From an image to performance: dramaturgy for image- based performing

S. Massoudi, Nazanin Mehraein
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Abstract

Undoubtedly, it is impossible Teaching any kind of Art without contemplating the others. Based on dissolving the borders of di erent kinds of arts then interdisciplin- ary trends is so prevalent in Contemporary art. e appearance of elements of other kind of Art like Photo, video in eatre emphasizes on revising method of teaching. In Puppet eatre which has essentially synthetic quality of performance with di erent styles of manipulation and animation up to any Artist, this issue is very important. e entrance of new media to puppet theatre have been more strong and e ective because of some overlapping aspects between puppet theatre and cinema, painting and etc. To harmonize with new interdisciplinary art revising teaching method especially in directing course as nal step is necessary. Image has signi cant and crucial role in our current life and culture. e appearance of virtual media in life of humans, makes image the strongest and closest communication channel with the world. en creating and then reading image is fundamental for artists as well as audiences and naturally must be learned in all kinds of visual art or performing art. Reading image has three step which include from exact observation to pull out motifs and symbols and nally search about characteristic of images which relate the world of image to other worlds. Reading an image could help to implied direct or indirect meaning of an image and use it as a dramaturgical adaptation meaning, transformation it as a text to create a piece. Directing course in Puppetry academy mostly is nal course in which student prepareaperformance.Teachingdirectingdividedintwoskills:Technicaldirectingand Artistical directing. In Technical directing students learn technical aspects of directing but Artistical directing is about director’s approach, the insight of director. Starting with image is a good method for teaching Artistical directing and improve directing approach. is method could help the students to learn making meaning, to learn better seeing, to learn creative looking and reveal hidden meanings. this is applied in stage directing class for puppetry student in B.A and have 4 steps which is start by a selective painting. In rst step painting is introduce as a text and adopted to puppetry performance. second step is rst part of Dramaturgy which is analyzing painting and has six stages. ird step is second part of dramaturgy which is making narration or story and in last step the student search for a puppetry visualization. By achieving the narration and nding the puppetry visualization, the process of rehearsal begins. Also, in this process, light, sound and music are designed and nally each student show his performance which maybe goes toward innovative styles, or di erent theatre forms including object theatre, digital theatre. is method Improving image-mind skills, improving dramaturgical skills, introducing painting (or photo) as a new material for creating puppetry performance and Emphasizing on the strength (power) of Puppet eatre as a kind of performing art which can embrace all modern approaches.
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从形象到表演:以形象为基础的表演的戏剧
毫无疑问,教授任何一种艺术而不考虑其他艺术是不可能的。当代艺术的跨学科趋势是在打破不同艺术种类界限的基础上形成的。摄影、录像等其他艺术元素的出现,强调教学方法的修正。在布偶动画中,这一问题是非常重要的,因为布偶动画具有不同的操作风格和动画效果。由于木偶剧与电影、绘画等存在一些重叠的方面,新媒体对木偶剧的进入更加强烈和有效。为了适应新的跨学科艺术教学模式,有必要对教学方法进行修正,特别是在指导课程的最后阶段。图像在我们当前的生活和文化中有着重要而关键的作用。虚拟媒体在人类生活中的出现,使影像成为人类与世界最强大、最密切的沟通渠道。无论是对艺术家还是对观众来说,创造和阅读图像都是最基本的,自然也必须在各种视觉艺术或表演艺术中学习。阅读图像有三个步骤,即从准确观察到提取母题和符号,最后寻找图像的特征,将图像的世界与其他世界联系起来。阅读图像有助于暗示图像的直接或间接意义,并将其用作戏剧改编意义,将其转化为文本来创作作品。木偶戏学院的导演课大多是学生准备表演的最后一门课程。教学指导分为两种技能:技术指导和艺术指导。在技术指导中,学生学习导演的技术方面,但艺术指导是关于导演的方法,导演的洞察力。从形象入手是艺术指导教学和指导方法改进的好方法。这种方法可以帮助学生学会创造意义,学会更好地看,学会创造性地看和揭示隐藏的意义。这是适用于舞台剧指导班的学生在学士学位,并有4个步骤,从一个选择的绘画开始。第一步,将绘画作为文本引入木偶戏表演中。第二步是戏剧学的第一部分,分析绘画,分为六个阶段。第三步是戏剧的第二部分,即制作叙述或故事,最后一步是学生寻找木偶戏的可视化。通过实现叙事,结束木偶戏的视觉化,开始了排练的过程。在这个过程中,灯光,声音和音乐的设计,最终每个学生展示自己的表演,可能是创新的风格,或者是不同的戏剧形式,包括物体戏剧,数字戏剧。提高形象思维能力,提高戏剧技巧,引入绘画(或照片)作为创作木偶戏的新材料,强调木偶戏作为一种可以拥抱一切现代手段的表演艺术的力量。
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审稿时长
12 weeks
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