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Singularities: Dance in the Age of Performance 奇点:表演时代的舞蹈
IF 0.3 0 RELIGION Pub Date : 2020-05-08 DOI: 10.21825/doc.v35i1.16435
H. Blades
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引用次数: 0
Border Crossing: A Comparative Look at Theater Studies in Flanders and Wallonia 越界:法兰德斯和瓦隆尼亚戏剧研究的比较研究
IF 0.3 0 RELIGION Pub Date : 2020-05-08 DOI: 10.21825/DOC.V35I1.16428
K. Vanhaesebrouck
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引用次数: 0
Experiencing Liveness in Contemporary Performance: Interdisciplinary Perspectives 体验当代表演的活力:跨学科的视角
IF 0.3 0 RELIGION Pub Date : 2020-05-08 DOI: 10.21825/doc.v35i1.16436
D. Ruppel
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引用次数: 0
Voorwoord
IF 0.3 0 RELIGION Pub Date : 2020-05-07 DOI: 10.21825/doc.v35i2.16415
Charlotte Dhont
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引用次数: 0
The Letters of Samuel Beckett 塞缪尔·贝克特书信集
IF 0.3 0 RELIGION Pub Date : 2020-05-07 DOI: 10.21825/doc.v35i2.16420
L. Vos
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引用次数: 0
Time on our Hands 时间在我们手中
IF 0.3 0 RELIGION Pub Date : 2020-05-01 DOI: 10.21825/doc.v34i2.16384
R. Schneider
Note: !is essay was originally delivered as a lecture at a conference on ‘Contemporaneities’ in Ghent, Belgium, in March of 2016. In editing the talk for publication, I have retained many of the formal properties of an oral presentation. If the contemporaneity of the oral event appears removed in this instance, the question at the base of the lecture remains: How long is "now" and what is at stake in extending a hand across time? As such, the talk – composed of a lead-in and two stories – may be considered ongoing, much like a hail in an event of call and response. !e interval in call and response that this talk both responds to and again inaugurates should be open, full of hesitation, and without conclusion – much as this essay is written to be.
注:本文最初于2016年3月在比利时根特举行的“当代性”会议上作为演讲发表。在为出版而编辑演讲时,我保留了口头陈述的许多正式性质。如果在这个例子中,口头事件的同时性似乎被删除了,那么这个讲座的基础问题仍然是:“现在”有多长?在时间上伸出一只手有什么利害关系?因此,由一个开场白和两个故事组成的谈话可以被认为是持续的,就像呼叫和响应事件中的冰雹一样。这篇演讲既回应又开启的呼唤与回应的间隔应该是开放的,充满犹豫,没有结论——这篇文章就是这样写的。
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引用次数: 0
Alternative Mainstream 替代主流
IF 0.3 0 RELIGION Pub Date : 2020-04-16 DOI: 10.21825/doc.v33i1.16263
Romina Cucchiara
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引用次数: 0
Wielepole, Wielepole: humanisme en hoop in Kantors Oeuvre
IF 0.3 0 RELIGION Pub Date : 2020-04-16 DOI: 10.21825/doc.v31i1.16191
A. Lefevre
Tadeusz Kantor (1915-1990) is een kunstenaar die niet in één discipline te vangen is, maar steeds vanuit een plastisch denken te werk gaat, ook in zijn theaterarbeid. Sommigen beschouwen hem als één van de belangrijkste kunstenaars van vorige eeuw, naast Marcel Duchamp, Joseph Beuys en Andy Warhol. Mijn eerste confrontatie met zijn theater was de voorstelling Wielopole, Wielopole en wat me naast de eenvoud van de gehanteerde theatermiddelen, de armzalige aankleding van het decor en het vreemde bewegingspatroon van de acteurs zo heeft aangegrepen was zijn fysieke aanwezigheid op en aan de rand van het toneel. En de lichtvoetige (groteske, humoreske) behandeling van gruwelijke gebeurtenissen uit de westerse geschiedenis van de vorige eeuw, met name de ellende van de wereldoorlogen en de vernietiging van de Joden in de Holocaust. Door het opwekken van de lach maakt hij de grootste gruwel onontkoombaar en wekt hij woede op omwille van het onrecht en de onmenselijkheid van de mens tegenover een ander mens.
Tadeusz Kantor(1915-1990)是一位艺术家,他不能被一门学科所束缚,但他总是以一种视觉的方式工作,在他的戏剧工作中也是如此。有些人认为他是上个世纪最重要的艺术家之一,仅次于马塞尔·杜尚、约瑟夫·博伊斯和安迪·沃霍尔。我第一次面对他的戏剧演出Wielopole, Wielopole除了简单的让我难忘theatermiddelen,可怜的装饰装饰和奇怪的运动模式的演员。他抓住身体存在和舞台的边缘上。还有对上个世纪西方历史上可怕事件的轻浮处理,尤其是世界大战的苦难和大屠杀中犹太人的灭绝。通过唤起笑声,他使最可怕的事情不可避免,并煽动愤怒的不公正和不人道的人对另一个人。
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引用次数: 0
Voorwoord
IF 0.3 0 RELIGION Pub Date : 2020-04-16 DOI: 10.21825/doc.v33i1.16253
Christel Stalpaert, Jozef Devos
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引用次数: 0
Aesthetic Justice 审美正义
IF 0.3 0 RELIGION Pub Date : 2020-04-16 DOI: 10.21825/doc.v33i1.16262
C. Collard
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引用次数: 0
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