Fascism, Democracy and Difficult Futures
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The Political Hamlet According to Jan Kott and Jerzy Grotowski1
Multicultural Shakespeare: Translation, Appropriation and Performance vol. 17 (32), 2018; DOI: 10.18778/2083-8530.17.06 ∗ Wanda Świątkowska The Political Hamlet According to Jan Kott and Jerzy Grotowski1 Abstract: The article presents political interpretations of Hamlet in Poland in the turbulent period of politcal changes between the mid-1950s and mid-1960s. The author discusses the relationships between Shakespeare’s tragedy and Polish political context as well as the influence of audience expectations in the specific interpretations. The selected performances are: Hamlet by Roman Zawistowski (at the Old Theatre in Cracow 1956) and Hamlet Study by Jerzy Grotowski (at the Laboratory Theatre of 13 Rows in Opole 1964). They both were hugely influenced by major commentators of Hamlet, i.e. Stanisław Wyspiański and Jan Kott. The author argues that up-to-date readings of Hamlet, which started with Wyspiański’s study in 1905, flourished in the mid-1950s and mid-1960s when concerning specific political events: the Polish Thaw of 1956 and March 1968, when the Jews were expelled from Poland. Thus Hamlet of that time was updated and must be seen through the prism of political events. Keywords: William Shakespeare, Stanisław Wyspiański, Jerzy Grotowski, Jan Kott, Hamlet, Hamlet Study, Polish Thaw of 1956, March 1968, politics. This article looks at two interpretations of William Shakespeare’s Hamlet and the concepts of updating the tragedy put forward by Jan Kott, and Jerzy Grotowski. It will not investigate their further professional relationship or Kott’s attitude to Grotowski’s later works. The article will only focus on one episode in their careers that took place in Poland in the period between the mid-1950s and mid-1960s. -
The Pomegranate Cycle
The Pomegranate Cycle: Reconfiguring opera through performance, technology & composition By Eve Elizabeth Klein Bachelor of Arts Honours (Music), Macquarie University, Sydney A PhD Submission for the Department of Music and Sound Faculty of Creative Industries Queensland University of Technology Brisbane, Australia 2011 ______________ Keywords Music. Opera. Women. Feminism. Composition. Technology. Sound Recording. Music Technology. Voice. Opera Singing. Vocal Pedagogy. The Pomegranate Cycle. Postmodernism. Classical Music. Musical Works. Virtual Orchestras. Persephone. Demeter. The Rape of Persephone. Nineteenth Century Music. Musical Canons. Repertory Opera. Opera & Violence. Opera & Rape. Opera & Death. Operatic Narratives. Postclassical Music. Electronica Opera. Popular Music & Opera. Experimental Opera. Feminist Musicology. Women & Composition. Contemporary Opera. Multimedia Opera. DIY. DIY & Music. DIY & Opera. Author’s Note Part of Chapter 7 has been previously published in: Klein, E., 2010. "Self-made CD: Texture and Narrative in Small-Run DIY CD Production". In Ø. Vågnes & A. Grønstad, eds. Coverscaping: Discovering Album Aesthetics. Museum Tusculanum Press. 2 Abstract The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. -
TRAINING the YOUNG ACTOR: a PHYSICAL APPROACH a Thesis
TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Anthony Lewis Johnson December, 2009 TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH Anthony Lewis Johnson Thesis Approved: Accepted: __________________________ __________________________ Advisor Dean of the College Mr. James Slowiak Dr. Dudley Turner __________________________ __________________________ Faculty Reader Dean of the Graduate School Mr. Durand Pope Dr. George R. Newkome __________________________ __________________________ School Director Date Mr. Neil Sapienza ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION TO TRAINING THE YOUNG ACTOR: A PHYSICAL APPROACH...............................................................................1 II. AMERICAN INTERPRETATIONS OF STANISLAVSKI’S EARLY WORK .......5 Lee Strasberg .............................................................................................7 Stella Adler..................................................................................................8 Robert Lewis...............................................................................................9 Sanford Meisner .......................................................................................10 Uta Hagen.................................................................................................11 III. STANISLAVSKI’S LATER WORK .................................................................13 Tension -
