In this essay I approach Moana (2016), produced by Walt Disney Animation Studios, with a special focus on a musical scene that represents the counterargument of what is ostensibly the main lesson in the film (the “look-inside-yourself” motif so central to many Disney titles). I am referring to the scene in which the young heroine Moana, daughter of the chief of a Polynesian island, faces the giant crab Tamatoa in the undersea environment of Lalotai, also known as “The Realm of Monsters.” At the request of Moana, who tries to distract him by feeding his ego, Tamatoa agrees to introduce himself “in song form” (this is, of course, a self-referential statement that lays bare the conventions of musical films) and then proceeds to perform the song “Shiny,” the main object of my analysis here. This song was composed by Lin-Manuel Miranda (creator of the Broadway musicals In the Heights and Hamilton) and Mark Mancina, with lyrics by Miranda; it is performed by actor and musician Jemaine Clement, member of the comedy duo Flight of the Conchords. The “Shiny” scene contains very explicit intertextual references to the figure of David Bowie, an aspect that makes this scene exceptional in contrast to Disney’s common practice of creating fictional worlds that appear to us as self-sufficient entities somehow insulated from external references, as I will comment on later. My essay renders homage to Petr Bogatyrev’s 1938 essay on Snow White, the first structuralist essay on what was Disney’s first full-length animated movie ever. As it is well known, Petr Bogatyrev wrote “Chaplin and The Kid” and “Chaplin, the Fake Count” in 1923, two articles studying the construction patterns in three of Charles Chaplin’s films – The Kid, The Count and The Immigrant. In studying Chaplin’s art Bogatyrev paid special attention to elements of plot construction such as contrast, retardation and so on, operating within the theoretical framework established by Viktor Shklovsky (ostranenie, “how art is made”, etc.), who was the editor of the collection of essays on Chaplin. Fifteen years later, in 1938, Bogatyrev published [ Theatralia 22 / 2019 / 2, Supplementum (72—82) ] https://doi.org/10.5817/TY2019-S-6
{"title":"Intertextuality and autonomous fictional worlds in Disney : the case of Moana (2016)","authors":"A. Pérez-Simón","doi":"10.5817/ty2019-s-6","DOIUrl":"https://doi.org/10.5817/ty2019-s-6","url":null,"abstract":"In this essay I approach Moana (2016), produced by Walt Disney Animation Studios, with a special focus on a musical scene that represents the counterargument of what is ostensibly the main lesson in the film (the “look-inside-yourself” motif so central to many Disney titles). I am referring to the scene in which the young heroine Moana, daughter of the chief of a Polynesian island, faces the giant crab Tamatoa in the undersea environment of Lalotai, also known as “The Realm of Monsters.” At the request of Moana, who tries to distract him by feeding his ego, Tamatoa agrees to introduce himself “in song form” (this is, of course, a self-referential statement that lays bare the conventions of musical films) and then proceeds to perform the song “Shiny,” the main object of my analysis here. This song was composed by Lin-Manuel Miranda (creator of the Broadway musicals In the Heights and Hamilton) and Mark Mancina, with lyrics by Miranda; it is performed by actor and musician Jemaine Clement, member of the comedy duo Flight of the Conchords. The “Shiny” scene contains very explicit intertextual references to the figure of David Bowie, an aspect that makes this scene exceptional in contrast to Disney’s common practice of creating fictional worlds that appear to us as self-sufficient entities somehow insulated from external references, as I will comment on later. My essay renders homage to Petr Bogatyrev’s 1938 essay on Snow White, the first structuralist essay on what was Disney’s first full-length animated movie ever. As it is well known, Petr Bogatyrev wrote “Chaplin and The Kid” and “Chaplin, the Fake Count” in 1923, two articles studying the construction patterns in three of Charles Chaplin’s films – The Kid, The Count and The Immigrant. In studying Chaplin’s art Bogatyrev paid special attention to elements of plot construction such as contrast, retardation and so on, operating within the theoretical framework established by Viktor Shklovsky (ostranenie, “how art is made”, etc.), who was the editor of the collection of essays on Chaplin. Fifteen years later, in 1938, Bogatyrev published [ Theatralia 22 / 2019 / 2, Supplementum (72—82) ] https://doi.org/10.5817/TY2019-S-6","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Společnost Josepha von Öttla v městském divadle v Olomouci (1780–1783)","authors":"Jiří Štefanides","doi":"10.5817/ty2019-2-7","DOIUrl":"https://doi.org/10.5817/ty2019-2-7","url":null,"abstract":"","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jan Švankmajer’s films are not meant to be simply watched but they are created to be intensely experienced – they inescapably provide a powerful feeling of disorientation. Not only are reality, performance, memory and fantasy intersected, but the inhabitants of these “realities” switch from human beings, to objects, puppets, and fantastic figures made by a mixture of all the above. The space in which these characters move is a transitional space, a meeting point of oneiric reality, natural reality, and fictional reality, in which theatricality is often underlined. In this contribution, I would like to suggest that a semiotic approach along the line of the heritage of the Prague school could help to understand the audience’s peculiar reactions to Švankmajer’s continuous crossing of boundaries. Once we approach Švankmajer’s works from a semiotic point of view, we realize how freely he switches from one set of signs to another, dwelling specifically on the space between these systems, exploring, as a faithful surrealist, “the conjunctions, the points of contact, between different realms of existence” (RICHARDSON 2006: 3). The effect is one of bewilderment and unsettlement that ranges from comic to dread. In order to investigate how Švankmajer provokes these various reactions from his spectators, I would like to borrow some insights from the scholars of the Prague school about the distinctive quality of the sets of signs that shape each kind of performing art and provide as an example Švankmajer’s film Faust (Lekce Faust, 1994).
