The Power of the Puppet
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Social Justice in an Open World – the Role Of
E c o n o m i c & Social Affairs The International Forum for Social Development Social Justice in an Open World The Role of the United Nations Sales No. E.06.IV.2 ISBN 92-1-130249-5 05-62917—January 2006—2,000 United Nations ST/ESA/305 DEPARTMENT OF ECONOMIC AND SOCIAL AFFAIRS Division for Social Policy and Development The International Forum for Social Development Social Justice in an Open World The Role of the United Nations asdf United Nations New York, 2006 DESA The Department of Economic and Social Affairs of the United Nations Secretariat is a vital interface between global policies in the economic, social and environmental spheres and national action. The Department works in three main interlinked areas: (i) it compiles, generates and analyses a wide range of economic, social and environ- mental data and information on which States Members of the United Nations draw to review common problems and to take stock of policy options; (ii) it facilitates the negotiations of Member States in many intergovernmental bodies on joint course of action to address ongoing or emerging global challenges; and (iii) it advises inter- ested Governments on the ways and means of translating policy frameworks devel- oped in United Nations conferences and summits into programmes at the country level and, through technical assistance, helps build national capacities. Note The views expressed in this publication do not necessarily reflect those of the United Nations. The designations employed and the presentation of the mate- rial do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations concerning the legal status of any country or territory or of its authorities, or concerning the delimitations of its frontiers. -
It Always Gives Watching: the Nothing and the Parahuman in Rilke's Duino
Filozofski vestnik Volume/Letnik XXVI • Number/Številka 2 • 2005 • 161–171 IT ALWAYS GIVES WATCHING: THE NOTHING AND THE PARAHUMAN IN RILKE’S DUINO ELEGIES Miglena Nikolchina A well known story has it that Rainer Maria Rilke heard the first sentence of what was to become the first of his Duino Elegies while a strong Bora was blow- ing up from the sea. It was January 1912 and Rilke was staying at the Duino Castle on the Adriatic as a guest of Princess Marie von Thurn und Taxis- Hohenlohe. It is she who provides the anecdote according to which, while Rilke was walking by the sea, it seemed to him that in the raging of the storm a voice had called to him: ‘Who, if I cried out, would hear me among the angelic orders?’…. He took out his notebook, which he always carried with him, and wrote down these words …1 A voice from the storm – a disembodied voice without a source – cries out a question to Rilke. Instead of answering – and, indeed, although an- gelic perception of the world will run as one of the persistent queries of the Elegies, whom and in what capacity could Rilke answer regarding the hearing of angels? – Rilke writes the question down. The question does not expect an answer and in a way hopes that there would be no answer: for, we are told, if by any chance an angel would press the poet to his heart, the poet would be consumed in the angel’s stronger existence. The question cried out at the poet by nobody is reflected back as the poet’s own question to nobody. -
Puppetry in the 21St Century: Reflections and Challenges
Puppetry in the 21st Century: Reflections and Challenges Edited by Marzenna Wiśniewska and Karol Suszczyński The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw Branch Campus in Bialystok, Puppet Theatre Art Department Puppetry in the 21st Century: Reflections and Challenges Puppetry in the 21st Century: Reflections and Challenges Edited by Marzenna Wiśniewska and Karol Suszczyński Reviewer: Prof. Ida Hledíková, Ph.D., The Academy of Performing Arts in Bratislava, Faculty of Theatre Proofreading: Timothy Williams, Ph.D. Layout, typesetting and cover design: Jacek Malinowski On the cover: graphic by Grzegorz Kwieciński from the performance Ręce [The Hands], Teatr Ognia i Papieru (1980) All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording or in any information storage or retrieval system, without permission in writing form the publishers. Copyright © 2019 by Marzenna Wiśniewska and Karol Suszczyński Copyright © 2019 by the Publisher Free e-book version Publisher: The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw Branch Campus in Bialystok, Puppet Theatre Art Department Sienkiewicza 14 Str. 15-092 Bialystok, Poland https://atb.edu.pl ISBN: 978-83-88358-07-4 Puppetry in the 21st Century: Reflections and Challenges Edited by Marzenna Wiśniewska and Karol Suszczyński The Aleksander Zelwerowicz National Academy of Dramatic Art in Warsaw Branch Campus in Bialystok, Puppet Theatre Art Department Table of Contents Marzenna Wiśniewska, Karol Suszczyński Introduction 7 Part 1: Being an Artist of Puppet Theatre Marek Waszkiel Puppeteer: Craftsman, Actor or Creator? 12 Marzenna Wiśniewska Performers in Polish Puppet Theatre 18 Miyako Kurotani Searching for Traces of Life in Lifeless Things 32 Oriane Maubert Puppet and Dancer, Choreography of Object-body: Meeting, Control and Vertigo 38 Zofia Smolarska Towards Sustainable Change. -
The Concept of Self and the Other
Tel Aviv University The Yolanda and David Katz Faculty of the Arts Department of Theatre Studies The Realm of the Other: Jesters, Gods, and Aliens in Shadowplay Thesis Submitted for the Degree of “Doctor of Philosophy” by Chu Fa Ching Ebert Submitted to the Senate of Tel Aviv University April 2004 This thesis was supervised by Prof. Jacob Raz TABLE OF CONTENTS TABLE OF ILLUSTRATIONS................................................................................................vi INTRODUCTION...................................................................................................................... 1 ACKNOWLEDGEMENTS ....................................................................................................... 7 I. THE CONCEPT OF SELF AND THE OTHER.................................................................... 10 Introduction ............................................................................................................................ 11 The Multiple Self .................................................................................................................... 12 Reversal Theory...................................................................................................................... 13 Contextual Theory ................................................................................................................. 14 Self in Cross‐Cultural Perspective ‐ The Concept of Jen................................................... 17 Self .......................................................................................................................................... -
Dragon Magazine Within the Last Cherie Knull Tually Has Been with Us Since Last October, Year
January 1981 Dragon 1 Dragon Vol. V, No. 7 Vol. V, No. 7 January 1981 Publisher. E. Gary Gygax Editor. Jake Jaquet Assistant editor. Kim Mohan Good-bye 1980, hello 1981. And hello to a tain aspects of role-playing and the benefits Editorial staff . Bryce Knorr couple of new (and pretty, I might add, if I derived therefrom. He and his wife, who is Marilyn Mays won’t get accused of sexism) faces here at the typist and a behind-the-scenes collab- Sales & Circulation . Debbie Chiusano Dragon Publishing. New, or at least rela- orator, have been responsible for more Corey Koebernick tively new, to our sales and circulation de- than a dozen short articles and stories pub- Office staff . Dawn Pekul partment is Debbie Chiusano—Debbie ac- lished in Dragon magazine within the last Cherie Knull tually has been with us since last October, year. Roger’s name is on the alchemist and Roger Raupp but this has been our first opportunity to astrologer NPC articles in this issue, and in Contributing editors . Roger Moore formally welcome her in print. The most Dragon issue #44 he became the first Ed Greenwood recent addition to our organization is author to have two creatures featured in Marilyn Mays, added just last month to our Dragon’s Bestiary in the same magazine. editorial staff. Let’s hear it for the new kids This month’s contributing artists: on the block! With the start of a new year, it seems appro- Morrissey Jeff Lanners priate to reflect a bit on the past year and Roger Raupp Kenneth Rahman We’re also happy to welcome two other look ahead a little to the future. -
