Sociology of Performing Arts

Tots els Drets reservats a l'autor del text per Zoe Balasch Arumí, Igualada (Barcelona), 2024.
En una primera part de la recerca teòrica Epidèmia de ball: Coreomania, dansa i desordre s’introdueix la genealogia del terme coreomania i com ha evolucionat al llarg de la història. En la segona part es presenta un recorregut històric pels diferents brots d’epidèmies de ball que s’han descrit a Europa i en l’època colonial.

La coreomania, o mania del ball, ha evolucionat en el llenguatge a través de la història, vinculant-se amb termes com bogeria, malaltia i contagi. Inicialment associada al Ball de St. Vito durant l’Edat mitjana i en segles posteriors, es considerava una mania del ball histèrica que es caracteritzava per moviments involuntaris. La genealogia de la coreomania revela l’emergència al segle XIX del desenvolupament de disciplines com l’antropologia i l’etnografia per explicar aquest fenomen de la història que bàsicament havia estat descrit des de la medicina. És precisament al s.XIX que aquest concepte es comença a considerar com la combinació d’una dansa epidèmica amb agitació política, observada arreu d'Europa i també a les colònies. Hi ha teories que atribueixen el terme al metge renaixentista Paracels i d’altres consideren que va ser forjat pel metge alemany J.F.C. Hecker, que també va utilitzar la noció de "Dancing Madness" per descriure esdeveniments que abastien les danses medievals i d’ altres manifestacions.

La coreomania es defineix com un concepte dual que recull termes utilitzats en cercles mèdics i històrics al segle XIX, alhora que descriu una combinació de gestos rebels i moviments contagiosos. La confusió terminològica continua fusionant la corea menor amb la major, tot i que les dues tenen connotacions morals i socials diferents. El lligam entre la coreomania i les revoltes socials es destaca en esdeveniments com la Dansa dels Esperits dels indis sioux als EUA el 1890 i el 1560-70 la malaltia del cant i del ball Taqi Onkoy als Andes peruans on la dansa es converteix en una forma de resistència i afirmació cultural com a resposta al colonialisme. La dansa es presenta com a força inclusiva i apoderadora, connectant les comunitats i proporcionant una plataforma per expressar resistència en moments de crisi social i de submissió colonial. Per acabar, la coreomania és un fenomen complex que s’ha disseminat en diverses àrees de la societat, arribant a a filtrar-se en el llenguatge popular, mèdic, antropològic, històric i etnogràfic per tal de donar explicacions al comportament humà que desafia els límits entre el desordre neurològic i l’alteració social.

La història de les epidèmies de ball a Europa és marcada per brots recurrents, amb episodis notables com el de 1374 i el de 1518. Després de la devastació de la Pesta Negra, diverses ciutats van experimentar epidèmies de dansamania, on les persones ballaven sense control durant hores, dies o fins i tot mesos. L'origen d'aquests brots es relaciona amb factors com la pobresa, la fam, les malalties i la incertesa, amb les persones buscant alleujament mitjançant el ball. Les teories sobre les causes
d'aquest fenomen inclouen la "malaltia psicogènica massiva” de John Waller i la possible influència de l'ergotisme causat per consumir pa contaminat amb fongs. Tot i que es debat sobre la naturalesa organitzada o espontània del ball, la manca de
testimonis directes fa difícil arribar a conclusions definitives. Els tractaments variaven des de l'aïllament fins a l'exorcisme, amb la gent recorrent a pregàries i peregrinacions a llocs sagrats per aconseguir alliberament. Tot i que alguns episodis es resolien amb el temps, altres van durar mesos, com el brot de 1518 a Estrasburg, i la seva fi continua sent una incògnita avui en dia.

EASTAP ANNUAL CONFERENCE 2024
ECOSYSTEMS OF THEATRE AND PERFORMANCE
(28 October – 2 November 2024)
Abstract submission deadline: 28 February 2024 (at 23.59)

We are delighted to announce the EASTAP Annual Conference 2024, hosted by the Institute of the Arts Barcelona (Sitges, Spain), under the theme “Ecosystems of Theatre and Performance”. As host city, Sitges has been a biosphere destination since 2016, and is committed to environmental, economic, and social sustainability.

