Perfomance Studies

Tutto imprescindibilmente parte dal corpo, il nostro e dell’Altro, entrambi portatori di segni. Il corpo si fa corpus nel processo di signifi- cazione e di ibridazione. Quando scopriamo che il sé subisce un processo di omologazione, il sé diviene anch’esso globale, dimenticando la differen- ziazione e il riconoscimento dell’Altro come tensione creativa. In qualche modo, più vediamo il mondo uniformarsi, più ci rendiamo conto. Ma chi è veramente l’Altro? Può davvero la bellezza salvarci? Può l’arte avere la consapevolezza di essere politica? Attraverso alcune pratiche estetiche si “narra” il fenomeno complesso delle migrazioni e l’avanzare delle estreme destre nel mondo. Attraverso ciò che chiamiamo arte traduciamo questo fenomeno complesso.

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Everything inevitably starts from the body, our body and that of the Other, both bearing signs. The body becomes corpus in the process of signification and hybridization. When we discover that the self enjoys a process of homologation, the self also becomes global, forgetting the differentiation and recognition of the Other as a creative tension. Somehow, the more we see the world conform, the more we realize. But who is really the Other? Beauty will save the world? Can art have the awareness of being political? Through some aesthetic practices we “narrate” the complex phenomenon of migrations and the rise of the Right-Wing Populism in the World. Through the art we translate this complex phenomenon.

Para la historiografía que se ha ocupado de la historia del cine español, la figura del explicador no ha pasado hasta ahora de ser poco más que un personaje citado en contadas ocasiones, casi siempre por protagonizado alguna anécdota curiosa o divertida. Fuera de nuestras fronteras, los autores que se han ocupado del tema suelen reconocer que todavía no se sabe demasiado sobre el explicador, y frecuentemente formulan sus opiniones sobre el mismo en forma de suposición. Lo cierto es que esta figura parece poseer cierto halo inaprensible. El carácter oral de su tarea y el hecho de que, en cierto sentido, cumpliera una función en la película desde una posición físicamente externa a la misma, justifican la carencia de un rastro fílmico o escrito generados por el propio explicador. Así que, a menudo, se tiene la impresión de que los datos recabados sobre él tan solo ayudan a fijar su contorno, eso sí, tan sugerente que promueve la elaboración de múltiples hipótesis sobre su auténtica personalidad y su trascendencia para la historia del cine.

”At du læser ”mig”, er selvfølgelig en hovedløs fortalelse, og i forlængelse heraf bør jeg nævne, at jeg ikke har fundet på det hele selv. Jeg har hugget sætninger fra adskillige andre tekster” (Bjørn Rasmussen, s. 90).
Forfatterbemærkningen stammer fra slutningen af Bjørn Rasmussens roman Huden er det elastiske hylster der omgiver hele legemet , og den cementerer en gang for alle, den fornemmelse læseren har haft under hele læsningen af værket; følelsen af at blive afvist, at værket simpelthen ikke vil lukke læseren ind – derind, hvor fortolkning og forståelse finder sted. Bemærkningen sætter fokus på den just læste tekst ved at nævne de stjålne sætninger – for hvilken betydning har det, at brudstykker af teksten ikke er Bjørn Rasmussens egne ord? Og hvorfor denne ublu opmærksomhed på teksttyveriet? Samtidig adresserer sætningen et du, som er en direkte henvendelse til læseren, men hvem er dette ”mig”, og hvorfor kan denne ikke læses?

En este trabajo se aborda la complejidad del proceso creativo de un músico popular notorio. Con el fin de describir el entramado que supone actualmente este proceso en un disco de música popular y develar cómo se construye la "persona de la performance" de Joaquín Sabina en dos discos de su autoría, se recurre como estudios de caso a los testimonios de Benjamín Prado en su libro Romper una canción y a los de Sabina, Prado y otros músicos intervinientes en Incluso la verdad y al análisis de los discos Vinagre y Rosas y Lo niego todo. Palabras clave: Proceso creativo. Composición. Música popular. Experiencia.

Publikacja jest efektem III Polskiego Kongresu Estetyki „Media, Nowe media czy post-media sztuki” zorganizowanego przez przez Polskie Towarzystwo Estetyczne oraz Wydział Malarstwa i Nowych Mediów Akademii Sztuki w Sczecinie.

Dyskusje toczące się podczas III Polskiego Kongresu Estetyki „Media, nowe media czy postmedia sztuki?”, zorganizowanego przez Polskie Towarzystwo Estetyczne i Wydział Malarstwa i Nowych Mediów Akademii Sztuki w Szczecinie, wskazały na istotność tematyki medium sztuki i obrazu w obszarze filozofii, estetyki, antropologii, historii sztuki, kulturoznawstwa i medioznawstwa. Podjęte zagadnienia dotyczyły relacji mediów i kultury, mediów i technologii, mediów i ciała, ze wskazaniem wagi odpowiedzialnego posługiwania się medium sztuki przez artystę lub artystkę w konstruowaniu przekazu.

