Sicilian Puppet Theater
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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. -
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. -
Museiok30 Ultimo.QXD
NUOVA Il Circuito museale etneo Giuliana Maria Magno È stato inaugurato nel 2015 il Circuito museale etneo1, tra lavica esposte nel parco antistante la Ducea. La città itinerario espositivo indirizzato alla promozione cultura- di Bronte fu fondata con decreto di Carlo V d’Asburgo nel le e turistica di un territorio in provincia di Catania com- 1520 intorno all’abbazia normanna di Santa Maria di Ma- prendente quattro comuni: Bronte, Maletto, Randazzo, Lin- niace, sorta presso un preesistente borgo fortificato. Un guaglossa. I musei di interesse storico dei suddetti paesi feudo di circa 15.000 ettari, denominato Ducea, e il tito- diventano così oggetto di riqualificazione e inserimento lo di “duca di Bronte” furono conferiti da parte del re del- in un percorso culturale di possibile ampliamento. Le le Due Sicilie Ferdinando IV di Borbone a Horatio Nel- principali tematiche storico-culturali caratterizzanti i luo- son nel 1799, in ringraziamento per la repressione della ghi del circuito sono: l’archeologia, la cultura verghiana, repubblica napoletana e la condanna a morte del rivolu- il collezionismo, la scultura e la pittura contemporanee. zionario Francesco Caracciolo3. La Ducea fu gestita dai suc- Il patrimonio di beni mobili e immobili presente nei cessori dell’ammiraglio (Nelson Hood - visconti di Brid- borghi ubicati sulle pendici dell’Etna rappresenta in mo- port) dall’Inghilterra tramite dei procuratori in Sicilia fi- do significativo la storia della terra intorno al vulcano: no al XX secolo e il latifondo continuò a essere coltiva- il circuito o rete museale etnea documenta epoche di- to da braccianti. Nella Ducea, espropriata agli inglesi sot- verse, da quella preistorica, nelle sue fasi a partire dal to il fascismo, fu costruito un piccolo borgo agricolo de- Neolitico, a quella moderna, contrassegnata, ad esem- nominato Caracciolo, di cui resta una parte, e alla fine del pio, dalla storia della fondazione della Ducea di Nelson, secondo conflitto mondiale la terra tornò agli eredi del feudo di proprietà anglosassone istituito alla fine del XIX duca. -
Teacher's Resource
TEACHER’S RESOURCE Produced by the Education Department UBC Museum of Anthropology 6393 NW Marine Dr. Vancouver BC, V6T 1Z2 www.moa.ubc.ca [email protected] 2020 Learning Through Puppetry + Play ii TABLE OF CONTENTS CONTENTS Teaching Kit Overview ....................................................................................v Chapter 1 Puppets: An Introduction .............................................................1 In the Teacher’s Resource ............................................................................... 1 In the Kit ......................................................................................................... 1 Stories ............................................................................................................ 2 Making + Performing Puppets ......................................................................... 2 Chapter 2 Bringing Puppets to Life ..............................................................5 Tips for New Puppeteers ................................................................................. 5 Chapter 3 Class Activities ............................................................................9 Puppet Cards ................................................................................................ 10 Care + Handling ............................................................................................ 10 Meet the Puppets .......................................................................................... 11 BIG IDEAS • Puppetry is shared -
Download the Digital Booklet
