Dance, Music and Dramaturgy: collaboration plan and dramaturgical apparatus – The unfolding of the concept of dramaturgy and the problematics of contemporary choreography are, today, a vast and diverse field of research, bearing numerous disclosures that lead to their reciprocal implication. Apart from that, dance and music share significant complementary ties allowing for the consideration of a common compositional inquiry. Reflecting on the compositional processes of dance and music, this article cross-examines the collaboration between choreographers and composers, integrating the incidence (...) of dramaturgy in the strategies of choreographic and musical composition. (shrink)

The notion of simulation in dreaming of threat recognition and avoidance faces difficulties deriving from (1) some typical characteristics of dream artifacts (some “surreal,” some not) and (2) metaphysical issues involving the need for some representation in the theory of a perspective subject making use of the artifact. [Hobson et al.; Revonsuo].

La scénographie est le plus souvent considérée au théâtre dans sa dimension esthétique ou dans sa capacité à devenir un espace ludique. Or, à l’opéra, si ces deux dimensions restent importantes et se complexifient du fait des contraintes spécifiques du chant et des attentes du public, c’est la fonction dramaturgique qui passe au premier plan. La nécessité de donner le décor à l’avance pour qu’il soit construit dans les ateliers impose qu’il soit pensé avec la mise en scène, en même (...) temps qu’elle. Grâce à un exemple précis, nous montrerons comment le trio dramaturgie-scénographie et mise en scène fonctionne étroitement pour faire émerger le sens. C’est donc à cette voix dramaturgique du scénographe que nous nous intéresserons ici. (shrink)

This article will explore a paradoxical dramaturgy. Last year I played Yahweh in a production entitled OT: Chronicles of the Old Testament. It was part of the 2007 Malthouse Theatre season in Melbourne, and directed by Christian Leavesley and Phil Rolfe. To embody Yahweh is to make manifest the divine, make material the ineffable, and yet allow the illusion that all is still spirit. How does one become God, if only for a moment? Well, for at least as long as (...) the play lasts. Given the atheist fundamentalism espoused recently by Dawkins, Onfray and Hitchens, in what spirit is a corporeal critique of the pervasive power of the Old Testament, and in particular it's vengeful, wrathful, forgetful, dancing God the Father, possible? (shrink)

Le discours managérial constitue un véritable genre et représente une catégorie particulière au sein des énoncés performatifs. L’objectif annoncé de présentation des orientations stratégiques et de dynamisation des équipes s’accompagne d’une mise en scène particulière qui constitue une des conditions de sa félicité, de son accomplissement. Le contexte d’internationalisation et d’interdépendance dans lequel se déroule l’activité des entreprises renforce la stéréotypie de ce langage qui mobilise un format, un vocabulaire et une syntaxe particulière marqués par l’anglicisme et l’asyncticité. Destiné à (...) unifier et à galvaniser les équipes, ce langage est porteur de signes de pouvoir et de distinction, il exclut plus qu’il n’inclut, génère la perplexité et le désarroi et s’inscrit dans une stratégie du flou qui semble être le seul mode contemporain de l’avenir économique. Circulant à l’envi dans la communauté internationale et de la finance qu’il unifie à sa manière, il a une force incantatoire sur la scène financière et médiatique mais un impact paradoxal sur le travail quotidien des hommes et des femmes. Langage de la spéculation et de l’anticipation, il est plus proche des discours de la performance que des énoncés performatifs.Managerial language is a genre in itself and makes up a particular category of performative speech. The stated objective when presenting strategic goals or team building strategies is always dressed up in a particular way that will determine its aptness and success. The context of internationalisation and interdependence in which business activities take place reinforces a stereotype of management-speak, based on a particular format, vocabulary and grammar permeated by anglicisms and lack of syntax. Aimed at unifying and galvanising business teams, « corpu-speak » conveys a sense of power and distinctiveness, suggests exclusiveness rather than inclusiveness, generates bewilderment and anxiety and is very much at one with the strategy of obfuscation that seems to be the sole contemporary register where the economic future is concerned. Circulating freely within the international and finance community and uniting it as it goes, it acts with the hypnotic effect of incantation on the financial and media scene but has a paradoxical impact on the daily working lives of men and women. As the language of speculation and anticipation, it is more akin to performance discourse than to performative speech. (shrink)

In this essay, the author follows the dramaturgical-anthropological analysis established by G. E. Lessing in his Hamburgische Dramaturgie. The careful observation and analysis of the performance onstage combined with the cultural context can provide an important moment of critical analysis. By examining the 2001 production of Death of a Salesman on the German stage, new insights into the play and its distillation of the American Dream can be explored.

