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Performance Studies: An Introduction

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... Em termos metodológicos, a gestualidade é compreendida pela chave da performance (Schechner, 2006;Taylor, 2013;Gutmann, Cardoso Filho, 2022) enquanto uma episteme (Taylor, 2013), um modo de ver e interpretar os fenômenos. Nessa direção, a noção de performance não está balizada apenas por um objeto empírico específico, um corpo que performa por exemplo, mas se dá no nível das relações entre corpos, contextos, ambiências midiáticas etc. (Cardoso Filho;Gutmann,2022). ...
... A noção de performance atua como espécie de categoria analítica, a partir da qual pretendemos compreender uma dada experiência em torno do filme. São comportamentos restaurados (Schechner, 2006) Como quadro metodológico para a construção do corpus de pesquisa, articulamos a noção de performance à noção de audiovisual em rede (Gutmann, 2022), que busca uma compreensão mais alargada do audiovisual com especial interesse para o modo como se dá seu consumo em rede. O filme é aqui um "vetor audiovisual" (Gutmann, 2021) que faz disparar incorporações/ mobilizações enredadas. ...
... As reiterações dessa gestualidade, pensando como performances/comportamentos restaurados (Schechner, 2006;Taylor, 2013), são compreendidas, neste estudo, enquanto reivindicações do espólio de Maafa. Um indicativo negociado e que se materializa na inclusão grupal da saudação àquele território onde passado-presente-futuro se cruzam, colidem e se reinventam. ...
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O artigo apresenta reflexão sobre como o gesto “Wakanda para sempre”, presente nos filmes do super herói Pantera Negra, é reencenado por coletivos negros no Instagram enquanto possibilidade de reivindicação de espólios de Maafa (Njeri, 2019). A gestualidade, vista sob a lente da performance (Taylor, 2013), é um potente rastro de compreensão da experiência com a obra, em que corpos negros acionam ancestralidades para aquilombar-se, em negociação com perspectivas afrofuturistas da cultura pop.
... O que antes seria a construção de um evento nos autorretratos, passa a ser uma atuação, mais comumente caracterizada por performance, que se autorretrata em poses como forma de conhecer facetas desse outro-imagem. A leitura de Mirzoeff se configura no que Schechner (2013) diferencia por: eventos que "são" performance, ou seja, vistos como um objeto ou obra; e eventos lidos "como/enquanto" performance, que definem uma metodologia ou uma entrada analítica. No entanto, vale ressaltar que a fotografia neste artigo tem sido estudada "enquanto" performance como forma de conhecimento e de análises de práticas incorporadas. ...
... Quais relatos se deseja construir quando se faz uma selfie?Algumas considerações podem ser importantes: a selfie se destaca entre os autorretratos em geral por "transmitir uma dimensão performativa de si" para o olhar do outro(Belden-Adams, 2018, p. 85, tradução nossa). Mesmo a performance, em maior grau, estando presente nos autorretratos reflexivos que buscavam elaborar as facetas das personas, é importante destacar que o aspecto comunicacional da selfie e seu caráter interacional instauram uma noção de performance que compreende o quanto a interação é fundamental na reiteração de um certo comportamento(Schechner, 2013), algo presente nas práticas dos estúdios oitocentistas, mas agregando a esse jogo o papel do espectador. A performancepose -do autorretrato se difere do traço performático da selfie tanto no aspecto temporal quanto espacial de sua prática, ou seja: enquanto no autorretrato se deseja instituir uma performance para uma reflexão autobiográfica posterior, ou construir uma imagem que a longo prazo sintetize uma inscrição temporal de um sujeito, a selfie conforma, nas palavrasde Fontcuberta (2016, p. 86), uma obrigatoriedade autobiográfica do "eu estava ali", uma "inscrição que é dupla: no espaço e no tempo, ...
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This study analyses self-portraits and selfies to understand the space-time issues in Mauricio Lissovsky’s thought, which involve constructing self-images. By the lens of performance, it seeks to comprehend the historicity of self-portraits up to the phenomenon of selfies and to point out several ways in which bodies compose accounts of oneself, with their own intentions and meanings that shapin various modes of perceiving space and time in photographic experiences. Despite showing the matrices of the genre, selfies bring specificities in their performance: gestures as establishing the photographic space-time.