ORIGINAL TELEVISION SOUNDTRACK A GERRY ANDERSON PRODUCTION MUSIC BY BARRY GRAY Calling International Rescue... Palm Treesflutterandthesoundofdistantcrashingwaves echoaroundaluxuriouslookinghouse.Suddenlyalow gravellyhumemergesfromaswimmingpoolasitslides aside,revealingancavernoushangerbelow.Muffled automatedsoundsecho,beforeanalmightyroarfollowedby thelightning-fastblurofarocketasitshootsskyward.Thisis Thunderbird1,high-speedreconnaissance craft,pilotedbyScottTracy. Momentsago,Scott’sbrotherJohn radioed-inadistresscallfromThunderbird5, amannedorbitalsatellite.Alifeis indangerwithallhopelost,except foronepossibility:International Rescue.JeffTracy,theboys’father assessesthesituationandduly deployshissonsintoaction. AsThunderbird1propelsitself towardsthedangerzone(now inhorizontalflight),itsfellowcraft Thunderbird2isreadiedforlaunch.This giantgreentransporterstandsontop ofaconveyer-beltofsixPods,each containingadifferentarrayoffantastic rescueequipment.WiththenecessaryPod selected,VirgilTracy(joinedbybrothers AlanandGordon)taxisthehugevehicleto thelaunchramp,whichraisesthecraftto40 degreesbeforeittooblastsskywards.International Rescueareontheirway,Thunderbirdsarego! Inspiredbythisdramaticevent,forhisnexttelevisionseriesGerry Approaching Danger Zone... Andersonenvisionedanorganisationpreparedforsucheventualities IntheAutumnof1963,writerandproducer -
Making Marionette (Puppets) from Paper Pulp by Karen Elzinga
Making Marionette (Puppets) from Paper Pulp By Karen Elzinga Recommended for children Grade 6 and above if done as a class activity. What Ingredients do l need? -Recycled paper or copy paper - Plastic drinking straws - Strong string - Sticks or as l have used old wooden vertical blinds cut down to size. - Drill (Preferable but not a necessity) - Plaster faces (you can just use the pulp but if you want more life like then these are great (They are available in the shop, CLICK HERE to view them. For larger quantities just email in for a quote. -Paint and decorative items (fabric, hair, wool etc) tissue paper is a great item for dressing as is feathers. - Large needle or skewer for threading body bits together through the straws -Tub or blender - No nails glue or craft glue - Patience!! TWO METHODS FOR PULPING PAPER The first method for pulping paper is to use a The second method is to use a tub, this is food blender, adding a bit of paper in stages to very effective if larger quantities are required. a blender, this is a quick method and very Add hot water to the tub and immerse paper, effective for smaller quantities. You can use you can use cold water the process of paper sort of recycled paper, but make sure to take breakdown just takes longer. Leave the tub out sticky tape or staples prior to pulping. and paper alone for at least 30 mins, an hour is preferable at minimum. If using as a school project and you wish students to be involved in the process you can decant paper and HOW TO TURN PAPER INTO PULP water into smaller tubs and have students work the paper into pulp. -
The Power of the Puppet
Union Internationale de la Marionnette The Power of the Puppet Editor Livija Krofl in The UNIMA Puppets in Education, Development and Therapy Commission Croatian Centre of UNIMA Zagreb, 2012 ffinal_12_06_2012_.inddinal_12_06_2012_.indd 3 112.6.20122.6.2012 117:46:387:46:38 THE POWER OF THE PUPPET Publishers The UNIMA Puppets in Education, Development and Therapy Commission Croatian Centre of UNIMA Editor Livija Krofl in English Language Editor Meg Amsden Reviewers Iva Gruić, Ph.D Prof. Dr. Robi Krofl ič Dr Peter Lang Layout, Design & Printed by Teovizija, Zagreb A print run of 400 copies © UNIMA 2012 All Rights Reserved A CIP catalogue record for this book is available from the National and University Library in Zagreb under 804855 ISBN 978-953-96856-6-7 ffinal_12_06_2012_.inddinal_12_06_2012_.indd 2 112.6.20122.6.2012 117:46:387:46:38 CONTENTS PREFACE Livija Krofl in . 7 Art as a Pathway to the Child Edi Majaron . 11 Aff ective Education through the Art of Animation Theatre Ida Hamre. 18 Playing with Puppets in Class – Teaching and Learning with Pleasure Helena Korošec . 29 The Role of the Puppet in Language Teaching Livija Krofl in . 46 Puppetry for Development Cariad Astles . 63 The Politics of Applied Puppetry Matt Smith . 79 Being Carbon Neutral Meg Amsden . 86 Puppets and the Emotional Development of Children – an International Overview Barbara Scheel . 96 Biographies of the Authors . 107 Index of names . 113 Index of terms. 116 ffinal_12_06_2012_.inddinal_12_06_2012_.indd 5 112.6.20122.6.2012 117:46:397:46:39 PREFACE The power of the puppet shows itself in diverse fi elds: not only in the puppet theatres, not only in rituals and magical spells, but also in the broad range of education and therapy. -
