audience responses, analyzing Mariano Pensotti’s project Sometimes I Think, I Can See You (2010), in order to demonstrate new forms of performativity and (re)presentation.
Źródło:
Text Matters: A Journal of Literature, Theory and Culture; 2017, 7; 291-304
2083-2931
2084-574X
Pojawia się w:
Text Matters: A Journal of Literature, Theory and Culture
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Transformative Potential and Utopian Performative: Postdramatic Hamlet in Turkey
Autorzy:
İzmir, Sibel
Powiązania:
https://bibliotekanauki.pl/articles/39762851.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
utopian performative
postdramatic Hamlet in Turkey
postdramatic theatre
Jill Dolan
Hans Thies-Lehmann
Opis:
Turkey is among those Non-Anglophone countries which have had a keen interest in Shakespeare and his plays for over two hundred years. When it comes to the staging of Shakespeare in Turkey, especially when protagonists or leading roles are considered, “overacting” is one of the most notable techniques highlighting, presumably, the spirit of the Renaissance and Jacobean times. Still, in recent years, there have been some productions which try to challenge and deconstruct the traditional ways of staging a Shakespearean play. One of such productions is Hamlet of Istanbul State Theatre, directed by Işıl Kasapoğlu in 2014, in which the director makes use of postdramatic theatre techniques. As the play begins, the audience sees a huge red jewel box which has been placed onto the centre of the stage. Soon after it is opened, it becomes clear that the character coming out of the box is playing and enacting not only the role of Hamlet but also many other roles in the play. Disrupting the habitual Shakespearean staging which heavily relies on mimesis in a closed “fictive cosmos” (Lehmann 22), the production, more strikingly, allows for an innovative Shakespearean acting as an innovative Shakespearean acting possible as the actor acts out all the major roles, such as Hamlet, Claudius, Gertrude, Ophelia, Polonius, etc., in such various ways as holding dummies in his hands and enacting their roles in monologues and dialogues. Fusing Hans-Thies Lehmann’s theory of postdramatic theatre with Jill Dolan’s argumentation on utopian performative, this study will investigate how postdramatic theatre techniques challenge the traditional Shakespearean performance and contends that postdramatic theatre techniques used in Kasapoğlu’s Hamlet contribute to the utopian performative and the possibility of creating a utopian impulse in the audience. The paper thus will claim that postdramatic performance of Hamlet renders a utopian performative possible by presenting a transformative potential in the audience members which engages in our present moment.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 26, 41; 71-85
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-2 z 2

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