The conference aims to bring together international scholars, practitioners, and researchers, inviting submissions for papers and presentations that delve into various aspects of this theme and offer fresh insights into the dynamic field of theatre and performance.

We aim to make productive the terminological shift of the concept of ‘ecology’ to ‘ecosystems’ within the realm of theatre and performance. “Ecosystems of Theatre and Performance” invites proposals that explore the scientific-environmental, figurative, and economical dimensions of these dynamic artistic systems.

Hans-Thies Lehmann's study of the post-dramatic on the development of European dramaturgical ideas and their influence on contemporary theater and performance practices played a vital role in articulating the relationship between drama and the 'no longer dramatic' forms of theater that emerged since the 1970s. Meanwhile, the birth of contemporary Indonesian theater developed rapidly in the same period, which was followed by the rising of art campuses as well as revolutionary artists or groups who opposed the Soeharto dictatorship as an attempt to avoid the strict censorship in artistic practice at that time. Post-dramatic theater opens up the widest possible opportunities as an aesthetic phenomenon that is influenced by the culture of any society, which is also part of the globalization of art that emerges as the foundation of contemporary art. This makes it possible, in the context of contemporary Indonesian theater, to be read as part of the celebration of diversity contained in the spirit of post-dramatic theater. The arrival of the reform period in 1998 marked an important milestone to reexamine the practices of creating performing arts in Indonesia as a celebration of theatrical aesthetic diversity, which is no longer monopolized within a standard methodological framework. This paper will discuss the important position of 'new dramaturgy' in the development of Indonesian theater practices and at the same time, attempt to follow the traces of experimental performing arts as a youth movement that occurs because of the political context that accompanies its appearance.

Entre les années 1980 et 2000, la ville de Buenos Aires a connu une multiplication inédite de lieux de culture, alternatifs aux circuits déjà existants. Ces lieux, souvent autogérés par les artistes ou par les habitants des quartiers, réussissent à contourner l'austérité budgétaire en vigueur dans le secteur culturel puis à survivre à la crise économique qui secoue l'Argentine en 2001. Parmi eux, les nouvelles salles du théâtre indépendant, labellisées postérieurement par les programmateurs et la presse sous le vocable « off », sont l'une des manifestations les plus visibles du phénomène. En effet, presque une centaine de nouvelles salles alternatives dédiées à l'activité théâtrale sont ouvertes à Buenos Aires entre la fin des années 1980 et les premières années 2000. Réinvestissant des espaces délaissés, ces lieux de théâtre, ouverts dans des quartiers péricentraux, configurent de nouveaux circuits de création, de diffusion et de socialisation artistique. Ils disposent souvent d'une jauge réduite et d'espaces de représentation « non conventionnels 2 », et accueillent les propositions artistiques les plus prometteuses d'une nouvelle génération d'artistes de la scène argentine des années post-dictature. Ils s'affirment ainsi dans le paysage culturel local comme des exemples de gestion culturelle

The place of dance as metalanguage for communication between man and man cannot be overemphasized. However, beyond the artistic creation of bodily movements for self-expression, choreographers have taken conscious steps to create dances with meaning-passing undertones. Therefore, in communicating thematic concerns, choreographers engage various elements as meaning-passing techniques. Thus, this study examines the use of aesthetics and kinaesthetics as viable elements of infusing meaning into movements. This study engages Hans Robert Jauss' Reception theory, Ferdinand de Saussure and Charles Sander Peirce's Semiotics, and the semiotic models of Kinesics and Proxemics as theoretical framework. It is a descriptive study which secured its data through keen observation of the dances performed at the occasion of the 34 th National festival for Arts and Culture (NAFEST) hosted in Ekiti State in November 2021. Indepth interviews were also conducted with Dan Kpodoh, kinaesthetics practitioner, lead choreographer and lead researcher. Video recordings of the dancers were also collected and subjected to content analysis. Aesthetics perception served as a basic tool to trap audience attention while kinaesthetics as a complementary technique to present and magnify the messages in a unified perspective. The use of these techniques were captured in the floor patterns, movements, space, rhythm, and colour, in order to display the central idea of the dance choreography. Thus, the use of aesthetic and kinaesthetic techniques in the dances understudy is a deliberate effort to create a peculiar language of communication coupled with the certainty that the messages are well received.