... Namun demikian, narkoba tetap dianggap sebagai bagian penting dari subkultur metal Bandung yang masih mempunyai posisi penting dalam budaya metal yang penggunaannya dikelilingi oleh ritual. Ritual dapat diartikan sebagai memori kolektif yang diubah menjadi tindakan yang membantu orang menghadapi transisi kehidupan yang sulit, hierarki, dan pelanggaran norma sosial (Schechner, 2013). ...
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Dinamika sosial dalam ranah musik metal Bandung telah lama membangun wacana kritis tentang musik metal dan maskulinitas. Beragamnya karakter subgenre metal kemudian mempengaruhi lahirnya persona metal yang merepresentasikan model maskulinitas hegemonis dan alternatif. Beragam model maskulinitas ini secara terus menerus diproduksi melalui musik, lirik, dan tubuh selama hampir tiga dekade. Situasi ini melahirkan gerakan sebagian besar laki-laki metal yang menentang konstruksi maskulinitas yang telah mapan di lingkungan subkultur metal Bandung. Penentangan ini diwujudkan dalam sikap dan perilaku sadar gender dengan menampilkan perilaku egaliter di ruang publik dan domestik yang tercermin dalam lirik dan perilaku yang lebih menghargai, dan menentang kekerasan perempuan. Penelitian ini mengeksplorasi konstruksi maskulinitas dalam subkultur metal Bandung. Data penelitian dikumpulkan dengan menerapkan metode etnografi karena menawarkan aspek praktis dan metodologis yang secara umum mengacu pada pekerjaan pemaknaan perilaku, pengetahuan, dan artefak budaya yang sedang diteliti. Wawancara dilakukan dengan 20 musisi metal laki-laki profesional asal Bandung, berusia 39-44 tahun, sudah menikah, dan muslim. Penelitian ini menyelidiki strategi musisi laki-laki metal Bandung dalam perannya sebagai musisi metal, ayah, dan suami di tengah budaya Muslim yang dominan di Bandung dan Indonesia. Fokus penelitiannya terhadap perilaku dan praktik maskulinitas yang ditampilkan musisi-musisi metal Bandung di ruang publik atau domestik. Teori dramaturgi Goffman digunakan sebagai teori utama untuk mempertajam serta memahami persoalan maskulinitas dalam subkultur metal Bandung di ruang publik. Persoalan tentang konstruksi maskulinitas musisi metal Bandung di ruang domestik akan dibahas menggunakan teori struktur relasi gender Connell. Selain kedua teori tersebut, digunakan pula teori-teori pendukung seperti teori persona Marshall dan teori semiotika Barthes untuk memahami gejala secara utuh. Hasil analisis menunjukkan bahwa persona metal ditampilkan melalui aspek musik dan ekstra-musikal yang mencakup lirik, logo, pakaian, perlakuan tubuh, tata panggung, aksesoris, dan video musik. Maskulinitas yang disosialisasikan rezim gender Negara, keluarga, dan ajaran agama turut memapankan persona musisi-musisi metal Bandung. Model maskulinitas yang dikonstruksi menjadi indikator bagaimana Negara, keluarga, agama, dan lingkungan metal mengatur relasi gender musisi-musisi metal Bandung. Temuan lainnya adalah negosiasi maskulinitas laki-laki metal Bandung diwujudkan dalam perilaku menghormati perempuan baik istri, ibu, maupun teman-teman perempuannya. Perilaku sadar gender itupun diwujudkan dalam sikap kemitraan sejajar, berbagi pekerjaan domestik, berbagi keputusan, pengasuhan anak, bersama-sama mencari nafkah untuk keluarga, dan anti kekerasan. Hasil penelitian ini menunjukkan bahwa subkultur metal Bandung mengonstruksi model maskulinitas normatif dan alternatif secara bersamaan. Konstruksi maskulinitas yang terjadi di ruang publik dan domestik saling mempengaruhi peran-peran yang ditampilkan di kedua ruang tersebut. Ketika berperan sebagai musisi metal mereka membangun persona laki-laki metal yang menampilkan atribusi tangguh, kuat, ofensif, dan ramah perempuan. Melalui peran suami dan ayah mereka menampilkan model maskulinitas alternatif yang bersedia melakukan negosiasiv dengan pasangannya. Dengan demikian, model maskulinitas alternatif yang dibangun adalah maskulinitas yang menampilkan laki-laki tangguh dan tegas tetapi lebih suportif, egaliter dan sensitif gender. Laki-laki ideal dalam perspektif subkultur metal Bandung bukan lagi persoalan atribusi yang melekat dengan maskulinitas normatif, tetapi persoalan kemanusiaan. Realitas yang dipraktikkan menjadi penanda bahwa maskulinitas alternatif memiliki peluang besar dalam membentuk subkultur metal yang mendefinisikan ulang peran, kekuasaan dan pembagian kerja dalam perspektif gender tradisional. Kata kunci: subkultur, maskulinitas, persona, identitas, metal, peran, egaliter, Bandung