Poszczególne części niniejszej monografii zbiorowej: I. Sztuka, kultura i media. II. Media i technologia. III. Medialność ciała. IV. Medium architektury i rzeźby. V. Odpowiedzialność medium, ukazują zakorzenienie medium obrazowania w codzienności, w sposobach ucieleśniania i uobecniania, czynienia widocznym. To uobecnienie różnych treści odbywa się w przestrzeni miasta i kultury, w których doświadczające podmioty przekształcają środowisko swojego życia. Różnorodne praktyki artystyczne i obrazowe, eksperymenty na granicy nauki i sztuki, uczestniczą czynnie w transformacji przestrzeni egzystencjalnej i społecznej, a także przyczyniają się do podjęcia krytycznej refleksji na temat tej przestrzeni. Analiza współczesnej codziennej nowo-medialnej widzialności oraz podejście do ciała jako do medium wyrazu, pozwala na performatywne podejście do architektury i tkanki miejskiej jako takiej, która jest odbierana cieleśnie i przekształcana przez zaangażowanie cielesne użytkowników danej przestrzeni.

Spektrum zagadnień podjętych w ramach problematyki medium wskazuje na prowadzone obecnie pogłębione badania nad społecznym, egzystencjalnym, antropologicznym i kulturowym charakterem sztuki. Szersza perspektywa, w którą wpisują się ujęcia prezentowane w niniejszej książce, jest perspektywą performatywności. Zwrot performatywny w estetyce oraz waga kwestii technologicznych wpływają na fakt, że obraz malarski i pytanie o medium malarstwa post-medialnego i malarstwa cyfrowego nie pojawiają się. Rozważania dotyczą natomiast relacji i wartości fundamentalnych dla zrozumienia współczesnych przemian zachodzących zarówno w sztuce, kulturze, jak i w życiu codziennym określanym przez media i technologie. Prezentowana publikacja, stanowiąca efekt III Polskiego Kongresu Estetyki prezentuje intradyscyplinarny charakter współczesnej polskiej estetyki, pozwalający na elastyczne podejście do analiz poszczególnych zjawisk artystycznych i estetycznych oraz na ujęcie ich w szerszej filozoficznej perspektywie.

https://akademiasztuki.eu/WMINM/Artykul/wydawnictwo-artystyczno-naukowe-wydzialu-malarstwa-i-nowych-mediow-akademii-sztuki-w-szczecinie?fbclid=IwAR1bSEH5zMYR_yHsn_SM0BijHPjGHRlhppoVyQ-D02KRAZ5Kc44-hHOUPsg#media-nowe-media-czy-post-media-sztuki

The article deals with public executions held in Warsaw in the years 1815-1830. Aside from describing each particular stage in the process of an execution, it also offers an analysis of the goal behind organising public executions by the authorities, as well as an analysis of the tools they used to achieve this goal. The text points to the theatrical form of public executions; it suggests they were performances of sorts, a theatre of justice. Therefore, it is vital to focus on the behaviour of actors performing in this theatre – the convict, the execu- tioner and the audience. Aside from the above-mentioned issues, the text con- cerns the theoretical side of death penalty, namely the penal law. It analyses the penal law at the turn of the 19th century, with particular attention paid to the content and the debate on the subject of death penalty prior to the estab- lishment of the Penal Code of the Kingdom of Poland in 1818, which became the legal basis at the period to which the article pertains.

Against Cartesian dualism and in line with the general twentieth century rediscovery of body and perception, this paper aims to examine the role of senses for the performer, as presented by Richard Schechner’s theory of performance. Such a theory finds its legitimacy in the pages of the philosopher Merleau-Ponty, and in the priority the philosopher assigned to perception and senses as sources of knowledge, as well as opening of consciousness to the world.

Que peut un corps ? C’est cette question, qui a intrigué les plus grands philosophes au cours des siècles (de Spinoza à Deleuze et bien d’autres) que cet article se propose de reprendre à nouveaux frais ; en un temps où certains prophètes des biotechnologies nous promettent une vie toute puissante et éternelle. Pour ce faire, il part de l’analyse de quelques figures de l’art tout particulièrement paradigmatiques de Stelarc à Harbisson ou Ribas, habiles à mettre en scène et abyme le devenir-cyborg de notre temps.