En este trabajo nos preguntamos cómo y a través de qué actividades se produjo, organizó y estabilizó el mundo del Contact Improvisación en Buenos Aires entre 1985 y 2005, cómo se construyeron sus liderazgos; y cuáles fueron sus principales controversias. Considerando una cierta marca de origen desde sus inicios en Estados Unidos (la improvisación, una ideología igualitarista y de la espontaneidad junto con un tipo de organización informal y descentrada) reconstruimos la historia de su implantación en la capital argentina. Al respecto, planteamos la existencia de una serie de «ondas expansivas» en que se van incorporando y solapando actividades y saberes, que se organizan en tres momentos: i) acumulación originaria, ii) infraestructura plástica y iii) multiplicación. Dentro de esta periodización, identificamos los liderazgos en torno a la docencia, la gestión y la cualidad performática, así como las controversias sobre aspectos pedagógicos y técnicos, por un lado, y sobre el grado de codificación de los espacios de danza, por otro. El artículo triangula entrevistas individuales y colectivas con la revisión de documentos (flyers, fotografías, escritos), centrándonos en las y los principales referentes de esta danza.

A friend is one who has the same enemies as you have' – these words of Abraham Lincoln can easily be applied to the position of Georgian Policy-makers of such post-soviet country as Georgia. Georgian policymakers actively started to search for friends by creating the image of 'shared enemy', especially in 2009- 2012. This shared enemy was the Soviet Union. States united in Soviet Union should have higher solidarity towards each other than the others. This became clearly seen during the August War 2008 when Georgian politicians underlined the influence of Soviet Union stating that opposing country could not overcome the memory of past glory. It is not the secret, that the policy-makers have big impact on society. Especially on the society which was traumatized by the war. For Georgian community political myths became the main source of belief. Policy-makers became the main storytellers. And society became the target audience. We can easily imagine the condition of society...

The speech focuses on the gap between academic training in the performing arts and the realities in the creative arts industry. Carrying a double toga as a scholar and music industry professional, I engage the issue from an insider's perspective. I tell my own story and use that as an organising principle to engage  the issue of rebranding of the performing arts for contemporary relevance.In the process, I make several observations and also make some suggestions which are by no means prescriptive.

The taranta, the poisonous spider of tarantism, continues to multiply in different forms, to weave its web of meanings, connecting people, inspiring artists and stimulating historical, folkloric and ethnographical research. In a process of recovering local traditions (focused on music and dance) that began in the 1970s and underwent a big shift in the 1990s, taranta (denoting the spider, a style of music and dance) and tarantism has become positive values of identity, an intangible heritage and touristic and commercial products, in a complex web of interaction between local and global processes. In this paper, I point out some molar, molecular lines and lines of flight (in the sense of Deleuze and Guattari) in the assemblage of taranta, from an analysis of the artistic effervescence and the experience of people who follow and enjoy shows, events and courses of taranta music and dance.

This article aims to discourse the perspectives of multiple transformations in the practice of developing performing art of kuda kepang at Turonggo Seto Mardi Utomo group in Boyolali, Central Java. The study of multiple transformations has long been evolving in design and architecture research, but the perspective is rarely encountered in performing arts research which on average still views transformation as a linear or multi-linear process of change. Multiple transformations describe a condition of change made by multiplying or doubling the shape of the kuda kepang art (by taking the same essence, core, or fibre of its structure) into various kinds. The multiplication shows a process of creative development that is triggered by two factors, namely the development of aesthetic and market needs.Keywords: kuda kepang; multiple transformations; traditions; creativity; markets