Codici E Documenti Dell'opera Dei Pupi Di Tradizione Catanese
UNIVERSITÀ DEGLI STUDI DI CATANIA Dottorato di ricerca in Studi sul Patrimonio Culturale – XXIX Ciclo Simona Scattina Nella bottega della famiglia Napoli: codici e documenti dell’Opera dei pupi di tradizione catanese Tesi di Dottorato Tutor Chiar.ma Prof.ssa Stefania Rimini Coordinatore Chiar.ma Prof.ssa Grazia Pulvirenti 1 A Chiara e a Salvo e ai loro preziosi scatti 2 Indice Introduzione 5 Sul teatro di figura Capitolo 1 Premessa 9 Il teatro di figura in Italia 10 Il teatro di figura all’estero 18 Il teatro di figura e i suoi teorici 24 Marionette che passione! Tra seduzioni e testimonianze 32 Capitolo 2 Il teatro siciliano delle marionette 44 I capolavori del patrimonio immateriale 51 La compagnia La Marionettistica dei fratelli Napoli 53 Le ragioni del conservare: i fratelli Napoli 54 Il mestiere – I codici Capitolo 3 Il codice figurativo I cartelli del teatro dei pupi 60 I cartelli di tipo Palermitano 61 I cartelli di tipo Catanese 62 Aspetti formali e socio-culturali dell’arte popolare in Sicilia 68 Tipologia delle fonti iconografiche 71 Il repertorio e il rinnovamento del patrimonio figurativo 77 Gli influssi del teatro “popolare”: le maschere nell’Opera dei pupi 79 Iconografia teatrale 81 Gli influssi del teatro “colto”: codici gestuali e scenografie 82 Le storie dipinte: funzioni d’uso 84 «Noi Napoli ci dilettiamo di pittura» 86 Riscontri iconografici sui cartelli 88 Il Fondo Napoli 92 Bene vs male 93 La fede nei cartelli 97 Il tradimento 100 Malagigi 102 Gran serate 103 Un unicum 105 Cartelli censurati 106 3 Il verso 107 I cartelli -
Dal Cunto All'opera Dei Pupi
Titolo || Dal Cunto all’Opera dei Pupi Autore || Valentina Venturini Pubblicato || Valentina Venturini (a cura di), Dal Cunto all’Opera dei Pupi, Roma, Dino Audino editore, 2003, pp. 5-31 Diritti || © Tutti i diritti riservati. Numero pagine || pag 1 di 18 Lingua|| ITA DOI || Dal Cunto all’Opera dei Pupi di Valentina Venturini «E ora, signuri mei, ddocu a lassu, e n’autra vota va cuntu»... Lo spettacolo è finito, il puparo-cuntista lascia la scena, le luci si accendono ma gli occhi di molti restano immersi nel mondo meraviglia che l’attore ha saputo creare nelle loro menti. Ogni sera Mimmo Cuticchio racconta una storia, servendosi dei suoi pupi, di una spada di legno e di una camicia bianca; e ogni sera la fantasia dello spettatore si accende per ricreare i mondi della memoria, assecondando gli accenti del narratore, le sue parole spezzate in briciole di fuoco, le apparizioni sapientemente suscitate. Le storie variano di spettacolo in spettacolo, quello che non cambia è la linea sulla quale vive l’arte di Cuticchio, la sua traccia materiale fatta di pupi, di spade di legno, del battito del piede, dei silenzi e dei toni di voce. Sono gli strumenti tradizionali dei contastorie del Cunto1 e dei pupari, quelli che segnano le premure, gli appoggi e le sortite fra i quali viaggia Mimmo Cuticchio: non come passeggero da un’arte all’altra ma come nomade verso una terra nuova, quasi un paese, in cui vive e si concentra il suo teatro. Mimmo Cuticchio nasce da una famiglia di pupari di Palermo: il padre fu grande maestro di quest’arte; il nonno, che Mimmo definisce “più teatrinaro che oprante”, gestiva un teatrino di pupi occupandosi anche di reclutare gli opranti, ossia i manovratori e i recitanti; la madre realizza ancora i costumi dei pupi, i sipari, i fondini e dipinge scene e cartelli. -
Legends of Ancient Greece Study Guide
Legends of Ancient Greece Study Guide Objectives Legends of Ancient Greece blends stories from Greek Mythology into an educational epic production that facilitates learning across all age groups. This study guide is an aid for parents and teachers to help children gain important and relevant knowledge of Greek Mythology, theatre etiquette, performing arts and puppetry. Included are applicable South Carolina standards, a synopsis of the show, types of puppetry used and discussion topics for before and after the show. South Carolina Educational Standards Kindergarten - 8th Grade: Visual and Performing Arts TK-T1-7.3 Describe emotions evoked by theatre experiences. TK-T8-7.1 Identify audience etiquette to be used during theatre activities and performances. TK-T3-6.1 