Jan Švankmajer的电影不仅仅是为了观看，而是为了强烈的体验——它们不可避免地提供了一种强大的迷失感。不仅现实、表演、记忆和幻想交织在一起，而且这些“现实”的居住者从人类切换到物体、木偶和由上述所有东西混合而成的奇妙人物。这些人物活动的空间是一个过渡空间，是虚拟现实、自然现实和虚构现实的交汇点，在这里，戏剧性经常被强调。在这篇文章中，我想建议一种符号学的方法，沿着布拉格学派的传统，可以帮助理解观众对Švankmajer不断跨越边界的特殊反应。一旦我们从符号学的角度来看Švankmajer的作品，我们就会意识到他是如何自由地从一组符号切换到另一组符号，特别关注这些系统之间的空间，作为一个忠实的超现实主义者，探索“不同存在领域之间的连接，接触点”(理查森2006:3)。其效果是一种困惑和不安，从喜剧到恐惧。为了研究Švankmajer如何引起观众的这些不同反应，我想从布拉格学派的学者那里借用一些关于塑造每种表演艺术的符号集的独特品质的见解，并以Švankmajer的电影《浮士德》(Lekce Faust, 1994)为例。
{"title":"Animate, inanimate and beyond in Švankmajer's Faust (1994)","authors":"Laura Pontieri","doi":"10.5817/TY2019-S-7","DOIUrl":"https://doi.org/10.5817/TY2019-S-7","url":null,"abstract":"Jan Švankmajer’s films are not meant to be simply watched but they are created to be intensely experienced – they inescapably provide a powerful feeling of disorientation. Not only are reality, performance, memory and fantasy intersected, but the inhabitants of these “realities” switch from human beings, to objects, puppets, and fantastic figures made by a mixture of all the above. The space in which these characters move is a transitional space, a meeting point of oneiric reality, natural reality, and fictional reality, in which theatricality is often underlined. In this contribution, I would like to suggest that a semiotic approach along the line of the heritage of the Prague school could help to understand the audience’s peculiar reactions to Švankmajer’s continuous crossing of boundaries. Once we approach Švankmajer’s works from a semiotic point of view, we realize how freely he switches from one set of signs to another, dwelling specifically on the space between these systems, exploring, as a faithful surrealist, “the conjunctions, the points of contact, between different realms of existence” (RICHARDSON 2006: 3). The effect is one of bewilderment and unsettlement that ranges from comic to dread. In order to investigate how Švankmajer provokes these various reactions from his spectators, I would like to borrow some insights from the scholars of the Prague school about the distinctive quality of the sets of signs that shape each kind of performing art and provide as an example Švankmajer’s film Faust (Lekce Faust, 1994).","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In contemporary theatre, objects often appear in the functions of subjects, both in the performances based on realist aesthetics and in more stylized or abstract works, in which subjects and objects are used interchangeably. Despite their inanimate nature, on stage objects can acquire an action force (VELTRUSKÝ 1990:88). They can be manipulated by live performers or perceived by the audience as acting on their own, i.e. exhibiting the will for action. The most noticeable example of this phenomenon is théâtre d’objects, which emerged in the 1980s. It employs animation of everyday objects to construct “material images of humans, animals, or spirits that are created, displayed, or manipulated in narrative or dramatic performance” (PROSCHAN 1983: 4). This view of the theatrical animation of an object links its on-stage work to puppetry, in which the agency of the inanimate matter is put forward, examined, and defended. Material performance, Dassia Posner argues, is “performance that assumes that inanimate matter contains agency not simply to mimic or mirror, but also to shape and create” (POSNER 2015: 5). What interests me here is the scale of subject (actor)/object (puppet) interdependency, which is mobilized on stage not in the forms of a traditional puppet theatre or even théâtre d’objects, but in the hybrid stylistics of tanztheater (dance theatre). The 2005 dance-duet zero degrees created and performed by Sidi Larbi Cherkaoui, a Moroccan-Flemish choreographer, and Akram Khan, a Bangladeshi born UK dancer, is one such example. Using the language of contemporary dance, storytelling, dramatic narration and the two life-size dummies in the functions of objects and subjects of action, zero degrees demonstrates how a theatre object can acquire agency on stage. Zero degrees, I argue, challenges a traditional view of dance as presence of “authentic human bod[ies]” (WAGNER 2006: 126). Using dancers’ bodies and dummies (the replicas of the performers’ bodies) interchangeably, when dummies (the objects) turn into dancers (the subjects), zero degrees presents a special case of theatrical intermediality. When the dummies join the [ Theatralia 22 / 2019 / 2, Supplementum (109—121) ] https://doi.org/10.5817/TY2019-S-9