Detachment Instead of Confrontation: Post-European Russia in Search of Self-Sufficiency
Detachment Instead of Confrontation: Post-European Russia in Search of Self-Sufficiency Alexei Miller, Fyodor Lukyanov The report was written by Alexei Miller, Professor at European University in St. Petersburg and Central European University in Budapest; Fyodor lukyAnov, Editor-in-Chief of the Russia in Global Affairs magazine and a Research Professor at the National Research University-Higher School of Economics. Alexei Miller, Fyodor Lukyanov Along with all the complexes of a superior nation, Russia has the great inferiority complex of a small country. Joseph Brodsky Less Than One, 1976 “Our eagle, the heritage of Byzantium, is a two-headed one. Of course, eagles with one head are strong and powerful as well, but if you cut off the head of our eagle which is turned to the East, you will not turn him into a one-headed eagle, you will only make him bleed.” Russian Prime Minister Pyotr Stolypin, from the speech in the State Duma in support of the construction of the Amur Railway, 1908 This project originated in 2015 when intellectual interaction between Russia and the West was rapidly degrading to mutual accusations and verbal fights over “who is to blame” and “how much more Russia should suffer before it is ready to repent.” We sought to provide a forum for analysts and political practitioners from Russia, Europe, the United States, and China to con- duct a constructive dialogue and ultimately move from producing endless recriminations and claims to discussing the future of Russia’s role in international affairs. Naturally, this also meant discussing the future of the world as a whole. -
Puppetry Beyond Entertainment, How Puppets Are Used Politically to Aid Society
PUPPETRY BEYOND ENTERTAINMENT, HOW PUPPETS ARE USED POLITICALLY TO AID SOCIETY By Emily Soord This research project is submitted to the Royal Welsh College of Music & Drama, Cardiff, in partial fulfilment of the requirements for the Degree of Bachelor of Arts in Theatre Design April 2008 i Declaration I declare that this Research Project is the result of my own efforts. The various sources to which I am indebted are clearly indicated in the references in the text or in the bibliography. I further declare that this work has never been accepted in the substance of any degree, and is not being concurrently submitted in candidature for any other degree. Name: (Candidate) Name: (Supervisor) ii Acknowledgements Many people have helped and inspired me in writing this dissertation and I would like to acknowledge them. My thanks‟ to Tina Reeves, who suggested „puppetry‟ as a subject to research. Writing this dissertation has opened my eyes to an extraordinary medium and through researching the subject I have met some extraordinary people. I am grateful to everyone who has taken the time to fill out a survey or questionnaire, your feedback has been invaluable. My thanks‟ to Jill Salen, for her continual support, inspiration, reassurance and words of advice. My gratitude to friends and family for reading and re-reading my work, for keeping me company seeing numerous shows, for sharing their experiences of puppetry and for such interesting discussions on the subject. Also a big thank you to my dad and my brother, they are both technological experts! iii Abstract Puppets are extraordinary. -
Recognition of States in International Law