Attending to race has become essential in ethnomusicology at least since publication of Music and the Racial Imagination (2000). And what sort of musical performance could be more imaginary than air guitar? Competitive air guitarists realized long before scholars that their art form provided an ideal means by which to contest the overwhelming whiteness of rock and electric guitar, sometimes extending their critique to include gender as well. Asian and Asian American competitors in particular used their one-minute stage performances to comment ironically on the emasculation of Asian males and the infantilization of Asian females through the construct of " Asian fury. " Based on field research in Germany, Finland, and the United States since 2009, this article argues that air guitar performance has helped certain audiences to reimagine the linkages between race and rock. A ttending to race has become essential in ethnomusicology at least since publication of Radano and Bohlman's Music and the Racial Imagination in 2000. And what sort of musical performance could be more imaginary than air guitar? Besides being a time-honored way through which fans relate to and even come to embody rock music, air guitar also provides an ideal lens through which to view the role of the body in musical performance, precisely because the physical presence of a musical instrument has been removed from the picture. Staged, competitive air guitar focuses both performers' and viewers' attention on bodily attributes including gender and race, as well as on all those aspects of musical performance that are not part of sound production yet are equally meaningful: facial expression, attire, and bodily movement among them. Competitive air guitarists realized long before scholars that their art form provided an ideal means by which to contest the overwhelming whiteness of rock and electric guitar, sometimes extending their critique to include gender as well. Asian and Asian American competitors in particular used their one- minute stage performances to comment ironically on the emasculation of Asian males and the infantilization of Asian females through the construct of “Asian fury.” Based on field research in Germany, Finland, and the United States since 2009, this article argues that air guitar performance has helped certain audiences to reimagine the linkages between race and rock.
JSTOR link: http://www.jstor.org/stable/10.5406/ethnomusicology.60.3.0411

Seven multi-searcher agents —Copernic, EZSearch, MataHari, iMine, WebSeeker, WebFerret and WebStorm— are compared measuring precision, recall and response time on the first twenty results returned for fifteen queries. All search engines were done on August 21th, 1999. Acomparative study of the two top agents of this paper with HotBot and AltaVista shows the advantages of the intelligent agents multi-seacher in relationshipwith the current search engines

En este artículo se analizan los espectáculos del grupo Les Luthiers a partir del marco conceptual desarrollado en los estudios de performance. Desde esta perspectiva, se conciben sus presentaciones como fenómenos comunicativos, como instancias reflexivas y como procesos creativos, en los que el acto de hacer música es distinto al de hacer humor-música.

The present article aims to develop an approach to musical meaning that integrates performative dimensions systematically into a broadened concept of analysis, connecting particularly to recent research into the temporal qualities of musical perception. Taking three key works from the solo cello repertoire of the 1960s and ’70s – Helmut Lachenmann's Pression, Iannis Xenakis's Nomos Alpha and Brian Ferneyhough's Time and Motion Study II – as a basic corpus of study, this ‘morphosyntactic’ view of sound structure is complemented with a comparison of different recordings of these three works by interpreting software-based collections of data of timing and tempo as well as close listening, in addition to documentation of the composers’ and performers’ conceptions of time and tempo. The analyses propose an interaction of three different categories of form-building time-space concepts that are deeply embedded in the history of music theory and aesthetics: ‘spatial time’, ‘processual time’ and ‘presentist time’. Performers may shift between or merge these three archetypes by varying temporal and dynamic consistency or contrast, among other means. The performance-related data are compared with the perspectives of performers and composers, corroborating the space of ‘informed intuition’ even in the performance of these very prescriptively notated scores and demonstrating on multiple levels the continuous impact of ‘rhetorical’ performance traditions (despite or within their compositional deconstruction) in the music of the postwar and contemporary avant-garde.

Митко Иванов за страстта му към българския традиционен костюм, дейността му като фолклорист и ръководител на Ансамбъла за изворен фолклор, град Плевен
Интервю, 7 декември, 2000 г., София

Митко Иванов напусна този свят на 23 април, 2009 г.
Части от интервюто са цитирани в изследването „Съставът за народни танци като културно явление в България“ (Иванова-Найберг 2011
https://www.academia.edu/35433291/Bulgarian_Folk_Dance_Ensemble_as_a_Cultural_Phenomenon).

This dissertation theorizes expressive sound in piano performance. It views the act of obtaining a desired sound as an act of subtly adjusting to continually changing conditions of sound production. It takes a performer's perspective, focusing on the personal experience of sound, as it is being created in performance. The sound of a piano performance is continually evolving, contingent on the acoustic environment, the characteristics of an instrument, and other circumstantial factors with which a pianist works in performance. Although the focus is on real-time performing experience, in the act of any particular performance, a pianist relies on robust previous experience. This dissertation particularly considers the dynamic, interactive loop of the conception, the making, and the hearing of sound in piano performance. The continued re-enaction of this loop is considered as grounding a specifically pianistic cognitive ability which draws on both the haptic and auditory experience of sound at the piano. My approach to piano playing is rooted in work in critical ethnography as well as theories of cognitive function. These two seemingly disparate areas of enquiry share important common ground in their treatment of conceptualization and experience as mutually definitive. An underlying theme throughout this research is the dynamic interplay between theoretical understanding and lived experience. The focus, however, is consistently on piano playing, seen as the act of engendering artistically charged sound through the interaction with a complex and versatile musical instrument, the acoustics of sound and space, and the expressive possibilities of personal experience.