Vocality and Listening in Three Operas by Luciano Berio
Clare Brady Royal Holloway, University of London The Open Voice: Vocality and Listening in three operas by Luciano Berio Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music February 2017 The Open Voice | 1 Declaration of Authorship I, Patricia Mary Clare Brady, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: February 1st 2017 The Open Voice | 2 Abstract The human voice has undergone a seismic reappraisal in recent years, within musicology, and across disciplinary boundaries in the humanities, arts and sciences; ‘voice studies’ offers a vast and proliferating array of seemingly divergent accounts of the voice and its capacities, qualities and functions, in short, of what the voice is. In this thesis, I propose a model of the ‘open voice’, after the aesthetic theories of Umberto Eco’s seminal book ‘The Open Work’ of 1962, as a conceptual framework in which to make an account of the voice’s inherent multivalency and resistance to a singular reductive definition, and to propose the voice as a site of encounter and meaning construction between vocalist and receiver. Taking the concept of the ‘open voice’ as a starting point, I examine how the human voice is staged in three vocal works by composer Luciano Berio, and how the voice is diffracted through the musical structures of these works to display a multitude of different, and at times paradoxical forms and functions. In Passaggio (1963) I trace how the open voice invokes the hegemonic voice of a civic or political mass in counterpoint with the particularity and frailty of a sounding individual human body. -
The Political Hamlet According to Jan Kott and Jerzy Grotowski
Multicultural Shakespeare: Translation, Appropriation and Performance Volume 17 Article 6 June 2018 The Political Hamlet According to Jan Kott and Jerzy Grotowski Wanda Świątkowska Jagiellonian University in Cracow Follow this and additional works at: https://digijournals.uni.lodz.pl/multishake Part of the Theatre and Performance Studies Commons Recommended Citation Świątkowska, Wanda (2018) "The Political Hamlet According to Jan Kott and Jerzy Grotowski," Multicultural Shakespeare: Translation, Appropriation and Performance: Vol. 17 , Article 6. DOI: 10.18778/2083-8530.17.06 Available at: https://digijournals.uni.lodz.pl/multishake/vol17/iss32/6 This Article is brought to you for free and open access by the Arts & Humanities Journals at University of Lodz Research Online. It has been accepted for inclusion in Multicultural Shakespeare: Translation, Appropriation and Performance by an authorized editor of University of Lodz Research Online. For more information, please contact [email protected]. Multicultural Shakespeare: Translation, Appropriation and Performance vol. 17 (32), 2018; DOI: 10.18778/2083-8530.17.06 ∗ Wanda Świątkowska The Political Hamlet According to Jan Kott and Jerzy Grotowski1 Abstract: The article presents political interpretations of Hamlet in Poland in the turbulent period of politcal changes between the mid-1950s and mid-1960s. The author discusses the relationships between Shakespeare’s tragedy and Polish political context as well as the influence of audience expectations in the specific interpretations. The selected performances are: Hamlet by Roman Zawistowski (at the Old Theatre in Cracow 1956) and Hamlet Study by Jerzy Grotowski (at the Laboratory Theatre of 13 Rows in Opole 1964). They both were hugely influenced by major commentators of Hamlet, i.e. -
GODFREY REGGIO (Director, Koyaanisqatsi) Is a Pioneer of a Film Form That Creates Poetic Images of Extraordinary Emotive Impact