THE YALE LAW JOURNAL VOLUME 53 JUNE, 1944 NUMBER 3 RECOGNITION OF STATES IN INTERNATIONAL LAW By H. LAUTERPACHT I I. INTRODUCTORY Principles of the Recognition of States. To recognize a community as a State is to declare that it fulfills the conditions of statehood as required by international law. If these conditions are present, existing States are under the duty to grant recognition. In the absence of an international organ competent to ascertain and authoritatively to declare the presence of requirements of full international personality, States already estab- lished fulfill that function in their capacity as organs of international law. In thus acting they administer the law of nations. This rule of law signifies that in granting or withholding recognition States do not claim and are not entitled to serve exclusively the interests of their national policy and convenience regardless of the principles of international law in the matter. Although recognition is thus declaratory of an existing fact, such declaration, made in the impartial fulfillment of a legal duty, is constitutive, as between the recognizing State and the new community, of international rights and duties associated with full statehood. Prior to recognition such rights and obligations exist only to the extent to which they have been expressly conceded or legitimately asserted by reference to compelling rules of humanity and justice, either by the existing mem- bers of international society or by the community claiming recognition., These principles are believed to have been accepted by the preponder- ant practice of States. They are also considered to represent rules of con- duct most consistent with the fundamental requirements of international law conceived as a system of law. -
Drow of the Underdark
™ 95726720_Ch00.indd 1 2/22/07 3:03:16 PM Shadowborn Warrior . .52 Clothing . .98 Spider Companion . .52 Tools . .101 Contents Spiderfriend Magic . .52 Artifacts . .103 Introduction . 4 Staggering Critical . .52 Surprising Riposte . .52 Chapter 5: Chapter 1: Umbral Spell . .52 Monsters of the Underdark . 105 All About the Drow . 7 Vermin Trainer . .53 Adamantine Spider . 106 A Day in the Life . .7 Verminfriend . .53 Chwidencha . 108 Society and Culture . .9 Versatile Combatant . .53 Draegloth . .110 Law, Tradition, and Government . .10 Ambush Feats . .53 Dragon, Deep . .114 Drow Psychology . .13 Gloom Strike . .54 Elf, Albino Drow (Szarkai) . .118 Religion . .15 Sickening Strike . .54 Goblinoid . 120 Rites and Rituals of Lolth . .15 Terrifying Strike . .54 Husk Vermin . 126 CONTENTS TABLE OF Servants of Lolth . .17 Venomous Strike . .54 Kuo-Toa . 129 Lolth . .19 Divine Feats . .54 Lizard, Giant . .133 Houses of the Drow . .20 Divine Intercession . .54 Quaggoth . 136 Structure and Composition . .20 Lolth’s Boon . .54 Shunned . .140 House Authority . .21 Lolth’s Caress . .54 Spider, Monstrous . .141 House Interaction . .21 Profane Agony . .54 Troll . .145 Duties and Benefi ts . .22 Vile Feats . .55 Venom Ooze . .148 Family Units . .24 Unspeakable Vow . .55 Drow Life . .26 Vow of Decadence . .55 Chapter 6: Leisure . .27 Vow of the Spider Queen . .55 Campaigns and Adventures . 150 Arts and Crafts . .27 Vow of Vengeance . .56 Drow Campaigns . 150 Technology and Magic. .28 Weapon Style Feats . .56 Drow Cities and Environs . 153 Love . 29 Despana School . .56 Sample Drow . 160 War . 30 Eilservs School . .56 Anybys Velifane . 160 Death . .31 Inlindl School . .56 Keveras Lorakythe . -
A Report to the Assistant Attorney General, Criminal Division, U.S
Robert Jan Verbelen and the United States Government A Report to the Assistant Attorney General, Criminal Division, U.S. Department of Justice NEAL M. SHER, Director Office of Special Investigations ARON A. GOLBERG, Attorney Office of Special Investigations ELIZABETH B. WHITE, Historian Office of Special Investigations June 16, 1988 TABLE OF CONTENTS Pacre I . Introduction A . Background of Verbelen Investigation ...... 1 B . Scope of Investigation ............. 2 C . Conduct of Investigation ............ 4 I1. Early Life Through World War I1 .......... 7 I11 . War Crimes Trial in Belgium ............ 11 IV . The 430th Counter Intelligence Corps Detachment in Austria ..................... 12 A . Mission. Organization. and Personnel ...... 12 B . Use of Former Nazis and Nazi Collaborators ... 15 V . Verbelen's Versions of His Work for the CIC .... 20 A . Explanation to the 66th CIC Group ....... 20 B . Testimony at War Crimes Trial ......... 21 C . Flemish Interview ............... 23 D . Statement to Austrian Journalist ........ 24 E . Version Told to OSI .............. 