O presente trabalho analisa como o documentário 33, do diretor Kiko Goifman, utiliza recursos autobiográficos em sua escritura. A análise é feita a partir da decupagem das principais cenas do documentário performático de Kiko e da verificação dos meios que ele utiliza para convocar o espectador, como a exibição de um aspecto da vida particular do diretor, fato que foge à uma tradição documental de objetividade do discurso; o suspense criado por cenas de procura e descobertas e a cumplicidade criada com o diretor diante de uma produção feita durante sua procura
pela mãe biológica.

Polish culture is based on a peculiar paradox. Our tradition and historical consciousness are rich in rituals and martyrs, yet they function in a mythological vacuum, as there has been no elaborate system of myths to help us understand these ceremonies and sacrifices. Since we have traditionally claimed the Mediterranean civilisation as the source of our own culture, for many centuries we have also been relying on ancient Greek myths, albeit in the form passed on to us by the Romans. There was a time when many educated Poles were bilingual, and their Latin was better than Polish. Throughout our history, as we were losing our independence, ancient Greek myths, told again and again, lent us strength to survive and gave a meaning to our struggles. They ultimately became an integral part of our identity. In order to show how an ancient myth can be used as a device in constructing modern identity, I will look at the work of three Polish theatre artists.

Zeigen ist eine Grundtätigkeit. Ohne sie lassen sich weder Wissen noch Handeln, weder Erkennen noch Sozialität denken. Eine das Vorverständnis prägende Assoziation zum Zeigen ist die Hand, die auf Dinge und Phänomene in der Welt verweist. Doch die Zeigegeste ist bei weitem nicht erschöpfend. Auch mit Zeichen und mit Sprache wird gezeigt; Bilder, Diagramme und Tabellen zeigen; und nicht zuletzt zeigen auch Blicke, Bewegungen und Handlungen. Zeigen, so zeigt sich, ist also mehr als Referenz. Was aber ist Zeigen?
Im Zeigen verschränken sich Fragen, die nicht nur von einer Disziplin bearbeitet werden können. Der vorliegende Band folgt dieser Einsicht, indem er die Vielschichtigkeit des Zeigens nicht durch einen fachspezifischen Zugang begrenzt. Wie zeigen Bilder? Eine Frage, die hier nicht nur an die Bildwissenschaft, sondern auch an die Wissenschaftstheorie gerichtet wird: Welche Funktion haben zeigende Bilder in der Wissenschaft? Und wie ist das Verhältnis von Sagen und Zeigen? Ein Thema nicht nur für die Philosophie, sondern auch für die Sozialwissenschaften. Wie – und nicht nur was – zeigen wir uns in der sozialen Interaktion?

So unterschiedliche Disziplinen wie die Informatik, die Tanz- und Filmwissenschaften, Philosophie, Soziologie, Psychologie und die Kunstgeschichte tauschen sich darüber aus, wie auf den unterschiedlichsten Feldern Zeigen praktiziert wird, wie Zeigen scheitert und welche Reflexionsprobleme dieses Thema produziert. So wird im Zusammenspiel scheinbar weit entfernter Ansätze die Kontur einer Grundtätigkeit sichtbar. Zeigen erweist sich als eine Grunddimension unseres Handelns. Sie durchdringt die Bereiche des Wissens, des Körpers und der Bilder, ohne sich auf eines dieser Gebiete reduzieren zu lassen.

The arts, science and technology are experiencing a period of profound change. Normally we use the terms digital everywhere, because it is embodied in our culture. We could talk about third culture as John Brockmann writes. The third culture, according to him, consists of
those scientists and other thinkers in the empirical world who, through their work and expository writing, are taking the place of the traditional intellectual in rendering visible the deeper meanings of our lives, redefining who and what we are. We are talking about whole new
forms of subjectivity. We are seriously talking about mutated worlds that have never existed on this planet before. And it is not just idea. It is new flesh. Human beings are always already immersed in the world, in producing what it means to be human in relationships with each
other and with objects. In the 21st century, some of the most dynamic works of art are being produced not in the studio but in the laboratory, where artists probe cultural, philosophical and social questions connected with cutting-edge scientific and technological research.
Human life and culture will expand also beyond biological limits, through the Third Life, the life that humans are giving to the entities built by their culture. There are many emerging or growing fields: autonomous agents and artificial life forms, autonomous objects, robotics and biorobotics, nano entities, hybrids (organic/ inorganic), modified or expanded organisms, synthetic life. This growth and multiplicity will take place in a realm where connecting, collecting, communicating and sharing information can be easily and automatically achieved thanks
to the computer technologies and the Net. The artists during the third millennium have begun to tackle the concepts, the tools, and the contexts of scientific and technological research: the results of their works are provocative and intriguing. These artists, who have been working combining both scientific and technological approach, outlined new perspectives in the art fields, in order to explain the complexity of the world following a trans-disciplinary method.
Metrobodily is a brain expression for describing this spherical mutation, where the ubiquitous bodies are interconnected for a living, hybrid and hyperconnected planet. Bodies everywhere, absent and present at the same time. We have many bodies, physical, virtual, extended, multisensorial.
What can a body do? What is New? What is Innovation? What it the relationship between art and science?