Compare and contrast theatre activities and experiences with those encountered in other disciplines. TK-T5-8.2 Experience live or recorded theatre performances. T1-T5-6.4 Use theatrical conventions (for example, puppets, masks, props) in theatre activities. T1&T2-7.2 Describe the characters, setting, events, and technical elements of a particular theatrical experience. T3-T5-7.2 & T6-7.3 Give oral and written responses to live and recorded theatre performances. T4-T8-5.3 Research information about various careers in theatre. T4-T5-6.1 Demonstrate the understanding that theatre incorporates all arts areas. T6-8.2 & T7-8.3 Recognize ways that live and recorded theatre relates to real life. Kindergarden-8th grade: English Language Arts RL Standard 6: Summarize key details and ideas to support analysis of thematic development. RL Standard 7: Analyze the relationship among ideas, themes, or topics in multiple media, formats, and in visual, auditory, and kinesthetic modalities. -
The Antonio Pasqualino International Puppet Museum Rosario Perricone
The Antonio Pasqualino International Puppet Museum Rosario Perricone The opening of the Antonio Pasqualino International Puppet Museum follows the establishment of the Association for the Conservation of Folk Traditions in 1965, the congress “Museografia e folklore”, organized in Palermo in 1967, and the enthusiastic collecting of some highbrows. Its history is deeply linked to its founder Antonio Pasqualino, who was a surgeon and an appreciated anthropologist expert of the history and culture of Sicily. He dedicated his researches to a theatrical form that, in the second half of the 20th century, seemed to be inexorably disappearing: Sicilian puppet theater – the Opera dei pupi. These enthusiastic researches led Antonio Pasqualino and some scholars to establish the Association for the Conservation of Folk Traditions with the primary goal of avoiding the disappearance of the Opera dei pupi – that was a real paradigm of the social universe of the Sicilian people –, and safeguarding and promoting folk traditions. The initial focus of the collection – and the Association’s researches that would lead to the Museum foundation in 1975 – concerned Sicilian marionettes, the pupi (pup- pets). In those years, the decisive action of collecting and conserving objects that seemed to have lost life on stage as well as an audience, was associated to the encouragement of Sicilian puppeteers, the pupari, and to an intense supportive action aimed to help with gradual reintegration and promotion of the shows toward a new audience, different from the traditional one. These actions created a deep understanding between research- ers, the pupari, and the few groups from the traditional audience that had survived the crisis of 1960s and thus were prized witnesses of the values of the past. -
The University of Chicago the Art of Indeterminacy in The
THE UNIVERSITY OF CHICAGO THE ART OF INDETERMINACY IN THE PROSE WORKS OF GOLIARDA SAPIENZA A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ROMANCE LANGUAGES AND LITERATURES BY ELANA STEPHENSON KRANZ CHICAGO, ILLINOIS DECEMBER 2016 COPYRIGHT 2016 ELANA STEPHENSON KRANZ For my family TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................... v INTRODUCTION .................................................................................................................................... 1 CHAPTER ONE SAPIENZA’S CICLO AUTOBIOGRAFICO: MULTIPLE, RELATIONAL AND FUSED/FUSING SELVES ................................................................. 14 CHAPTER TWO THE INFLUENCE OF THEATER IN SAPIENZA’S PROSE WORKS..................................................... 52 CHAPTER THREE CONFINEMENT AS LIBERATION: FEMALE SPACES IN SAPIENZA’S PROSE WORKS ................ 88 CHAPTER FOUR NARRATING TRANSGRESSION; OR, WHY MODESTA KILLS ....................................................... 125 CONCLUSION .................................................................................................................................... 164 BIBLIOGRAPHY ............................................................................................................................... 170 iv ACKNOWLEDGEMENTS First and foremost, I would like to thank my dissertation director, Rebecca West.