Il s’agit de comprendre l’influence exercée par Schopenhauer sur l’œuvre de Paul Claudel. Malgré son peu d’intérêt pour la philosophie allemande, il découvre dans la théorie musicale de Wagner la pensée ontologique et esthétique de Schopenhauer. Celle-ci a sur lui une grande influence. Elle lui permet de développer une conception originale du désir et une vision poétique du monde structurée par la distinction entre harmonie et mélodie. Elle inspire en outre son écriture et sa dramaturgie, puisque Claudel prête à (...) la musique une place fondamentale dans sa versification. Nous montrons l’importance de cette influence en étudiant plus particulièrement la pièce intitulée L’Échange. (shrink)

Le Droit des Gens d’Émer de Vattel, au siècle des Lumières, représente sans doute autant que l’achèvement d’une tradition jusnaturaliste, l’avènement d’un véritable droit international. Cette œuvre nous propose ainsi un théâtre où les acteurs sont les États souverains, confrontés aux défis de la paix pour tous, du bonheur pour chacun, et de la justice pour l’ensemble de cette grande communauté des Nations. Le phénomène de la guerre est alors ce qui interroge la nature du droit, naturel ou positif, le (...) plus à même de résoudre les différends entre les peuples. (shrink)

Resumen: El espacio dramático de Michel Tremblay, “tesoro nacional” de Quebec, está poblado por personajes que se enfrentan casi siempre a la alienación y al deseo de encontrar, o incluso de crear, su propia identidad. Los héroes tremblayanos, cualquiera que sea su orientación sexual y posición en la sociedad, realizan un paso desde la inactividad hasta la acción para desgajarse del orden preestablecido. A veces incapaces de cambiar su situación, a veces felices al poder, por fin, contestar a la pregunta (...) “¿quién soy yo?”, los personajes del teatro de Tremblay siguen siendo representativos de la sociedad quebequense que, durante el período de la llamada Revolución tranquila, se vio sometida a unos profundos cambios identitarios. A lo largo de la evolución social del Quebec de los años sesenta y setenta del pasado siglo, se fueron estableciendo paralelismos entre la toma de conciencia identitaria de la sociedad y la de los personajes dramáticos de Trembley. Así, estos últimos se convertirían en alegorías de la estructura social en por lo menos dos dimensiones, moral y cultural, en el caso de Belles-Sœurs y À toi, pour toujours, ta Marie-Lou, donde se incuban las frustraciones propias de unas heroínas abrumadas por la cultura patriarcal (impotente en todos los ámbitos y ante todo el sexual), representada a su vez por la pieza Hosanna, a la que se la puede considerar como el símbolo de la expresión social de la homosexualidad y de la identidad sexual en general. En consecuencia, la finalidad de este artículo sería la reflexión misma acerca de unas (r)evoluciones teatrales que reflejarían las llevadas a cabo por la Revolución tranquila dentro de toda la sociedad. Abstract: Michel Tremblay's dramatic space, Quebec’s “national treasure”, is populated by characters who are almost always confronted with alienation and the desire to rediscover, and even to create, their own identity. The heroes of Tremblay, whatever their sexual orientation and social positions are, have the story of a passage from inaction till the act of tearing themselves away from the pre-established order. Sometimes incapable of changing their situation, sometimes happy to finally be able to answer the question “Who am I?”, the characters in the Tremblayan theatre are at all times representatives of the Quebec society, which, during the Quiet Revolution, suffered profound changes in identity. Throughout the social evolution in Quebec in the 1960s and 1970s, the awareness of the identity of the society and that of the dramatic characters are two matters that coexist in parallel manner. Thus, the latter become allegories of the social structure on at least two levels: moral and cultural, in the case of the Belles-Sœurs and À toi, pour toujours, ta Marie-Lou representing several frustrations: of the heroines, overwhelmed by the powerless patriarchal culture; sexual, represented for example by Hosanna being the symbol of the social expression of homosexuality and sexual identity in general; and finally, actional, as in the case of Sainte Carmen de la Main, which constitutes a message to Québécois to take their destiny in their hands. The main objective of the article is to bring some reflections on theatrical (r)evolutions which reflected the changes of the Quiet Revolution within the entire society. (shrink)

Au cours du XIXe siècle les compositeurs d'opéra prennent conscience que le théâtre peut être pensé en tant qu'espace expressif susceptible de s'intégrer à l'écriture musicale afin de véhiculer du sens. Au XXe siècle, cette idée se développe aussi à l'aide de croisements avec les expériences des avant-gardes théâtrales, et contribue à transformer la conception même de la scène du théâtre musical (qui devient aussi multimédia). L'idée d'espace "sensible" ouvre ainsi une perspective originale pour aborder l'étude des processus qui porte (...) vers les formes de théâtre musical d'aujourd'hui."--Page 4 of cover. (shrink)