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Le arti, la scienza e la tecnologia stanno vivendo un periodo di profondo cambiamento. Normalmente noi utilizziamo il termine digitale ovunque, perché esso è incorporato nella nostra cultura. Potremmo parlare di
terza cultura come scrive John Brockmann. La terza cultura, è costituita da  scienziati e pensatori del mondo empirico che, attraverso il loro lavoro e la loro esposizione  stanno prendendo il posto dell' intellettuale tradizionale nel rendere visibile il più profondo significato della nostra vita, ridefinendo chi e cosa siamo. Stiamo parlando di nuove
forme di soggettività. Stiamo parlando di nuovi mondi che non sono mai esistiti su questo pianeta prima. E non è solo un' idea. È la nuova carne. Gli esseri umani sono sempre immersi nel mondo, nel produrre ciò che significa essere umano e nelle relazioni con l'altro e gli oggetti.
Nel XXI secolo, alcune  opere d' arte sono state prodotte non dentro ad uno studio, bensì in un laboratorio, dove gli artisti hanno indagato culturalmente, filosoficamente le questioni sociali legate alla ricerca scientifica e tecnologica d' avanguardia.
La vita e la cultura umana si espanderanno anche oltre i limiti biologici, attraverso la Terza Vita, la vita che gli esseri relegano alle entità costruite dalla loro cultura. Ci sono campi emergenti come la robotica e la biorobotica,  agenti e oggetti autonomi,  forme di vita artificiale,  nano entità ibride (organiche/ inorganiche), organismi modificati o espansi e
vite sintetiche. Questa crescita e molteplicità avrà luogo in un ambito dove connettersi. La comunicazione e la condivisione delle informazioni possono essere realizzate in modo semplice e automatico grazie a
alle tecnologie informatiche e alla rete. Gli artisti del terzo millennio devono affrontare i concetti, gli strumenti e i contesti della ricerca scientifica e tecnologica. I risultati delle loro opere sono provocatori e intriganti. Gli artisti, perseguendo un metodo transdisciplinare, lavorano coniugando diversi approcci scientifici e tecnologici, delineando così nuove prospettive nell'arte per "risolvere" la complessità del mondo, .
Metrocorporeità è una mia espressione cerebrale per descrivere questa mutazione sferica, dove i corpi sono interconnessi in un pianeta ibrido . Corpi ovunque: assenti e presenti contemporaneamente. Abbiamo molti corpi, fisici, virtuali,  estesi, multisensoriali. Cosa può fare un corpo? Cosa è nuovo? Che cos' è l' innovazione? Che cosa è il rapporto
tra arte e scienza?

En este trabajo se analizan las características de la obra de Ridiculum Vitae, grupo que se inscribe dentro de la escena argentina entre aquellos que combinan la música y el teatro con fines humorísticos. Para llevar a cabo esa tarea, se revisan los cambios del texto musical, las transformaciones producidas en el pasaje del guión a la performance, a partir del planteo teórico desarrollado por R. Schechner. Luego se consideran los distintos enfoques propuestos acerca de la noción de género a fin de determinar qué elementos son manipulados por el grupo para interpelar al oyente en la identificación de cada género musical. Posteriormente, el foco de análisis se extiende a la grabación con la intención de determinar las diferencias entre la puesta en escena en vivo y la grabación. Por último se examinan elementos accesorios y la planta escénica con el objetivo de estudiar cómo intervienen y condicionan la performance.