... Some have even argued that the inclusion of robots in performance epitomizes the shift from representational to performative artistic ontologies [28]. 4 One must be careful to maintain the distinction between the philosophical concept of performativity, performance studies (on which see [35], and performance art. On these oscillations, see [36]. ...
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This paper aims to map out the transformations in contemporary performance art during the current ‘age of extinction’. The first section extends Claire Bishop’s notion of “delegated performance” in order to categorize a turn towards the inclusion of other-than-human entities in the performance field. This operation leads to the concept of ‘performative animism’, referring to the strategies of re-animation of reality through artistic performance. The second section works out the idea of ‘planetarization’ of the performance field, which designates its opening to spatial and temporal fluxes coming from a dimension that overcomes the scale of human experience, that is, the planetary dimension. The third and final section interprets the meaning of these two transformations by introducing the concepts of ‘exbodiment’ and ‘excarnation’, which tie closely to a new political task for performance art.
... A partir desse entendimento inicial, aciona-se um leque de conceitos para análise de ações enquanto performance (Schechner, 2013) no âmbito midiático, a partir do que Soares (2021b) sistematiza em dois protocolos: 1) o estudo de roteiros performáticos, ou seja, o reconhecimento de enquadramentos que organizam ações e produtos midiáticos; e b) o estudo das dramaturgias, que parte do reconhecimento da teatralidade no cotidiano (Féral, 2009) para adotar uma perspectiva dramática na análise de dramas sociais (Turner, 1982), em que atores emergem e são passíveis de interpretação e atuação. Essas retrancas, entretanto, não são estanques, apartadas uma da outra. ...
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Performance, teatralidade e jogo como operadores analíticos das dramaturgias de "surtos midiáticos" em carreiras artísticas Lívia Maria Pereira* RESUMO: Este trabalho objetiva analisar a dramaturgia de "surtos midiá-ticos", episódios de sofrimento que se tornam ativo na gestão da imagem pública de um artista. Aposta-se na conceitualização destes como fatos de ordem privada que emergem para o público e criam narrativas mi-diáticas em intenso processo de espetacularização, instaurando dramas sociais (Turner, 1982) que impactam a percepção pública sobre os sujeitos. Apropria-se da noção de teatralidade como lente metodológica para aná-lise de fenômenos e objetos em contextos midiáticos (Soares, 2021), pro-pondo pensar a gestão de uma carreira artística como um Jogo (Huizinga, 2000; Caillois, 2017) para compreender como a erupção do inusitado (re) organiza as regras da indústria fonográfica, na qual a "vida real" é, atual-mente, um dos principais commodities de artistas e celebridades na cons-trução de suas carreiras e os enlaces autobiográficos dispostos na obra fio condutor na produção de sentido de produtos artísticos, como músicas e videoclipes (Soares, 2022). Palavras-chave: Performance. Teatralidade. Jogo. Drama Social. Surto Midiático. ABSTRACT: This article analyzes the dramaturgy of "mediatic outbreaks", episodes of suffering that become active in the management of an artist's public image. The focus is on conceptualizing these as private facts that emerge to the public and create media narratives in an intense process of spectacularization, creating social dramas (Turner, 1982) that impact public perception of the subjects. We approach the notion of theatricality for analyzing objects in media contexts (Soares, 2021), proposing to think of the management of an artistic career as Play (Huizinga, 2000; Caillois, 2017) to understand how the eruption of the unusual (re)organizes the rules of the music industry, in which "real life" is currently one of the main commodities for artists and celebrities in building their careers and the autobiographical links are a common thread in the production of sense of artistic products, such as songs and music videos (Soares, 2022).