26 VI . Verbelen's Employment with the 430th CIC Detachment ..................... 28 A . Work for Harris ................ 28 B . Project Newton ................. 35 C . Change of Alias from Mayer to Schwab ...... 44 D . The CIC Ignores Verbelen's Change of Identity .................... 52 E . Verbelen's Work for the 430th CIC from 1950 to1955 .................... 54 1 . Work for Ekstrom .............. 54 2 . Work for Paulson .............. 55 3 . The 430th CIC Refuses to Conduct Checks on Verbelen and His Informants ....... 56 4 . Work for Giles ............... 60 Verbelen's Employment with the 66th CIC Group ... 62 A . Work for Wood ................. 62 B . Verbelen Reveals His True Identity ....... 63 C . A Western European Intelligence Agency Recruits Verbelen .............. -
Explorations Into Shadow Theater
ExplorationsintoShadowTheater: AnInstructionManualfromShadowLightProductions byRamonAbad Shadowsareeverywhere.Wherethereislight,thereareshadows.Absolutelyanything solid,placedinlight,willcastashadow.Shadowsareasnaturalasclouds,streamsand lightning.Howhavepeopleinterpretedshadows?Nowthat’swhereitgetsreallyinter- esting! InWesternsociety,weassociateshadowswithmenacingqualities.Inourliterature, moviesandTV,villainsandmonstershideinthedark,crouchintheshadows,runfromthe lightoftruth.Eventheprotagonistofthe1920sradioplayTheShadowisanelusive, phantomcharacterwhoavengescrimebymysteriouslyappearingfromtheshadows. Bycontrast,numerousculturesaroundtheglobehavelongusedshadowstoexpress heroism,redemptionandhumorintheirartandentertainment.Theoldestandmost popularmediumtoemployshadowsinthiswayisshadowpuppetry. Shadowpuppetryisanancientartformthatstillthrivesinmanypartsoftheworld.There are,todate,onlytwowaystoperformshadowtheater: •thetraditionaltraditionalway-puppetsareheldupagainsttheperformancescreen, •themodernprojectedmodernprojectedway-shadowsarecastutilizingthespacebetweenthelight sourceandthescreen. Themaindifferencebetweenthesemethodsisthetypeoflightsourceusedandthesizeof shadowsproduced.Eachapproachhasitsownpossibilitiesandlimitations. Thereissomeliteratureavailableonshadowpuppetry,butnearlyallofitcentersonthe traditionalmethod.Whattheaudienceseesinmostshadowtheaterperformancesarethe silouettesofpuppetspressedupagainstascreenwithalightnotmorethat1’away.Pro- jectedshadowtheater,ontheotherhand,involvesusingasource3’to20’awayfromthe screen,andpuppetsoractorsactuallycastingshadowsontothescreenfromsomepointin -
Rites of Passage: Dionysus and the Chorus of Satyrs1
Universidade de São Paulo, JOHN C. DAWSEY São Paulo, São Paulo, Brazil. RITES OF PASSAGE: DIONYSUS AND THE CHORUS OF SATYRS1 ABSTRACT At the origins of Greek tragedy, in the chorus of satyrs of Dionysian theater, Greeks stared into horror. This observation by Nietzsche is the start- ing point for a discussion of rites of passage and, particularly, of liminal experience. Contribu- tions from contemporary performance and the- ater highlight aspects of this experience. So also, the studies of Julia Kristeva deserve attention. A hypothesis inspired by the writings of Walter Benjamin emerges at the end: vital elements of rites of passage and Dionysian theater have to do with what may be called “margins of margins”. keywords In focus, the double removal of masks (everyday rites of passage, and extraordinary), the subterranean regions of margins of symbols, and the experience of f(r)iction (with margins, f(r)iction, the r between parentheses) in relations between astounding or masks and bodies. Paraphrasing Pascal, the body extraordinary has its reasons of which culture knows not. At everyday margins of margins a double optic is formed: the experience, astounding (or extraordinary) everyday, no sur- corpoiesis prise in the astounding. 1. This article results from research developed as part of the Project “Mother images: drama and montage” (Imagens de mães: drama e montage), Processo CNPq 308691/2012-1. 159 São Paulo, v. 1, n. 1, p. 159 -178, june (2016) I. DIONYSUS AND THE CHORUS OF SATYRS: STARING INTO HORROR I would like to invite listeners on a trip: a discussion about rites of passage.2 Our guide: one of the gods of Ancient Greece, the god of wine Dionysus.