Most readers of Louis Althusser first enter his work through his writings on ideology. In an important new essay Étienne Balibar, friend and colleague of Althusser, offers an original reading of Althusser’s idea of ideology, drawing on both recently published posthumous writing and Althusser's work on the Piccolo Teatro di Milano. Balibar’s essay uncovers the intricate workings of interpellation through Althusser’s essays on the theater. If debates on dialectical materialism belong to a distant history, Balibar suggests, the question of ideology (...) remains crucial for thinking the present. The issue includes commentaries on Balibar’s essay from five influential scholars who engage critically with Althusser’s philosophy: Judith Butler, Banu Bargu, Adi Ophir, Warren Montag, and Bruce Robbins. This issue reanimates Althusser’s concept of ideology as an analytic tool for contemporary cultural and political critique. (shrink)

Most readers of Louis Althusser first enter his work through his writings on ideology. In an important new essay Étienne Balibar, friend and colleague of Althusser, offers an original reading of Althusser’s idea of ideology, drawing on both recently published posthumous writing and Althusser's work on the Piccolo Teatro di Milano. Balibar’s essay uncovers the intricate workings of interpellation through Althusser’s essays on the theater. If debates on dialectical materialism belong to a distant history, Balibar suggests, the question of ideology (...) remains crucial for thinking the present. The issue includes commentaries on Balibar’s essay from five influential scholars who engage critically with Althusser’s philosophy: Judith Butler, Banu Bargu, Adi Ophir, Warren Montag, and Bruce Robbins. This issue reanimates Althusser’s concept of ideology as an analytic tool for contemporary cultural and political critique. (shrink)

Avant-garde theatre is often invoked as the bellwether for a society that has become postdramatic – fragmented, alienated, and critical of efforts to create collectively shared meanings. A theatre whose sequenced actions have no narrative (so the story goes) mirrors a social world where the most conflictual situations no longer appear as drama but merely as spectacle: a society where audiences look on without any feeling or connection. Because only half right, these theses about postdramatic theatre and society are fundamentally (...) wrong. As modern societies have expanded and differentiated, the elements that compose performances have become separated and often fragmented in both theatre and society. If they can be brought back together again, performances are viewed as authentic and meaningful. If (re)fusion cannot be achieved, performances fail to communicate meaning. The aim of this essay is to demonstrate that a shared ambition to (re)fuse fragmented performative elements has defined the most important strain of avant-garde theatre over the last two centuries. Most radical theatrical innovation has sought to open live drama back up to the telos of myth and ritual. Neither in theatre nor social life can the world transcend dramaturgy; it is fundamental to the search for meaning in a world beyond cosmological religion. (shrink)

Biswas's book is a panoramic treatment of contemporary world theatre. The book under review will help both the neophyte, as also a scholar to negotiate ancient dramaturgy and more recent theatre. Biswas's eye for details is also remarked in this review. The review shows how Biswas, as it were, has written a manifesto of protest in this book.

In this article I introduce and summarize Alexander’s theory of social events as performance and ask what it offers performance studies. I critique the theory as being grounded in a theatre dramaturgy of actors, characters and scripts and suggest that while it appears to open new theoretical ground to deal with performances, it omits crucial features, namely embodiment, creativity and imagination. I distinguish between the cultural category performance, the theoretical category performance, and actual performance events, and I differentiate these from (...) the theoretical notion of performativity. I go on to enquire into the relations between performance, performances, performativity and society. (shrink)

The ethical turn that affects artistic and political practices today should not be interpreted as their subjection to moral criteria. Today, the reign of ethics leads to a growing indistinction between fact and law, between what is and what ought to be, where judgement bows down to the power of the law imposing itself. The radicality of this law is that it leaves no choice, and is nothing but the simple constraint stemming from the order of things. This brings about (...) an unprecedented dramaturgy of infinite evil, justice and redemption that can be traced not only in contemporary politics, but in philosophical reflection and film. (shrink)

Stemming from a study of social aesthetics, in which public reaction to human physical appearance is addressed, the present analysis considers the practice of humans associating themselves with nonhuman animals on the basis of the latter's appearance. The study found these nonhuman animals are intended to serve as a positive reflection on the humans who deliberately choose them for their “special” traits, which the humans then utilize to enhance their own social standing. The study compares this to the same practice (...) used by humans to associate themselves with attractive humans and serves the similar purpose of amassing social status by virtue of the association. This paper explains the phenomenon in theoretical terms; namely, symbolic interactionism, paying special attention to impression-management and dramaturgy, along with other interactionist features of attribution and social exchange. Where available, the paper uses scholarly, empirical work on the topic, supplemented by popular media observations and news articles. Viewed from an interactionist perspective, these empirical and non-empirical examples provide a novel picture of human-and-animal society as a unidirectional, status-seeking interaction intended to benefit human actors. (shrink)