This essay looks at translations into British and American English of three plays by De Filippo and examines the implications of the translators’ choices in the receptor theatrical system in terms of the portrayal of Neapolitan culture. Starting from the premise that at the basis of the translating process there is cultural transfer between languages, it is suggested that dialect theatre represents an autonomous genre, separate from standard Italian theatre, and in particular that language domestication reduces the cultural impact of the original plays. The hypothesis is that the rendering of the source text is primarily determined by the target theatrical and cultural system’s norms and conventions that aim to neutralise the alterity of the foreign text and to bring it closer to the expectations of the receiving audience. The analysis investigates the effects of domestication through language standardisation, and cultural appropriation of the source text through assimilation of Neapolitan dialect to a working class local idiom. One of the consequences of neutralisation of the linguistic factor and reiteration of preconceived representations of Neapolitans is the establishment of the target culture’s supremacy over the foreign text, both in terms of reaffirming its language and in toning down or eliminating altogether the otherness of the plays.

Since the nineteenth-century romanticism, the “singularity regime” highlights the vocation and achievements of the individual creator. Recently, the artist as an entrepreneur has been defended, including within the artistic sector and art schools, and the model of the artist as a worker put forward. Exactly who are visual artists in Switzerland today? What is or are their self-representation(s)? Do artists manage to live from their artistic production? What is the link between their professional and personal trajectories and positions and their socio-demographic profiles, notably in terms of gender? To what extent are they integrated into the artistic market? This contribution draws on a national inquiry on more than 450 artists in the visual field in Switzerland. The results outline changes and constants in a field structured by three poles: market logics, institutional support and non-integration.

Since the nineteenth-century romanticism, the “singularity regime” highlights the vocation and achievements of the individual creator. Recently, the artist as an entrepreneur has been defended, including within the artistic sector and art schools, and the model of the artist as a worker put forward. Exactly who are visual artists in Switzerland today? What is or are their self-representation(s)? Do artists manage to live from their artistic production? What is the link between their professional and personal trajectories and positions and their socio-demographic profiles, notably in terms of gender? To what extent are they integrated into the artistic market? This contribution draws on a national inquiry on more than 450 artists in the visual field in Switzerland. The results outline changes and constants in a field structured by three poles: market logics, institutional support and non-integration.

In this paper, the author reflects on the relationship between the aesthetic and political choice in performance. The considerations are based on the examples of Janusz Palikot’s rally, Critical Mass, Pobyt tolerowany and Portfolio (by Ewa Łukasiewicz, Weronika Fibich), O milości (by Julia Jakubowska, Pawel Korbus), Mandala (by Iza Giczewska). Assuming that each performance is political because it’s oriented towards the viewer the performances were divided as: quasi-political, political and metapolitical. Using the tools from “Transformative Power of Performance: A New Aesthetics” by Erika Fischer-Lichte the performances were analysed and assessed depending on whether their materiality was formed as a result of an aesthetic choice or as a result of political choice. Among the conclusions we can find the statement that the more politics in the performance, the more aesthetic choices are equal to the political choices.In this paper, the author reflects on the relationship between thea...

Since the nineteenth-century romanticism, the “singularity regime” highlights the vocation and achievements of the individual creator. Recently, the artist as an entrepreneur has been defended, including within the artistic sector and art schools, and the model of the artist as a worker put forward. Exactly who are visual artists in Switzerland today? What is or are their self-representation(s)? Do artists manage to live from their artistic production? What is the link between their professional and personal trajectories and positions and their socio-demographic profiles, notably in terms of gender? To what extent are they integrated into the artistic market? This contribution draws on a national inquiry on more than 450 artists in the visual field in Switzerland. The results outline changes and constants in a field structured by three poles: market logics, institutional support and non-integration.

espanolSe discuten los procesos de formacion y sus efectos para la investigacion educativa a nivel posgrado, especificamente en la Maestria en Educacion Campo-Practica Educativa (MECPE) de la Universidad Pedagogica Nacional del Estado de Hidalgo (UPNH). Un habitus cientifico no se detecta durante los procesos formativos, en el caso de los posgraduantes sino, como dice Bourdieu, una vez que el proceso de inculcacion de la accion pedagogica ha terminado. Es en este sentido que partimos de la premisa que si se han formado disposiciones para la investigacion hay que buscarlas mas alla del acto pedagogico. Hemos detectado y analizado con un enfoque mixto a los egresados de siete generaciones de la MECPE que enviaron trabajos al XI Congreso Nacional de Investigacion Educativa (XI CNIE) para su eventual consideracion tras el dictamen de los evaluadores. Las regularidades detectadas hablan de un perfil homogeneo del programa. EnglishThe article offers a discussion about training processes a...