GODFREY REGGIO (Director, Koyaanisqatsi) is a pioneer of a film form that creates poetic images of extraordinary emotive impact. Reggio is best known for the Qatsi Trilogy – essays of image and music, speechless narrations which question the world in which we live. Born in New Orleans in 1940, Reggio entered the Christian Brothers, a Roman Catholic Pontifical Order, at age 14 and remained as a monk until 1968. In 1963, he co-founded Young Citizens for Action, a community organization of juvenile street gangs. Reggio co-founded La Clinica de la Gente and La Gente, a community organizing project in Northern New Mexico’s barrios. In 1972, he co- founded the Institute for Regional Education in Santa Fe, a nonprofit organization focused on media, the arts, community organization and research. In collaboration with the New Mexico Chapter of the American Civil Liberties Union, Reggio co- organized a multimedia public interest campaign on the invasion of privacy and the use of technology to control behavior. Reggio’s collaboration on Koyaanisqatsi with Ron Fricke (Director of Photography) and Philip Glass (Composer) gained an international audience, critical acclaim and launched the Qatsi Trilogy. Koyaanisqatsi has been played live over 200 times in venues worldwide. Reggio’s collaborations with Philip Glass, include: Koyaanisqatsi (1982), Powaqqatsi (1988), Naqoyqatsi (2002), Anima Mundi (1992), Evidence (1995) and Visitors (2013). In 1993, Reggio was invited by Luciano Benetton and Oliviero Toscani to develop a new school “to smell the future” – an enterprise of exploration and production in the arts, technology and mass media. Called Fabrica – Futuro Presente, it opened in the middle of the ‘90s in Treviso, Italy. -
History of Towson University's MFA in Theatre Arts Program
Towson University: College of Fine Arts and Communication M.F.A. in Theatre Arts History of Towson University’s M.F.A. in Theatre Arts Program The MFA Program in Theatre Arts at Towson University started in 1994 under the leadership of Juanita Rockwell. In its 20‐year history, the program has engaged in a number of ambitious projects (originated by both students and faculty), presented over 60 theatre projects and performance pieces and received a number of outside accolades for these endeavors. Students and alumni have worked with a variety of professional artists and have also gone on to create theatre companies of their own. They have also taught at a number of colleges and universities, and have embarked on successful professional careers at institutions around the country. Tours MFA productions have toured to international festivals in Bulgaria, Slovakia, Egypt, Poland and Hungary. National tours of shows have included trips to Boston, New York City, Washington, D.C., Philadelphia, Chicago, and Austin, Texas. In the summer of 2009, a group of MFA students did a Study Abroad Program to Wroclaw, Poland. There they attended the Grotowski Institute’s festival, “The World as a Place of Truth,” a celebration of the life and work of the famous Polish theatre director Jerzy Grotowski. The students also participated in a five‐day, six‐hours‐a‐day workshop with Teatr ZAR, the in‐house theatre company at the Grotowski Institute. In the summer of 2011, the program presented a showcase at the ToRoNaDa Space in New York City. The two‐week showcase, entitled Modicums, includes The Natasha Plays; Return to Sender by Shannon McPhee; The Title Sounded Better in French by Lola B. -
Chaos Theory and Robert Wilson: a Critical Analysis Of
