Pub Date : 2022-10-11DOI: 10.1080/14682761.2022.2131981
Linan Xian
ABSTRACT
Combining phenomenological methods with practice-based research, this article explores what and how directorial strategies influence stage presence. Drawing on Maurice Merleau-Ponty’s phenomenology and Joseph Chaikin’s idea of heightened awareness, in particular, it describes directorial strategies that can heighten awareness in the interdependent actor–audience relationship. Adopting the vocative method addresses the research questions by providing phenomenological descriptions of and reflections on the author’s lived experiences as a spectator and an actor. From first-person accounts of lived experience in performance, ‘giving and taking stimulation’ and performing ‘face-to-face’ prove to be two practical strategies for heightening awareness by placing the actor and spectator into each other’s perceptual focus, thereby enhancing stage presence.
{"title":"Directorial strategies for enhancing stage presence: When practice- based research meets phenomenology","authors":"Linan Xian","doi":"10.1080/14682761.2022.2131981","DOIUrl":"https://doi.org/10.1080/14682761.2022.2131981","url":null,"abstract":"<p><b>ABSTRACT</b></p><p>Combining phenomenological methods with practice-based research, this article explores what and how directorial strategies influence stage presence. Drawing on Maurice Merleau-Ponty’s phenomenology and Joseph Chaikin’s idea of heightened awareness, in particular, it describes directorial strategies that can heighten awareness in the interdependent actor–audience relationship. Adopting the vocative method addresses the research questions by providing phenomenological descriptions of and reflections on the author’s lived experiences as a spectator and an actor. From first-person accounts of lived experience in performance, ‘giving and taking stimulation’ and performing ‘face-to-face’ prove to be two practical strategies for heightening awareness by placing the actor and spectator into each other’s perceptual focus, thereby enhancing stage presence.</p>","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"43 3","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50167630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-17DOI: 10.1080/14682761.2022.2121027
Karl Falconer, Steven Hadley, Jon Moorhouse
ABSTRACT
This article approaches the idea of architecture, theatre and cultural democracy as relational concepts, and considers the theatre building as a cultural artefact which both manifests and embodies power relations. We use the case study of Liverpool’s PurpleDoor to explore this idea. We consider theatre buildings as cultural artefacts to focus attention on the impact of material or physical factors and the power of cultural institutions to orient specific forms of behaviour and activity around themselves. In seeing architectural design as an embodiment of politics, philosophy and cultural policy, the article considers both the practical and theoretical dimensions of the future of a theatre architecture concerned with cultural democracy. The interconnection between political ideas of theatre’s contemporary social role and the material construction of the building – the performative nature of the performance space – become vital in recognising and re-prioritising values designed to address the intersectional nature of power systems afflicting the cultural sector and enabling citizen usage of cultural space. The article situates PurpleDoor in an historical lineage which articulates the aspiration to become both a site for critical inquiry and a contemporary manifestation of cultural democracy for 21st century British theatre.
{"title":"Building theatre, making policy: materiality and cultural democracy at Liverpool’s PurpleDoor","authors":"Karl Falconer, Steven Hadley, Jon Moorhouse","doi":"10.1080/14682761.2022.2121027","DOIUrl":"https://doi.org/10.1080/14682761.2022.2121027","url":null,"abstract":"<p><b>ABSTRACT</b></p><p>This article approaches the idea of architecture, theatre and cultural democracy as relational concepts, and considers the theatre building as a cultural artefact which both manifests and embodies power relations. We use the case study of Liverpool’s PurpleDoor to explore this idea. We consider theatre buildings as cultural artefacts to focus attention on the impact of material or physical factors and the power of cultural institutions to orient specific forms of behaviour and activity around themselves. In seeing architectural design as an embodiment of politics, philosophy and cultural policy, the article considers both the practical and theoretical dimensions of the future of a theatre architecture concerned with cultural democracy. The interconnection between political ideas of theatre’s contemporary social role and the material construction of the building – <i>the performative nature of the performance space</i> – become vital in recognising and re-prioritising values designed to address the intersectional nature of power systems afflicting the cultural sector and enabling citizen usage of cultural space. The article situates PurpleDoor in an historical lineage which articulates the aspiration to become both a site for critical inquiry and a contemporary manifestation of cultural democracy for 21<sup>st</sup> century British theatre.</p>","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"25 2","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50167785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/14682761.2022.2136345
Fannie Sosa
ABSTRACT This text reflects in part on Sosa’s ongoing project (in collaboration with Navild Acosta) Black Power Naps (https://blackpowernaps.black/), as well as ecologies of pleasure, and bio-technologies of the body in green city spaces. Sosa was an Open Call working group member in 2021, and was invited to re-visit their practice for this STP special issue.