Este artículo de investigación tiene el objetivo de describir y comprender las condiciones sociales y personales que moldearon la subjetividad de Wolfgang Amadeus Mozart. En dicha búsqueda, el texto entabla un diálogo con el trabajo seminal del sociólogo alemán Norbert Elias Mozart Sociología de un Genio (1991), y permite repensar algunas hipótesis de largo arraigo, especialmente aquella que explica el sentimiento de vacío social del artista apelando al momento de su nacimiento. Como resultado de un análisis histórico y la comparación con dos músicos contemporáneos e incluso anteriores a Mozart (Händel y Haydn), el presente trabajo muestra la incidencia insoslayable de la contingencia a la hora de dar cuenta del derrotero del genio creativo.

El Contact Improvisación (CI) es una danza basada en la exploración y la investigación sobre el movimiento, que toma como base puntos de contacto físico, al tiempo que propone una forma alternativa de entender la proximidad intercorporal, caracterizada por la inhibición de su componente sexualizado. El objetivo del presente trabajo es describir y comprender, en el marco de la práctica en las clases de CI, de qué modo es gestionado el problema del límite, emanado de la tensión que produce la combinación entre el contacto -muchas veces íntimo- de los cuerpos y la interpretación alternativa del mismo. Nos enfocaremos exclusivamente en la experiencia de mujeres, a partir de evidencia etnográfica producida en dos años de observación participante en clases de CI en la Ciudad Autónoma de Buenos Aires (Argentina). Mostraremos que la tensión en torno al problema del límite es regulada a partir de la incorporación de un discurso no estrictamente artístico -más propio del trabajo, los ámbitos ...

A partir de un análisis de las distintas dimensiones del mundo sociocultural, y su entrecruce con el mundo del sujeto, se consideran las variables territorio y tiempo, con particular referencia a la postmodernidad. Escenario histórico-sociocultural y escenario teatral, mostrados en sus convergencias en términos de la dramaturgia de Samuel Becket, con particular referencia a “Esperando a Godot”. La dramaturgia de Beckett manifiesta la inutilidad de insistir en las relaciones interpersonales mostrándose al mismo tiempo un mundo marginal de derrotados, nihilistas gente perpleja frente a la confusión entre de realidad e irrealidad, sentido y sinsentido. Por algunos considerado el “último moderno”, sobre todo en términos de su estética de la incertidumbre, su dramaturgia se emparenta con un escepticismo teológico cercano al Dasein heideggeriano. Se analiza la importancia y diversidad de territorios, tanto en sentido real como sobre todo simbólico: mares, montañas y desiertos, con particu...

In der Theaterwissenschaft wird dem Korper besondere Bedeutung zugeschrieben – uber die physische Anwesenheit von Schauspieler*- und Zuschauer*innenkorpern definiert sich die fur das Theater konstitutive Dimension der ‚Liveness’ des Geschehens. Korper, Laute, Objekte etc. auf der Buhne werden als temporare Ergebnisse vielfaltiger Materialisierungs- und Verkorperungsprozesse aufgefasst. Unser Beitrag stellt das Verhaltnis von Korperlichkeit, Materialitat und Gender in Theater und Theaterwissenschaft ins Zentrum der Auseinandersetzung und zielt darauf, die Interdependenz der drei Kategorien herauszuarbeiten und hervorzuheben. Dieser Zusammenhang der drei Begriffe ist in der Theaterwissenschaft durchaus keine Selbstverstandlichkeit, im Gegenteil: Wahrend Materialitat und Korperlichkeit im Kontext des performative turn eine starke Aufwertung und Zuwendung erfahren haben, ist Gender vergleichsweise marginal geblieben. Im ersten Teil des Artikels soll es um eine begriffstheoretische Erort...