... Barad's concept of performativity is iterative, similar to that of Judith Butler (1999) and Richard Schechner (2013). For Butler (1999), performativity reiterates previously encoded patterns, while for Schechner (2013), performativity is ubiquitous-any action, event, or object can be considered a performance. ...
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This article reflects on the study of performative listening with trees in the sonic ecology of forests, based on a practice-based multispecies ethnography conducted in distinct forests of Turkey. By integrating the concepts from sound studies, performance studies, and posthumanist theory, I present performative listening as a method that highlights the significance of embodied, multisensory engagement with the sonic ecology of forests. Drawing on fieldwork insights, I demonstrate how performative listening can serve as a tool with potential for enhancing empathy and understanding of plant agency. This practice advocates a more inclusive approach to multispecies interactions by emphasising the transformative impact of encounters and sound
... Jeg fokuserer på å formidle fra kropp til kropp, og ikke fra hode til hode, og opplever dette som en forutsetning for å skape en kroppslig resonans mellom meg selv og andre. Betydningen av å vaere fokusert til stede i egen kropp står sentralt i flere tekster som omhandler utøverens tilstedevaerelse på scenen under betegnelser som «scenisk naervaer» og «performativ tilstedevaerelse» (Schechner, 2002;Hagberg, 2003;Buswell, 2006;Sparbo, 2014;Sødal, 2020;Jørgensen 2022). «Det sceniske prestasjonsøyeblikket begynner med kroppen», fastslår etablerte sangere (Jørgensen, 2022, s. 48), og grunnlaget for all prestasjon og skaperkraft er tilstedevaerelse (Sødal, 2020, s. 173). ...
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I denne artikkelen tar jeg utgangspunkt i møtet mellom publikum og meg som utøver i min interaktive, musikalske fortelling om en allehelgensmesse jeg var med å arrangere på homodiskoteket Den Sorte Enke i Oslo på starten av nittitallet, en tid da homomiljøet var sterkt rammet av hiv/aids. I møte med en a/r/tografisk tilnærming utforsker jeg begrepene resonans og berørthet, og spør: Hvordan kan min subjektive fortelling fra 30 år tilbake i tid skape resonans og berørthet i andre mennesker i dag? Refleksjoner fra fem ulike publikummere sammen med to videoklipp fra forestillingen er råmaterialet for å diskutere problemstillingen i møte med relevante teoretiske perspektiv. Begrep som tilstedeværelse, sårbarhet, mot og åpenhet, både hos meg som utøver og i relasjon til publikum blir diskutert, sammen med betydningen av min egen historie og bakgrunn som kristen og homofil for å kunne forstå meg selv som a/r/tograf. I artikkelen, som har en essayistisk form, antyder jeg betydningen av åpenhet, tilstedeværelse og vilje til å bli berørt – både hos meg selv og hos publikum – for å kunne skape disse øyeblikkene av resonans og berørthet mellom publikum og meg som utøver. Foto: Thomas Berbom
... Por un lado, usamos el término como categoría nativa ya que emerge del propio campo de estudio en el que las integrantes de Vibramujer se refieren a su práctica artística como performance. Por otro lado, retomamos las conceptualizaciones del término de Diana Taylor (2011Taylor ( , 2015 y Richard Schechner (2002) ya que estas resultan fructíferas para el análisis dado que las y los investigadores destacan este modo de intervenir, ritualizado por el uso del cuerpo y la emergencia de encuentros afectivos capaces de generar sentimientos compartidos que fortalecen lo colectivo. Las performances de Vibramujer abordan diferentes temáticas como el deseo y la sexualidad, junto con las violencias que sufren las mujeres y disidencias, y que buscan transformar en un proceso de colectivización. ...