本文部分反映了Sosa正在进行的项目(与Navild Acosta合作)Black Power Naps (https://blackpowernaps.black/)，以及绿色城市空间中的愉悦生态学和身体生物技术。Sosa是2021年的公开征集工作组成员，并被邀请为本期STP特刊重新访问他们的实践。
{"title":"The City (Revised)","authors":"Fannie Sosa","doi":"10.1080/14682761.2022.2136345","DOIUrl":"https://doi.org/10.1080/14682761.2022.2136345","url":null,"abstract":"ABSTRACT This text reflects in part on Sosa’s ongoing project (in collaboration with Navild Acosta) Black Power Naps (https://blackpowernaps.black/), as well as ecologies of pleasure, and bio-technologies of the body in green city spaces. Sosa was an Open Call working group member in 2021, and was invited to re-visit their practice for this STP special issue.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"8 1","pages":"236 - 237"},"PeriodicalIF":0.3,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74692771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/14682761.2022.2136300
melissandre varin, Carmen Wong
ABSTRACT These are parts 2 and 3 of a conversation and a practice of listening about and speaking of composting grief. The exchange, between melissandre varin and Carmen Wong, was initiated via voice notes, voicemails, and WhatsApp recordings and was transcribed and composed/composted visually with illustrations by N. Drofiak.
{"title":"Composting Grief: Part II & III","authors":"melissandre varin, Carmen Wong","doi":"10.1080/14682761.2022.2136300","DOIUrl":"https://doi.org/10.1080/14682761.2022.2136300","url":null,"abstract":"ABSTRACT These are parts 2 and 3 of a conversation and a practice of listening about and speaking of composting grief. The exchange, between melissandre varin and Carmen Wong, was initiated via voice notes, voicemails, and WhatsApp recordings and was transcribed and composed/composted visually with illustrations by N. Drofiak.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"30 1","pages":"307 - 319"},"PeriodicalIF":0.3,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83167149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/14682761.2022.2136338
Lou Sarabadzic
ABSTRACT This offering is part 1 of 3 in Lou Sarabadzic’s series Making Sense, which re-visits the exploration of the physicality and materiality of language in her video work Traces (2021).
{"title":"Making Sense: Part I","authors":"Lou Sarabadzic","doi":"10.1080/14682761.2022.2136338","DOIUrl":"https://doi.org/10.1080/14682761.2022.2136338","url":null,"abstract":"ABSTRACT This offering is part 1 of 3 in Lou Sarabadzic’s series Making Sense, which re-visits the exploration of the physicality and materiality of language in her video work Traces (2021).","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"51 1","pages":"238 - 242"},"PeriodicalIF":0.3,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81421318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/14682761.2022.2136341
Lou Sarabadzic
ABSTRACT This offering is part 2 of 3 in Lou Sarabadzic’s series Making Sense, which re-visits the exploration of the physicality and materiality of language in her video work Traces (2021).
{"title":"Making Sense: Part II","authors":"Lou Sarabadzic","doi":"10.1080/14682761.2022.2136341","DOIUrl":"https://doi.org/10.1080/14682761.2022.2136341","url":null,"abstract":"ABSTRACT This offering is part 2 of 3 in Lou Sarabadzic’s series Making Sense, which re-visits the exploration of the physicality and materiality of language in her video work Traces (2021).","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"67 1","pages":"287 - 292"},"PeriodicalIF":0.3,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73273741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/14682761.2022.2136280
nomi blum
ABSTRACT Fragments of Encounters is a performance-installation based research project that was first performed at the Infecting the City public art festival in 2019 in Cape Town. The project was build around a personal archive (over 150 hours of audio recorded material), comprised of fragments of everyday encounters and conversations with South Africans, Zimbabweans, Congolese, Nigerians, Pakistanis, Somalians, Tanzanians, Romanians, Roma and others, who prefer to remain anonymous, and memories of my own. The archive assumes a double role; it is both a mnemonic instrument and a geography of my encounters. The work recreates a mixture of cultures, identities and geographies that need to be decoded and interpreted as way to make meaning. One needs to learn and to un-learn at the same time in order to adapt to unfamiliar contexts.