The task of the actor has long been a subject of scepticism, and often scorn, accused of being not real work: either it is ‘not real’, in that it is only pretending or simulation, or it is ‘not work’, in that it is merely the pursuit of pleasure.  But in thinking through its own work, theatre can also help us to think through how work is understood and valued in culture more broadly. In this chapter I focus on two moments in which theatre seems to have been particularly interested in its relationship to work, and in which, by turn, we can track the changing nature of work itself. In the 1960s and 1970s, performance artists turned to ‘task-like’ or ‘work-like’ performance as a way to bring everyday reality to the theatrical event—and, by extension, as a remedy to the way in which wider culture was perceived as increasingly alienating and ‘theatricalized.’ Here the apparent ‘realness’ and ‘authenticity’ of work-like performance is positioned in contrast to the increasing alienation and disembodiment of everyday life. But in subsequent decades, the nature of work itself has undergone a gradual but irreversible shift, such that its paradigmatic figure is no longer the factory worker (or the craftsperson), but instead the service provider, who is a kind of ‘emotional labourer’ whose work is very similar to that of the actor. Here again, new forms of theatre, such as immersive and one-to-one theatre, emerge as a challenge to the theatricality of everyday life. I explore these themes through a comparison of how two artists from very different periods, Yvonne Rainer in the 1960s and Adrian Howells in the 2000s, used their creative practice to think through questions of work, alienation, and everyday life.

«Karagkiozis performers of Solea:
Th. Themistokleous, A. Kokonas, G. Idalias»

Shadow Theatre (“Karaghiozis”) in Cyprus is a quite intriguing field for researchers, due to its geographical position and its particular political-social situation. Questions as “dialogue” between Greek-Cypriots or Turkish-Cypriots and Greeks, Turks and even Arabs shadow puppets performers, seek for answers.
This essay is focused on the connection between three Greek-Cypriots neighboring (Nicosia ’s district) performers, mirrored in their archives: A. Kokonas (from Tembria), Th. Themistokleous (from Kakopetria), G. Idalias (from Nikosia, Korakou).
It is acknowledged that each’ s development was mainly determined by factors as social-family environment, educational level, family status, financial security, friendship or collaboration with other performers/designers, individual talent and style.
In addition to that, it is shown what kind of models were followed, how these three performers depended on each other and up to what level did they intercourse.

Vor dem Hintergrund gegenwärtiger Migrationsbewegungen nimmt dieses interdisziplinäre Symposium, das wissenschaftliche Perspektiven, NGO-Vertreterinnen und -Vertreter sowie Kunstschaffende zusammenbringt, Erfahrungen von Fremdheit und Grenzvorstellungen in den Blick.
An der Erfahrung ‚des Fremden‘, das einem laut dem Theaterwissenschaftler Günther Heeg nicht in fernen Ländern und Kulturen begegnet, sondern im Inneren der vermeintlichen Eigenen, entzünden sich transkulturelle Theater­praktiken. Wird demnach unter einer Grenze die durch eine Trennlinie oder eine Trennfläche ermittelte Abgrenzung zwischen Fremdem und Eigenem verstanden, so vermittelt die Idee einer Grenze nicht nur die Begrenzung und den Schutz von Räumen (vor Fremden). Zugleich weisen bestimmte Verhaltensformen von Menschen Grenzen auf. Bezogen auf Migrationsphänomene macht das Grenzverständnis aus allen Menschen Fliehende: Während die einen vor unerträglichen Lebensumständen in ihren Herkunftsorten fliehen und geographische Grenzen überschreiten, fliehen die anderen vor den Grenzen eigener Verantwortung und Handlungsmöglichkeit. Aufgrund der gegenwärtig rasant wachsenden Migrationsbewegungen sowie der damit einhergehenden Fremdheitserfahrung weist somit das jeweilige Verständnis von Grenzen und Fliehenden eine Doppelartikulation auf, die dieses interdisziplinäre Symposium in den Mittelpunkt rückt.

The intention of this essay is to rise up some points and to share my visions with others in the prospect of finding some other colleagues interested in drawing a new path in Performing Arts that aims to maintain, deepen and empower the functions that highly ritualized body practices occupied in traditional African societies. The main questions I want to challenge within this research are:
- Can traditional African Performing Arts be developed to a level, where they stimulate and produce Subjectification?
- Could such Art, thanks to its extra-ordinal nature to everyday world's experience, open a place that stimulates the becoming and happening of truth?
- Could such Art serve as a ground for individual and collective capacitation?

In Part 1 the essay adumbrates what it calls the " bones " of this new body in Performative Arts. The metaphor of " bones " points to what is the supporting structure of a body or in our case of the new form of Art. Bones are also the most durable physical part of an organism which can persist and leave traces even long after its decease. In Part 2 the attention shifts from the bones of this new artistic practice to the social and spacial contexts in which such Art could occur in. The essay concludes in Part 3 with a description of the collaborative mode of production of the Artworks that includes also a reflection about their possible effects and uses. The development of this artistic activity is no less than a trial of reconciliation of humans with their innate capabilities and latent knowledge, which would strengthen also their sense of presence in the world – including being in sync with the rhythms of the Cosmos. At this point, it should be possible to understand why the main goal of this initiative is to build and foster what can be called an " Art of living " .