CHAOS THEORY AND ROBERT WILSON: A CRITICAL ANALYSIS OF WILSON’S VISUAL ARTS AND THEATRICAL PERFORMANCES A dissertation presented to the faculty of the College of Fine Arts Of Ohio University In partial fulfillment Of the requirements for the degree Doctor of Philosophy Shahida Manzoor June 2003 © 2003 Shahida Manzoor All Rights Reserved This dissertation entitled CHAOS THEORY AND ROBERT WILSON: A CRITICAL ANALYSIS OF WILSON’S VISUAL ARTS AND THEATRICAL PERFORMANCES By Shahida Manzoor has been approved for for the School of Interdisciplinary Arts and the College of Fine Arts by Charles S. Buchanan Assistant Professor, School of Interdisciplinary Arts Raymond Tymas-Jones Dean, College of Fine Arts Manzoor, Shahida, Ph.D. June 2003. School of Interdisciplinary Arts Chaos Theory and Robert Wilson: A Critical Analysis of Wilson’s Visual Arts and Theatrical Performances (239) Director of Dissertation: Charles S. Buchanan This dissertation explores the formal elements of Robert Wilson’s art, with a focus on two in particular: time and space, through the methodology of Chaos Theory. Although this theory is widely practiced by physicists and mathematicians, it can be utilized with other disciplines, in this case visual arts and theater. By unfolding the complex layering of space and time in Wilson’s art, it is possible to see the hidden reality behind these artifacts. The study reveals that by applying this scientific method to the visual arts and theater, one can best understand the nonlinear and fragmented forms of Wilson's art. Moreover, the study demonstrates that time and space are Wilson's primary structuring tools and are bound together in a self-renewing process. -
Trojan Women (After Euripides)
ABOUT THE CAST Trojan Women (after Euripides) September 8–October 1, 2011 At the J. Paul Getty Museum, Getty Villa Akiko Aizawa’s (Kassandra) recent productions with SITI include Antigone, Radio Macbeth, bobrauschenbergamerica, Under Construction, Who Do You Think You Are, and American Document (2010). She has performed at the Brooklyn Academy of Music, American Repertory Theater, Arena Stage, LA Opera, Dance Theater Workshop, and Joyce Theater. Aizawa has appeared at festivals and venues in Edinburgh, Dublin, Bonn, Bobigny, Sydney, Bogotá, Tokyo, Toga, and Moscow. J. Ed Araiza (Menelaus), a SITI Company member, has a long history of working on multicultural and crossdisciplinary projects as a writer, director, and performer. His most recent Los Angeles appearance was in La Victima at the Los Angeles Theatre Center. Araiza’s recent SITI productions include Under Construction and Who Do You Think You Are. In November he will direct The Adding Machine at the University of California, Los Angeles; in January he will direct The Seagull in Windsor, Canada. As a playwright, Araiza has had seven original plays produced. Katherine Crockett (Helen) is a principal dancer with the Martha Graham Dance Company. She danced as Cate Blanchett’s double in The Curious Case of Benjamin Button and played Helen in Richard Move’s The Show (Achilles Heels) with Mikhail Baryshnikov. Crockett also has been a soloist dancer for Robert Wilson, Vanessa Redgrave, Susan Stroman, and designer Alexander McQueen. She is the lead actress in Tiny Dancer, a forthcoming feature film by Jayce Bartok. -more- Page 2 Gian-Murray Gianino (Odysseus) is the newest member of SITI. -
Sophocles' Elektra
DATE: August 12, 2010 FOR IMMEDIATE RELEASE ABOUT THE COMPANY Sophocles' Elektra Thursdays, Fridays, Saturdays, September 9—October 2, 2010 Carey Perloff (Director) Carey Perloff is celebrating her nineteenth season as artistic director of Tony Award-winning American Conservatory Theater (A.C.T.) in San Francisco, where she is known for directing innovative productions of classics, championing new writing for the theater, and creating international collaborations with such artists as Robert Wilson and Tom Stoppard. Before joining A.C.T., Perloff was artistic director of Classic Stage Company (CSC) in New York. She is a recipient of France’s Chevalier de l’Ordre des Arts et des Lettres and the National Corporate Theatre Fund’s 2007 Artistic Achievement Award. Perloff received a B.A. Phi Beta Kappa in classics and comparative literature from Stanford University and was a Fulbright fellow at the University of Oxford. She has taught at the Tisch School of the Arts at New York University and in the Master of Fine Arts Program in Acting at A.C.T., in addition to authoring numerous plays. This is Perloff’s second encounter with Sophocles’ Elektra, having directed the world premiere of Ezra Pound’s version of the play at CSC in 1988. Timberlake Wertenbaker (Translator/Adaptor) Timberlake Wertenbaker is an acclaimed playwright who grew up in the Basque Country in southwest France. Plays include The Grace of Mary Traverse (Royal Court Theatre); Our Country's Good (Royal Court Theatre and Broadway), which won the Laurence Olivier Play of the Year -