Chapter
Fruto de una década de cooperación interdisciplinaria en ciencias sociales y humanidades entre la Universidad Nacional de La Plata y la Universität Rostock, este libro presenta una serie de contribuciones y avances de investigaciones doctorales –en curso y finalizadas– que aportan claves para responder a estas problemáticas contemporáneas.
... Actors simulate different characters' personality traits, emotional states, and behavioral patterns, immersing the audience in a specific story or situation. Richard Schechner, in his book Performance Studies: An Introduction [5], proposes that performance can be defined as "show doing." His perspective emphasizes performance as a common human activity and suggests that many activities can be understood and analyzed from a performative standpoint. ...
Article
This paper aims to explore how performing arts transition from traditional physical spaces to virtual ones, with a particular focus on the roles of conceptualization, popularization, and virtual identity in this process. Through analyzing these transformations, the paper seeks to uncover the new forms and development trends of performing arts in the era of the metaverse. The article proposes to begin by highlighting prior research in the semiotics of performing arts, briefly outlining the development of views on mimesis from Aristotle to semiotics and theories of identity performance. Subsequently, it discusses the journey of modern art through changes in its medium towards abstraction and conceptualization, tracing how shifts in media and technological innovations have propelled the development of performing arts from ancient theaters to the digital age. Examples of the abstraction and conceptualization of performing arts will be provided. Finally, the paper introduces the potential of the metaverse as a platform for conceptualized performing arts, discussing how metaverse technologies offer unprecedented immersive experiences and alter the ways in which audiences engage with performances.
... Gell's (2006) theory of art agency helped analyze how the roof tile industry influences and is influenced by Jatiwangi's social relations. Schechner's (2013) concept of performativity offered a lens to interpret the cultural and social dynamics within the community, especially about roof tile craftsmanship. Additionally, Sharpe's (2004) and Ylivuori's (2022) perspectives aided in understanding the interplay between traditional practices and modern industrial influences. ...
Article
This study aims to see the performativity of terracotta through the process and the culture of the roof tile production industry in Jatiwangi District, Majalengka Regency, West Java. This research used qualitative methods, and collecting data used a combination of three methods: literature study, participatory observation, and semi-structured interviews. After the data is collected, the next step is data analysis using the concept of performativity and art agency. JaF emerged by taking on the role of a change agent, inviting Jatiwangi residents, especially roof tile industry players, to survive together and stay true to their native culture using participatory arts engagement. Perform various artistic activities with Jatiwangi residents to declare that they exist. They are using artistic approaches to narrate defensive actions, holding various forms of art festivals to show their progress in Jatiwangi. This is due to the performativity of roof tiles as the initial trigger, the community, and the development of Jatiwangi as an "art factory" into Jatiwangi Art Factory (JaF). So, in JaF, roof tiles, artisans, artists, cultural actors, terracotta, and the "art factory" brand is a performance agency in the land, city, and surroundings Performativitas badan seni di daerah, kota, dan sekitarnya di JaF Penelitian ini bertujuan untuk melihat performativitas terakota melalui proses dan budaya industri produksi genteng di Kecamatan Jatiwangi, Kabupaten Majalengka, Jawa Barat. Penelitian ini menggunakan metode kualitatif, dan pengumpulan data menggunakan kombinasi tiga metode: studi kepustakaan, observasi partisipatif, dan wawancara semi terstruktur. Setelah data terkumpul, langkah selanjutnya adalah analisis data dengan menggunakan konsep performativity dan art agency. JaF muncul dengan mengambil peran sebagai agen perubahan, mengajak warga Jatiwangi, khususnya pelaku industri genteng, untuk bertahan bersama dan tetap setia pada budaya asli mereka melalui keterlibatan seni partisipatif. Melakukan berbagai kegiatan seni bersama warga Jatiwangi untuk menyatakan bahwa mereka ada. Mereka menggunakan pendekatan artistik untuk menceritakan tindakan defensif, mengadakan berbagai bentuk festival seni untuk menunjukkan kemajuan mereka di Jatiwangi. Hal ini dikarenakan performativitas genteng sebagai pemicu awal, masyarakat, dan berkembangnya Jatiwangi sebagai “pabrik seni” menjadi Jatiwangi Art Factory (JaF). Jadi, di JaF, genteng, pengrajin, seniman, aktor budaya, terakota, dan merek "pabrik seni" adalah agensi pertunjukan di tanah, kota, dan sekitarnya.