Macbeth is the tragedy of desire. Lady Macbeth’s identity is a fiction of closure, namely a metonymic part that cannot represent the whole, the predetermined complexity with which being coincides with its subjectuality, made even more evident by the non-allocation of a name from the author. Being of Lady Macbeth is an aporia that says the true, because it built on an identification of opposites and destined inevitably to death to get a resolution of the internal conflict that embodies.

Centrándonos en el drama social desencadenado a partir de la exposición retrospectiva del artista plástico León Ferrari (1920 - 2013) en el Centro Cultural Recoleta de la Ciudad de Buenos Aires a fines de 2004, el trabajo problematiza las relaciones entre representaciones artísticas, sensibilidades religiosas y esfera pública en la Argentina contemporánea. El análisis indaga la arena social de agentes, representaciones, prácticas y escenarios que protagonizaron el evento con miras a comprender los comportamientos y discursos sociales expresados por los bandos en conflicto. Uno de ellos exigió in situ el cierre de la muestra por sus contenidos blasfemos y agresivos a la fe católica, el otro defendió la libertad de expresión artística y la irrestricta continuidad de la exposición. Ambos colectivos se movilizaron públicamente  a favor o en contra de  la muestra. Desde una pragmática cultural, el estudio propone atender a los significados socialmente definidos en situaciones concretas, donde se enunciaron posicionamientos religiosos,  ideológicos ypolíticos insertos en un repertorio mayor de representaciones colectivas, guiones culturales y categorías morales (re)creadas en la acción práctica. La lectura en clave de performance social apunta a comprender los motivos que guiaron las acciones de ambos grupos, sus estrategias, escenarios yeficacias en la contienda. A partir del evento crítico se discute los modos en que se definieron distintos puntos de vista sobre el poder de las imágenes artísticas, los usos legítimos del espacio público, la libertad religiosa y la libertad de expresión.

Abstract:
This article explores the intersections between the dance, biblical studies and performance praxis. It articulates the possible kinds of knowledge(s) that are at the intersection between movement as a performance practice and biblical research. By looking at Adrian Howells’s work Foot Washing For The Sole (2009) as a prototype for Kinaesthetic Hermeneutics, this exploration suggests that Howells’s embodied reading of Luke 7:37–83 provides a methodology for interpreting scripture through the body. This article ultimately seeks to answer the question can the body be a site for biblical exegesis?

Overlapping between Science of Education and tightrope walking. Our research aims to investigate the possibility of contaminating education and tightrope walking. Supporting the idea that education should favor the vital balance for each human being and considering tightrope walking as one of the best examples of balance research, the paper tries to analyze and understand the tightrope walker's self-training. In fact, we have chosen to study this topic as a peculiar educational experience, considering balance a target for every educational process. The tightrope walking experience is as intense, condensed and special as any other performing art. This experience must be supported by the cognitive faculty of imagination, because the tightrope walker is led by an insane dream, that of connecting something that is naturally detached. The power of imagination has to guide his walking across the empty space, as he would be walking across life and death. In the same way, education has an impact at an important stage of life and has to be balanced in order to guide every human being.

RESUMEN Un análisis de la representación de los varones en el cine cubano de ficción de la década de los 90 del pasado siglo, son el sitio para vislumbrar las claves como el séptimo arte de la isla narra también desde el género. La vivencia de una profunda crisis económica durante estos años es el punto de partida para analizar como los modelos tradicionales de encarnar la masculinidad son puestos en condicionamientos desde la práctica social, sin que el cine sea un sitio ajeno para su representación. De esta manera el corpus de películas analizadas indican cómo algunas representaciones de la masculinidad y las masculinidades tratan de afianzar algunos elementos, mientras otros son puestos en cuestionamientos desde un discurso fílmico que subvierte, cuestiona y critica. Palabras clave: cine cubano, representación, género, masculinidades, Cuba, década de los noventa. ABSTRACT An analysis of Cuban male representation in fiction Cuban cinema during 1990´s allows understanding in how Cuban filmography narrates from a gender perspective. A deep economic crisis during that time serves as a starting point from where to determine how traditional patterns of developing masculine roles are conditioned by society. In consequence, the filmic corpus included shows how manliness is represented stressing only some of its elements while others are questioned by filmic discourse that subverts, inquires and criticizes.

2011. « "Même l’écureuil fait ce qu’il peut". Transmettre le savoir dans le Kūṭiyāṭṭam », in M.-C. Mahias, Construire les savoirs dans l’action. Apprentissages et enjeux sociaux en Asie du Sud, Paris, EHESS (Purushartha 29) : 39-78.