Este trabajo aborda algunos aspectos del problema filosofico-politico de la �muerte del hombre�, convertido en canon a partir de la lectura foucaultiana de la frase de Nietzsche �Dios ha muerto�. El objetivo es analizar la caracterizacion general del surgimiento de la episteme moderna y del hombre, segun la conocida tesis de Michel Foucault, para luego establecer una homologia teorica insuficientemente explorada concerniente a la eventual muerte del hombre. Dicha homologia interroga sobre las fuentes de la perspectiva foucaultiana, asi como sobre la identidad de sus posibles destinatarios. Por ultimo, el sentido teorico y politico del Humanismo es reconsiderado.

This research proposes to come to terms with musical performance. An inclusive definition of musical performance is sought, which can provide a basis for further investigation into other issues concerning other disciplines within the performing arts. The authors feel compelled to propose an inclusive understanding of performance-as-event prior to pursuing other matters including meaning. The point of departure for this research is a sociological perspective (McCormick, 2006) in which musical performance is considered as a social process, and as such, a consequence of historical evolution of social structures leading to the modern social situation. The scholarship of  Godlovitch (1993, 1998),  Small (1998), Kivy (1995, 2002), and D. Davies (2011) are considered as are contributions of other researchers as deemed appropriate . Keeping in mind that the purpose of what follows is to bring to the surface key ideas from the literature, with apologies, the authors recognize that there are omissions. The paper reviews thought leadership focused on defining musical  performance and concludes with a tentative definition.

*This paper draws heavily from the author’s lecture notes and numerous discussions with colleagues and students including Karolina Nevoina, Savar Kahlon and Victoria Parker.

Since the 19th century and romanticism, the “singularity regime” (Nathalie Heinich) – which highlights the vocation and achievements of the individual creator – informs the artist figure. Recently, the representation of the artist as an entrepreneur has been presented increasingly in the artistic sector itself, including within art schools and the creative industries. At the same time, the model of the artist as a worker (Pierre-Michel Menger), as part of competitive artistic fields (Pierre Bourdieu), and as embedded in collaborative “art worlds” (Howard Becker), stresses the competitive as well as the collective and collaborative dimension of artistic creation. In regard of these different representations: exactly who are visual artists in Switzerland today? What is or are the self-representation(s) of contemporary visual artists? What are their socio-demographic profiles – notably in terms of gender – and their link to professional or personal trajectories and positions? Do artist...

Some economists believe that not enough culture is consumed due to incompletelyformed preferences for art, classic examples are Scitovsky (1976) and Throsby and Withers (1979). Museums now offer educational programs in addition to exhibits. Educational as opposed to exhibition programming might be considered an intragenerational trade-off for taste formation. This paper examines the exhibition versus education trade-off in the USA‟s top museums (measured by attendance and foundation funding) with the result being a measure of intra-generational equity. Museums gain considerable tax advantages as are exempt from federal income taxes and local real estate taxes. Thus our study offers insight into to what degree these not-for-profit organizations can be viewed as „educational‟ and perhaps more justifiably as fulfilling a „public purpose‟. Grampp (1989) writes that evaluating the economic performance of museums is difficult given generally-accepted accounting and reporting practices. Ou...

The  book  speaks  about  the  process  of  re-examining  and  restructuring  theatre  and  drama as well as performance arts in general by means of intertextuality, intermedi-ality and interculturality. During the last few decades of the 20th century, the (post-)dramatic  textual  and  performative  tactics  developed  together  with  a  new  wave  of  “post-avant-garde”,  “post-conceptual”,  and  theatre  of  images  that  governed  most  Slovene stages in the confusion of the post-socialist world. This was clearly seen in performances which undermined both the notion of theatre as mimesis, and the logo-centricity of dramatic theatre.