... La eucaristía como rito permite a los católicos lidiar con un "deseo que inquieta", con la más "difícil transición" (Schechner 2003: 52) a la que nos enfrentamos como seres humanos: el miedo a la muerte. Mediante el sacramento de la comunión los fieles recuerdan el milagro de la transustanciación: Jesús, que se sacrificaría por todos nosotros para salvarnos, en la última cena convirtió el pan y el vino en su cuerpo y su sangre. ...
... "The one overriding and underlying assumption of performance studies is that the field is open," Richard Schechner writes, "[t]here is no finality to performance studies, either theoretically or operationally." 70 The basic assumption of performance studies is that the discipline relies on agency and action, and thus critical categories must be in constant motion. The "performative turn" described above, which was to a certain degree triggered by the popularity of the new discipline, has changed how we think about concepts forever, endowing them with operational freedom. ...
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This essay attempts to describe a new field of research in contemporary literary theory, defined in terms of performative, dramatic, and dramaturgical interactions and relations. The focus is placed on the dynamic movement of concepts and categories, as it allows theory to keep up with the constant new developments in literature and culture. These movements give rise to a dramatic discourse that replaces traditional methodologies. Such a transdisciplinary dialogue allows for a complex play of meanings. Any theory is a sum of choices made from among many possibilities, compatible approaches and ideas, and potential perspectives. In the new theoretical perspective described in this essay, no theory of a work of art is rejected and each remains valid, as long as it functions inclusively in a field of many different possibilities. The dramaturgy of concepts, the potential tensions and possible contradictions between them, which, paradoxically, are not mutually exclusive, complex plays and displacements, fractures and entanglements, open up new theoretical horizons. Indeed, we should ask whether the time of grand theories has passed or whether one of the most comprehensive literary theories is being created today, as it unites all past and future concepts involved in the study, interpretation, and reception of literature. It is the theory of possibilities.
... In a study that explores what theatre performance and research is, Schechner (2002) and Bial (2004) discuss in detail what performance and performance studies are, as well as ritual, play, performativity, performance processes and global and intercultural performance, providing an all-encompassing overview for understanding and studying performance. Osipovich (2006) analyses the essence of performance and argues that theatre performance is an activity in which the actor and the audience interact. ...
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Theatre, commonly seen as an audiovisual art, has performance at its core. Performance is mainly narrative through language, movement, dance, music, art and other forms to create an artistic image for the stage, which contains verbal and non-verbal elements. Non-verbal elements have crucial implications for theatre practice and theoretical perception. The present research investigates non-verbal performance in theatre based on semiotics and non-verbal communication theory. The study found that non-verbal performance includes (not limited to) posture, movement, gestures, props, and costumes. To make a more comprehensive analysis of non-verbal performance in theatre, a mixed research method combining textual analysis and questionnaire survey to collect data was employed, comprehensively investigate non-verbal performance in theatre, and comprehensively discuss the definition, classification and characteristics of key elements of non-verbal performance in drama based on the research design of analytical study, and reveals how non-verbal performances are expressed in theatre. Then, it provides ideas for the theatre creation and education.
... Dengan peran aktif para tetua adat, wiwitan dan unsur-unsur terkaitnya dapat tetap terjaga. Pendekatan ini memperlakukan wiwitan sebagai pergelaran yang dapat dianalisis dari unsur-unsur pembentuk dan aspek performatifnya bagi masyarakat pendukung (Schechner, 2006). Selama pergelaran tersebut, semua pihak yang terlibat belajar tentang ritual yang bersangkutan dan pada akhirnya menjadi penerus keberlangsungannya. ...