In this paper I describe the relevance of philosopher Peter Sloterdijk's book Bubbles for social psychology. Bubbles offers the opportunity for the development of what I call a round social psychology. This is in contrast to the flatness characteristic of some of the more influential contemporary varieties of social psychology. Flat social psychology stays close to the ground, and is focused on the coordination of action. Round social psychology describes the atmosphere that surrounds and makes interaction possible in the first (...) place. It requires a theory that links intersubjectivity with spatiality. To describe flat social psychology I analyze the assumptions of three contemporary versions of social psychology: social cognition theory, Goffman's dramaturgy, and Gergen's relational psychology. I then describe in greater detail Sloterdijk's bubble philosophy and the characteristics of round social psychology. (shrink)

This paper examines the contribution of sociology to the Islamic proselytization. In the context of epistemology, it has the opportunity to develop based on five aspects: factors, systems, interpretative, developmentalism and participatory. The five principles can be developed based on sociological theories. Among these theories, for example are the phenomenology of Islamic proselytization, the social construction of Islamic proselytization, dramaturgy of Islamic proselytization, hermeneutics of Islamic proselytization, communicative acts of Islamic proselytization, and ethnomethodology of Islamic proselytization. Through a sociological approach, (...) the Islamic proselytization will be able to develop more quickly. In further, it can be said that the inclusion of social science is a form of pattern of science development based on the integration of science, namely the phenomenon of Islamic proselytization as an object of study and utilizing other sciences as an approach. (shrink)

Metaphorical analogies have been popular in different forms of reasoning, theatre and drama analogy among them. From the semiotic perspective, theatre is arepresentation of reality. Characteristic to theatrical representation is the fact that for creating representations of reality it uses, to a great extent, the materiality andcultural codes that also constitute our everyday life; sometimes the means of representation are even iconically identical to the latter. This likeness has inspirednumerous writers, philosophers and, later, social scientists to look for particular similarities (...) between social life, drama and theatre. In this paper I chose twoparticular approaches from the social sciences that make use of the metaphorical analogy of theatre in quite different, yet, to certain extent, also overlapping ways — Victor Turner’s concept of “social dramas” from anthropology and Erving Goffman’s “dramaturgy” of social interactions from sociology. The former bases hisanalogy more on the structure of the dramatic text and on a key resemblance in the (dramatic) conflict, whereas the latter builds his analogy on the principles ofperforming used in theatre, and regards characters and roles as major resemblances between action on stage and in social space. This paper examines these key resemblances and sheds light on what kind of interpretations of culture and society emerge when theatre analogies are put into action. In the concluding section some general problems, related to extended metaphors and analogical explanations the researcher needs to face with, are discussed. (shrink)

Metaphorical analogies have been popular in different forms of reasoning, theatre and drama analogy among them. From the semiotic perspective, theatre is a representation of reality. Characteristic to theatrical representation is the fact that for creating representations of reality it uses, to a great extent, the materiality and cultural codes that also constitute our everyday life; sometimes the means of representation are even iconically identical to the latter. This likeness has inspired numerous writers, philosophers and, later, social scientists to look (...) for particular similarities between social life, drama and theatre. In this paper I chose two particular approaches from the social sciences that make use of the metaphorical analogy of theatre in quite different, yet, to certain extent, also overlapping ways — Victor Turner’s concept of “social dramas” from anthropology and Erving Goffman’s “dramaturgy” of social interactions from sociology. The former bases his analogy more on the structure of the dramatic text and on a key resemblance in the conflict, whereas the latter builds his analogy on the principles of performing used in theatre, and regards characters and roles as major resemblances between action on stage and in social space. This paper examines these key resemblances and sheds light on what kind of interpretations of culture and society emerge when theatre analogies are put into action. In the concluding section some general problems, related to extended metaphors and analogical explanations the researcher needs to face with, are discussed. (shrink)

Plato’s Ion can be read as exposure of the relationship between text and performance. It’s a philosophical dialogue that exploits performative arguments and situations. I’ll make explicit these dramatic assumptions in the following translation of the Plato’s text.

This paper gives a reading and an interpretation of a psychotherapeutic session between a child and her therapist, drawing on the theory of re-enactment and dramaturgy in performance and theatre studies. The main thesis is that in their interaction child and therapist re-enact the trauma of the abandoned baby in a “play within the play”. Thus significant moments of meeting – in crossing the borders between play and reality – reveal how aggressive emotions are re-enacted and dissolve the rhythms and (...) impact of their negative power. (shrink)