片段相遇(Fragments of Encounters)是一个基于行为装置的研究项目，于2019年在开普敦的感染城市公共艺术节上首次展出。这个项目是围绕一个个人档案(超过150小时的录音材料)建立的，包括与南非人、津巴布韦人、刚果人、尼日利亚人、巴基斯坦人、索马里人、坦桑尼亚人、罗马尼亚人、罗姆人以及其他不愿透露姓名的人的日常接触和对话的片段，以及我自己的记忆。档案馆承担着双重角色;它既是一种记忆工具，也是我遇到的人的地理位置。该作品再现了一种文化、身份和地理的混合，需要解码和解释，以创造意义。为了适应不熟悉的环境，一个人需要同时学习和放弃学习。
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Pub Date : 2022-09-02DOI: 10.1080/14682761.2022.2136331
Raju Rage
ABSTRACT Anti-performance is a term that I use to describe my body of performances, which in actuality are also ephemeral moments in time-space. The ‘anti’ is derived and borrowed from anti-colonial, the radical (root) of ‘decolonial’ and ‘post’ colonial, in this case a direct opposition to what is expected of gendered, racialised bodies, by audiences but also that which is usually invited by institutions. The anti-performances discussed in this article – (Can the Subaltern Speak?)… YEAH BUT CAN WE LISTEN THO? (2015), Transistence, Moving Into Sunlight (2021), and Let Them Eat Cake/May The One Without Hunger Lift The First Knife (2016) – refuse the objectification and spectacle of my so-called ‘marginalised’ body and how it is often consumed, violated, devalued, and exhausted, and instead seeks to subvert the gaze, interrupt voyeurism, reclaim wellbeing, as well as querying what we think we know. Anti-performance centres myself as performer (ourselves when collective) rather than the audience; this, however, is not intended to be divisive, as the audience members are often witness to and/or accomplices of the performance if they choose to be. Anti-performance strives to transform the paradigm of ‘consumer’ (audience and institution) and ‘consumed’ (performer) to something much more ethical and with integrity.
{"title":"ANTI – PERFORMANCE AS PRAXIS","authors":"Raju Rage","doi":"10.1080/14682761.2022.2136331","DOIUrl":"https://doi.org/10.1080/14682761.2022.2136331","url":null,"abstract":"ABSTRACT Anti-performance is a term that I use to describe my body of performances, which in actuality are also ephemeral moments in time-space. The ‘anti’ is derived and borrowed from anti-colonial, the radical (root) of ‘decolonial’ and ‘post’ colonial, in this case a direct opposition to what is expected of gendered, racialised bodies, by audiences but also that which is usually invited by institutions. The anti-performances discussed in this article – (Can the Subaltern Speak?)… YEAH BUT CAN WE LISTEN THO? (2015), Transistence, Moving Into Sunlight (2021), and Let Them Eat Cake/May The One Without Hunger Lift The First Knife (2016) – refuse the objectification and spectacle of my so-called ‘marginalised’ body and how it is often consumed, violated, devalued, and exhausted, and instead seeks to subvert the gaze, interrupt voyeurism, reclaim wellbeing, as well as querying what we think we know. Anti-performance centres myself as performer (ourselves when collective) rather than the audience; this, however, is not intended to be divisive, as the audience members are often witness to and/or accomplices of the performance if they choose to be. Anti-performance strives to transform the paradigm of ‘consumer’ (audience and institution) and ‘consumed’ (performer) to something much more ethical and with integrity.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"42 1","pages":"320 - 333"},"PeriodicalIF":0.3,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80522548","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-26DOI: 10.1080/14682761.2022.2105541
Olumuyiwa A. Akande
ABSTRACT
Dance, commonly seen as the art of rhythmical movements of the body, is actually a vehicle to project ideas, be it social, cultural, or even political, particularly among the Hausas in Northern Nigeria. Previous studies of Hausa Koroso Dance have focused mainly on its aesthetics, while little cognizance has been given to the interpretative roles of the dance. This article examines the interpretative roles that dance plays in social milieu amongst the Hausas, and establishes how dance can be employed to interpret social and political ideas. Hausa Koroso Dance is identified as a form of total theatre called Kalankuwa. The dance (or dance-drama) is used to critique the ruling dynasties. In its economic role, it is performed to facilitate work by rhythmical execution of work-movements with musical accompaniments. Koroso Dancers ridicule socially unacceptable behaviours through carefully executed mimetic dance movements. Hausa Koroso Dance typifies the interpretative roles that dance, as an aesthetic practice, can play in contributing to societal progress and development.
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