Article
Penelitian ini melakukan analisis wiwitan di Desa Sumber, Kecamatan Dukun, Kabupaten Magelang, Jawa Tengah sebagai pergelaran budaya. Tradisi Wiwitan secara umum merupakan sebuah bentuk penghormatan kepada Dewi Sri yang merupakan dewi padi. Sejarah turunnya ajaran wiwitan dimulai dari cerita rakyat Dewi Sri yang datang ke Tanah Jawa saat mengalami paceklik. Mereka memohon kepada Tuhan untuk diberikan rezeki dan terbebas dari bencana yang saat itu melanda. Wiwitan merupakan bentuk upacara yang berupa selamatan atau kenduri dan dilaksanakan sebelum melakukan panen. Menarik untuk dilihat mengapa pada masa sekarang ritual ini tetap dilakukan oleh sebagian petani meski dengan cara yang sederhana. Pada ritual tersebut terdapat unsur-unsur pertunjukan. Metode penelitian kualitatif memiliki beberapa keunggulan, yaitu: penyesuaian metode kualitatif lebih mudah apabila berhadapan dengan kenyataan peneliti, menyajikan secara langsung hakikat hubungan antara peneliti dan responden, serta lebih peka dan dapat menyesuaikan diri dengan banyak penajaman pengaruh bersama dan terhadap pola- pola nilai yang dihadapi. Sebagai sebuah kegiatan yang mengandung unsur pertunjukan, maka kajian dari sudut pandang teater sangat memungkinkan. Ada keterkaitan antara teater dan ritual sehingga mengkaji sebuah ritual dengan pendekatan teater ataupun sebaliknya sangat memungkinkan dengan menggunakan pemahaman pergelaran budaya atau cultural performance. Sosok Dewi Sri sebagai dewi padi yang dipuja petani memperlihatkan konsep Kosmologi Jawa terhadap Perempuan. Adanya unsur laki-laki dan perempuan dalam bentuk-bentuk ritual memperlihatkan bahwa kajian ekofeminisme bisa dilakukan pada ritual. Konsep ekofeminisme membahas bagaimana menyetarakan antara perempuan dan bumi serta hubunganya dengan laki-laki dalam budaya patriarki. Kata kunci: wiwitan, pergelaran budaya, ritual, ekofeminisme
... In order to equate art and life, Situationists considered ways of producing situations, environments and ensembles of impressions. 24 The main question that arised is how to appropriate the architectural environment as a mise-en-scene of the situation that would transform art and life through constructive play. 25 Situationists sought to deny the stability of architecture through performance. ...
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... No entanto, em sétimo lugar, podemos ressaltar que a performance também requer um elemento de jogo. Como aponta Schechner (2002), ela não é apenas um ser (uma identidade, uma subjetividade, um estilo de vida, um pertencimento) e um fazer (a busca de um efeito, o trabalho de construção da performance, o monitoramento de códigos na cena -frontstage), ela é também a exibição de um fazer. Atores e seguidores sabem que se trata, em parte, de um show. ...
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... Bernstein refers to these dances with things as "performative," meaning a performance that produces something, that is fundamentally efficacious. Coming from J.L. Austin and John R. Searle and then traveling through thinkers on gender ( Judith Butler [(1990) 1999]), cognitive linguistics (Eve Sweetser [2000]), and performance studies (Richard Schechner [2013], Joseph Roach [1996], Rebecca Schneider [2000], Diana Taylor [2003], and others), performativity continues to have tremendous potential for helping us make different sense of the ways in which our actions change us-socially, cognitively, fundamentally. I love the idea of the performative: the idea that some actions generate leftovers, they do something. ...
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Spiel und Theater sind vielfältig verbunden, aber solange der Spielbegriff mit Harmlosigkeit assoziiert ist, nimmt er dem Theater Schärfe und Wirksamkeit. Gunter Lösel fragt deshalb nach einer Begriffserweiterung, die auch die dunkle Seite des Spiels umfasst. Zwischen Spiel, Wirklichkeit und Fiktion entwickelt er ein »Dreiweltenmodell des Theaters« und geht der Frage nach, warum die Spezies Mensch ein performatives Spiel entwickelt hat, in welchem sie sich negative Handlungen oder konflikthafte Situationen vor Augen führt. Durch Verbindungen zu Spieltheorie, Gaming, Philosophie, Performance-Studies und KI entsteht ein Reflexionsraum, der so den Widerspruch zwischen Harmlosigkeit des Spiels und Wirkungsmacht des Theaters auflöst.