English abstract :

"Even the squarrels do what they can : knowleddge-transmission as enacted in Kūṭiyāṭṭam".
Squirrels are watching a rehearsal between the Kūṭiyāṭṭam actor-master Rāma Cākyār and his disciple Saṅgīt Cākyār. The student is performing the beginning of what is known as « Śrī Rāma’s retrospection », a long narrative flash-back that is inserted into the second act of Śaktibhadra’s Āścaryacūḍāmaṇi, a Rāmāyaṇa Sanskrit play. The session lasts two hours, working up to a climax known as an « extension », a sequence of pure mime during which Lakṣmaṇa builds a forest-hut for his brother Rāma. Armed with the acting manual (the sub-text of the scene, written in Malayalam), a pen, a camera and a tape-recorder, I record and describe the work. This article provides an opportunity to discover the specific narrative dramaturgy, the actor-storyteller’s role as well as the acting conventions of Kūṭiyāṭṭam. Moreover it outlines how in the transmission process direct instructions enrich the formula given in practitioner’s acting manuals. As squirrels help Rāma to build the bridge to Laṅkā, the master and disciple « do what they can » – as the Malayali proverb goes – to carry on the long and fragile chain of their art. How? The answer to this question – which is also a key-word of the Kūṭiyāṭṭam dramaturgy – requires analysing the orders, advice, words, acts, gestures, blackouts, actions, moods, etc., that constitute the knowledge involved.

Ülkemizde doğa afetlerinin sık olarak yaşandığı bilinen bir gerçektir. Yaşanan doğa afetleri sırasında çok sayıda kişi yaşamını yitirmekte ve ekonomik açıdan önemli kayıplar yaşanabilmektedir. Bu duruma bağlı olarak yaşanan afetlere doğru ve etkin bir şekilde müdahale edilip edilmediğinin tartışmalarının sürekli yaşandığına şahit olunmaktadır. Söz konusu doğa afetlerinin meydana gelmesi sonucu önemli kayıpların yaşanması ve akabinde görülen ciddi tartışmalar etkin bir afete müdahale sistemini zorunlu kılmıştır. Bu sistem içerisinde hiç şüphe yok ki arama ve kurtarma örgütlerine önemli görev ve sorumluluklar düşmektedir. Bu örgütlerde görev alan personelin başarı düzeylerini etkileyecek faktörlerin ortaya konulabilmesi, afete müdahalede başarı düzeyini ve dolaysıyla kurtarılan can sayısını pozitif etkileyebileceğinden önemli olduğu ileri sürülebilir.
Bu araştırma Erzurum Afet ve Acil Durum Arama ve Kurtarma Birliği personelinin tatmin düzeyleri ile başarı algıları arasındaki karşılıklı ilişkinin ölçülmesi amaçlanmıştır. Araştırma için seçilen söz konusu Birlik Türkiye’de halen görev yapmakta olan, AFAD’a bağlı 11 birlikten birisidir. Araştırma bulgusuna göre personelin tatmin düzeyleri ile başarı algıları arasında anlamlı bir ilişki söz konusudur. Araştırmada işgören tatmini ile başarı algısının alt boyutlarının karşılıklı etkileri ölçülerek, analiz edilmiştir. Söz konusu analizler sonucunda önemli bulgular ortaya konulmuştur.

The symbolic representation of identity in traditional musical contexts is achieved through the activation of performers’ behaviour gathering in a group, by means of performative processes typical of ‘musicking’ (e.g. ‘know how to make music together’). Two case studies are presented to explore the power of emotional representation, by employing ‘heterophonic melodies of homophonic ideas’ (Cretan rizìtiko), or a traditional polyphonic language (Zakynthian arekies), respectively. In either case, performers show common psychological conditions through the search for a ‘collective resonance’.

As artes, principalmente as artes do espetáculo, prezam por um bem incomensurável da humanidade, o convívio entre pessoas, pois é a partir do convívio que nos comunicamos, sentimos a vontade de transmitir uma mensagem, afetar o outro e ser afetado, compartilhar ideias, amar e ser amado e assim construir o significado da nossa realidade social e subjetiva, uma sempre ancorada na outra.

This paper will address the issue that great philosophers – from Spinoza1 to Deleuze2 to many others – have puzzled over for centuries: What can a body do?
Art has long questioned its status in relation to modern technologies in order to understand the importance of new and varied corporeal dimensions: from Ballard’s sci-fi literature to Cronenberg’s films; from Artaud’s Body without Organs3 (CSO) to Philip K. Dick’s Do Androids Dream of Electric Sheep?, from science-fiction Real Humans to Black Mirror, passing through all the various forms of Body Art; from Orlan’s aesthetics and bio-political practices, to Sterlac’s contamination between flesh and technology, up to Jaron Lanier’s virtual reality. Artists have investigated the meaning of new existential dimensions adopting plural and innovative means and media, and elaborating meta-narratives of bodies and changing identities. Aesthetics – as the science of sensory knowledge – must take into account and analyze this new social and artistic reality.