{"title":"On men and objects : staging the divided subjectivity of displacement in zero degrees","authors":"Yana Meerzon","doi":"10.5817/TY2019-S-9","DOIUrl":"https://doi.org/10.5817/TY2019-S-9","url":null,"abstract":"In contemporary theatre, objects often appear in the functions of subjects, both in the performances based on realist aesthetics and in more stylized or abstract works, in which subjects and objects are used interchangeably. Despite their inanimate nature, on stage objects can acquire an action force (VELTRUSKÝ 1990:88). They can be manipulated by live performers or perceived by the audience as acting on their own, i.e. exhibiting the will for action. The most noticeable example of this phenomenon is théâtre d’objects, which emerged in the 1980s. It employs animation of everyday objects to construct “material images of humans, animals, or spirits that are created, displayed, or manipulated in narrative or dramatic performance” (PROSCHAN 1983: 4). This view of the theatrical animation of an object links its on-stage work to puppetry, in which the agency of the inanimate matter is put forward, examined, and defended. Material performance, Dassia Posner argues, is “performance that assumes that inanimate matter contains agency not simply to mimic or mirror, but also to shape and create” (POSNER 2015: 5). What interests me here is the scale of subject (actor)/object (puppet) interdependency, which is mobilized on stage not in the forms of a traditional puppet theatre or even théâtre d’objects, but in the hybrid stylistics of tanztheater (dance theatre). The 2005 dance-duet zero degrees created and performed by Sidi Larbi Cherkaoui, a Moroccan-Flemish choreographer, and Akram Khan, a Bangladeshi born UK dancer, is one such example. Using the language of contemporary dance, storytelling, dramatic narration and the two life-size dummies in the functions of objects and subjects of action, zero degrees demonstrates how a theatre object can acquire agency on stage. Zero degrees, I argue, challenges a traditional view of dance as presence of “authentic human bod[ies]” (WAGNER 2006: 126). Using dancers’ bodies and dummies (the replicas of the performers’ bodies) interchangeably, when dummies (the objects) turn into dancers (the subjects), zero degrees presents a special case of theatrical intermediality. When the dummies join the [ Theatralia 22 / 2019 / 2, Supplementum (109—121) ] https://doi.org/10.5817/TY2019-S-9","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356494","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The master and his manuscript","authors":"Karolína Stehlíková","doi":"10.5817/TY2019-1-13","DOIUrl":"https://doi.org/10.5817/TY2019-1-13","url":null,"abstract":"","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71355734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses the film Nattvardsgästerna (1963) – released in the U.S. as Winter Light, and in the U.K. as The Communicants – in the context of the Swedish post-war religious scene and Ingmar Bergman’s other productions of the period. The film is read theologically with an assumption that the author carries on a certain religious dialogue, whatever its form may be. With the basis of the film in the title, it asks about the meaning of the Lord’s Supper celebration and of the individual ‘guests’, i.e. the film’s main characters: Tomas Ericsson, Märta Lundberg and Jonas Persson. The article applies a comparative perspective to the relevant texts of the Old and (especially) New Testaments and includes pericopes and verses concerning the doubting Thomas, the biblical Martha and the prophet Jonah.
{"title":"Ingmar Bergman's Guests at the Last Supper in the time of nuclear threats","authors":"J. Dlask","doi":"10.5817/ty2019-1-6","DOIUrl":"https://doi.org/10.5817/ty2019-1-6","url":null,"abstract":"This article discusses the film Nattvardsgästerna (1963) – released in the U.S. as Winter Light, and in the U.K. as The Communicants – in the context of the Swedish post-war religious scene and Ingmar Bergman’s other productions of the period. The film is read theologically with an assumption that the author carries on a certain religious dialogue, whatever its form may be. With the basis of the film in the title, it asks about the meaning of the Lord’s Supper celebration and of the individual ‘guests’, i.e. the film’s main characters: Tomas Ericsson, Märta Lundberg and Jonas Persson. The article applies a comparative perspective to the relevant texts of the Old and (especially) New Testaments and includes pericopes and verses concerning the doubting Thomas, the biblical Martha and the prophet Jonah.","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"156 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71355764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Filip Krajník, Pavel Drábek, D. Drozd, Anna Mikyšková, Klára Škrobánková
{"title":"Prolegomena k projektu Anglická divadelní kultura 1660–1737","authors":"Filip Krajník, Pavel Drábek, D. Drozd, Anna Mikyšková, Klára Škrobánková","doi":"10.5817/ty2019-2-18","DOIUrl":"https://doi.org/10.5817/ty2019-2-18","url":null,"abstract":"","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Z anglické renesance do německého baroka : cesta hry o sv. Dorotě z Anglie přes Český Krumlov do Švýcarska","authors":"Anna Mikyšková","doi":"10.5817/ty2019-2-5","DOIUrl":"https://doi.org/10.5817/ty2019-2-5","url":null,"abstract":"","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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