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In the Aristotelian tradition, a character is a crucial theatrical element which gives drama its full meaning through the mimesis of action. However, in the postdramatic theatre, characterized by “subjecting the traditional relationship of theatre to drama to deconstruction” (Lehmann 2), the existence of a character, a well defined dramatic persona, was doubted or negated in a way that destabilizes the Aristotelian dramatic conventions. The character position was destabilized in contemporary theater via disconnecting the actor from representing a character role, becoming just “a performer offering his/her presence on stage for contemplation”, (Lehmann 136), or through absenting the actors completely and replacing them with machines or multimedia creations. In this respect, the paper explores the dialectics of staging absent characters in the two postdramatic performances, Martin Crimp’s play-text Attempts on Her Life (1997) and its Katie Mitchell’s performance (2007) and Rabie Mroué and Linah Saneh’s 33 Rpm and Few Seconds (2013). Absence here is related to the deconstruction of the psychologically motivated, three dimensional character as manifested in the central figures in the plays. The two plays center on absent characters that never appear on stage, whose identities are reinvented either to represent critique to the late capitalism as in Crimp’s play, or an attack against the Lebanese political and social conditions as in Mroué’s and Saneh’s play. Reading the two plays from postdramatic/deconstructive lenses, the paper argues that Elinor Fuchs’s concept “The Death of Character”, and the postdramatic techniques discussed in Hans Thies Lehmann Postdramatic Theater and Derrida’s deconstructive techniques, discussed in his studies Specters of Marx, Of Grammatolgy, and “Structure, Sign, Play” offer a supple framework for analyzing how Crimp, Mitchell, Mroué and Saneh dealt with the absent center. Keywords: character, absence, theatrical presence, postdramatic, deconstruction
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Ichikawa Haruko’s manga Hōseki no Kuni is set in the far distant future of the Earth, when humans have disappeared but humanoid crystalline lifeforms live on the planet. The Crystals are led by a Buddhist monk, who is a religious android made by the extinct humans. He leads them in battles against “moon people”, actually the remnants of human souls trying to get the android monk to pray for them. This chapter argues that Hōseki no Kuni speaks to anxieties about what might be lost as more and more affective, communicative and even religious labor is performed by artificial intelligences, a pressing topic in aging Japan. However, it does not follow the techno-horror genre and other narratives that present technology itself as a threat. The android himself is depicted as a deeply compassionate, gentle and ideal monk. The text rather argues that by outsourcing spiritual affective labor humans risk losing sight of their humanity.
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This study analyzed the indigenous drama elements of Kurfewe, Gichame, and Weyeg traditional folk performances among the Gurage people. Using an ethnographic study methodology, data was collected through 20 in-depth interviews, 3 focus group discussions, 5 key informant interviews, and document analysis. The snowball sampling method guided the selection of informants from Muhur Aklil, Abshegi, Cheha, and Ezhaworedas based on local recommendations. Local language data were translated into English using a literal translation approach while preserving original meaning. The study found that Kurfewe, Gichame, and Weyeg encompassed various indigenous drama elements, including location, properties, costumes, verbal and physical responses, imitation, role distribution, actor/audience separation, and representational acting. These traditional performances served different purposes. Kurfewe provided entertainment and commemorated Jesus Christ’s suffering while preserving ancestral culture and facilitating spouse-finding. Gichame expressed gratitude to God and the Virgin Mary, enhanced group energy during work, and enlivened events. Weyeg entertained, praised gods and goddesses, recognized exemplary individuals, engaged in constructive criticism, and more. Categorically, Kurfewe was a calendric performance following Easter, Gichame encompassed calendric, seasonal (weddings), and occasional (Debo) categories, and Weyeg included periodical (praising Waq and Demuamit), seasonal (weddings), and occasional (honoring individuals) performances. In summary, this study provided insights into the indigenous drama elements and roles of Kurfewe, Gichame, and Weyeg among the Gurage people. These traditional performances showcased unique cultural expressions and served various purposes, contributing to the rich traditional performing arts heritage of the Gurage culture.
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