The dramatic and no longer dramatic innovations can therefore be seen as a part of the specificity of the second part of the 20th century, marked by unrest and a Badioui-an inability to decide between ending the old and beginning the new. The artists wit-nessed and participated in a series of aesthetic revolutions that disrupted the configu-ration of drama and theatre. They were not only witnesses but also the key figures of a process in which media, theatre and literature went through distinct transformations from the dramatic to the non-dramatic, non-literary, and post-dramatic, and to the primacy of the performative. Throughout the century the stage itself was re-examined and restructured, dismantled, and newly put together over and over again

Many people are familiar with South Africa’s political past – the prolonged periods of colonialism and oppression of the black majority, and the eventual dismantling of apartheid and the introduction of a new democratic order. Relatively few people, however, know what principles actually steered South Africa on its journey towards freedom and democracy. It is not uncommon for oppressed people to rise up and institute change through violent revolution. While some groups of people threw their weight behind the idea of an armed struggle, South Africa’s revolution was largely an ideological one ‒ characterised by a succession of struggle leaders debating the merits of communism vs. socialism, forming resistance groups and alliances, and producing authoritative treatises on how to achieve political and economic liberation (not so much a revolution but a bloody evolution). With the desired political dispensation long since attained, South Africa now faces the formidable challenge of freei...

W celu wyjaśnienia sposobów urządzenia pracy i życia uczestników współczesnego  obiegu sztuki  – artystów, kuratorów, krytyków, freelancerów – wskazuję na ich fundamentalne uzależnienie od nieustannego wyszukiwania możliwości, takich jak fuchy, projekty, okazje wystawiennicze, zamówienia, tymczasowe zatrudnienie. W artykule stawiam tezę, że zależność od ulotnych okazji jest źródłem systemowych nacisków, które prowadzą do upowszechnienia konkurencji, instrumentalizacji stosunków społecznych, atomizacji i samo-prekaryzacji pracowników sztuki. W konkluzji artykułu wykazuję, że kluczowym aspektem oporu wobec strukturalnych presji obiegu sztuki jest kontestacja zindywidualizowanej zależności od przepływu możliwości.

3/2016

The Generational and Aesthetic Orientation of a State Award Addressed to Independent Theatre-This article analyses the orientation of an awarding practice held by the State-the Fiesta Provincial del Teatro de Tucumán (Argentine) between 2002 and 2017-in relation to the cast's ages and the aesthetics awarded. It is shown that awards are mainly addressed to young directors who practice a post-dramatic aesthetic, while these awards exclude other traditions such as realism, popular humor and the theatre of cruelty. Finally, State's reasons to make those exclusions are evaluated and so are local games of power, since the award recognition of youngsters and the reject towards consecrated figures is appealing for research.

Les peintres-lumière du service électrique des théâtres d'opéra implications-philosophiques.org/les-peintres-lumiere-du-service-electrique-des-theatres-dopera/ [box type= »bio »] Susana Villafuerte[/box] « Cette maison est faite en noir. La lumière, il faut la créer » me disait le premier technicien qui m'a fait visiter les espaces techniques. «Attention à la tête ! Il faut que vous appreniez à voir dans l'obscurité… », me disait-il au moment de marcher dans une coulisse. «Electros [1]! S'il vous plaît, lumière de travail ici ! », criait-il vers le plateau et la salle noire où je ne repérais personne. Ce jour-là j'appris qu'éclairer et obscurcir sont deux actions que font les « électros » dans l'espace théâtral, et que si je voulais comprendre leur travail, je devais savoir comment ils font les choses au quotidien et apprendre à voir, à sentir, à vivre comme eux, dans cet environnement instable, amovible, toujours en mouvement, toujours en expérimentation et aux résultats incertains. Le sol, les murs, le toit ou le ciel, le jour, la nuit, la pluie, la mer, tout est créé constamment à partir d'un vide et du noir. Le temps et l'espace prennent une autre dimension. La lumière y est l'un des ingrédients indispensables à la création de ces mondes imaginaires dans l'acte théâtral qui fait rêver le public.