Francesco Cavalli One Man. Two Women. Three Times the Trouble
GIASONE FRANCESCO CAVALLI ONE MAN. TWO WOMEN. THREE TIMES THE TROUBLE. 1 Pinchgut - Giasone Si.indd 1 26/11/13 1:10 PM GIASONE MUSIC Francesco Cavalli LIBRETTO Giacinto Andrea Cicognini CAST Giasone David Hansen Medea Celeste Lazarenko Isiile ORLANDO Miriam Allan Demo BY GEORGE FRIDERIC HANDEL Christopher Saunders IN ASSOCIATION WITH GLIMMERGLASS FESTIVAL, NEW YORK Oreste David Greco Egeo Andrew Goodwin JULIA LEZHNEVA Delfa Adrian McEniery WITH THE TASMANIAN SYMPHONY ORCHESTRA Ercole Nicholas Dinopoulos Alinda Alexandra Oomens XAVIER SABATA Argonauts Chris Childs-Maidment, Nicholas Gell, David Herrero, WITH ORCHESTRA OF THE ANTIPODES William Koutsoukis, Harold Lander TOWN HALL SERIES Orchestra of the Antipodes CONDUCTOR Erin Helyard CLASS OF TIMO-VEIKKO VALVE DIRECTOR Chas Rader-Shieber LATITUDE 37 DESIGNERS Chas Rader-Shieber & Katren Wood DUELLING HARPSICHORDS ’ LIGHTING DESIGNER Bernie Tan-Hayes 85 SMARO GREGORIADOU ENSEMBLE HB 5, 7, 8 and 9 December 2013 AND City Recital Hall Angel Place There will be one interval of 20 minutes at the conclusion of Part 1. FIVE RECITALS OF BAROQUE MUSIC The performance will inish at approximately 10.10 pm on 5x5 x 5@ 5 FIVE TASMANIAN SOLOISTS AND ENSEMBLES Thursday, Saturday and Monday, and at 7.40 pm on Sunday. FIVE DOLLARS A TICKET AT THE DOOR Giasone was irst performed at the Teatro San Cassiano in Venice FIVE PM MONDAY TO FRIDAY on 5 January 1649. Giasone is being recorded live for CD release on the Pinchgut LIVE label, and is being broadcast on ABC Classic FM on Sunday 8 December at 7 pm. Any microphones you observe are for recording and not ampliication. -
Accessible Opera: Overcoming Linguistic and Sensorial Barriers
This is a post-print version of the following article: Orero, Pilar; Matamala, Anna (2007) Accessible Opera: Overcoming Linguistic and Sensorial Barriers. Perspectives. Studies in Translatology, 15(4): 427-451. DOI: 10.1080/13670050802326766 http://www.tandfonline.com/doi/full/10.1080/13670050802326766#.U0afL-Z_sWU Accessible Opera: Overcoming Linguistic and Sensorial Barriers The desire to make media available for all has been rapidly accepted and implemented by most European countries. Opera, as one of the many audiovisual representations, also falls under the category of production which needs to be made accessible and this article aims to analyse how opera has gone through a complete transformation to become a cultural event for all, overcoming not only linguistic but also sensorial barriers. The first part of the article analyses the various forms of translation associated with opera and the main challenges they entail. The second presents different systems used to make opera accessible to the sensorially challenged, highlighting their main difficulties. Examples from research carried out at the Barcelona’s Liceu opera house are presented to illustrate various modalities, especially audio description. All in all, it is our aim to show how translated-related processes have made it possible to open opera to a wider audience despite some initial reluctance. 1. Overcoming linguistic barriers Performing opera in the source language or in the language of the audience has been a major discussion in the literature of Translation Studies —and references are found from as distant fields as Music Studies and as early as the beginning of the 20th century (Spaeth 1915), but it is Nisato (1999:26) who provides a comprehensive summary of the current three possibilities in opera performance, which in our opinion can perfectly coexist: “performing the opera in its original language and provide the listener with either a synopsis or translated libretto, to perform in the original language and make use of surtitles, or to perform a sung translation of the work”.