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  1. Reenactment in theatre : some reflections on the philosophical status of restaging
    Autor*in: Sacco, Daniela
    Erschienen: 14.04.2022

    Theatre, because of its ability to represent through restaging, would seem to be the quintessential platform for reenactment. The "Orestea (una commedia organica?)" by R. Castelluci and Socìetas Raffaello Sanzio, restaged at the Paris Automne... mehr

     

    Theatre, because of its ability to represent through restaging, would seem to be the quintessential platform for reenactment. The "Orestea (una commedia organica?)" by R. Castelluci and Socìetas Raffaello Sanzio, restaged at the Paris Automne Festival in 2015, twenty years after its 1995 world premiere in Prato, is the starting point for a reflection on the status of restaging in theatre. This case study is the occasion to apply Walter Benjamin's philosophical concept of the 'Jetztzeit' to a theatrical context, and to consider also the 'citational' value of theatrical reenactment. These concepts are useful to study not only the reenactment of theatrical gesture and acting but also to consider the practice of restaging related to the theatrical event conceived in its entirety.

     
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    Hinweise zum Inhalt: kostenfrei
    Quelle: GiNDok
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); bookPart
    Format: Online
    ISBN: 978-3-96558-029-9; 978-3-96558-028-2
    DDC Klassifikation: Bühnenkunst (792); Literatur und Rhetorik (800)
    Sammlung: ICI Berlin
    Schlagworte: Aeschylus; Orestia; Inszenierung; Castellucci, Romeo; Societas Raffaello Sanzio; Aufführung; Paris; Geschichte 2015; Reenactment
    Lizenz:

    creativecommons.org/licenses/by-sa/4.0/

    ;

    info:eu-repo/semantics/openAccess
  2. Kleist's puppet theatre and the art of tango : looking for the back door to paradise
    Autor*in: Taler, Laura
    Erschienen: 16.10.2019

    This edited transcript of a presentation by filmmaker/choreographer Laura Taler responds to Heinrich von Kleist's text by taking him on as a dancing partner. It follows a simple structure of proposal and response similar to that found in the... mehr

     

    This edited transcript of a presentation by filmmaker/choreographer Laura Taler responds to Heinrich von Kleist's text by taking him on as a dancing partner. It follows a simple structure of proposal and response similar to that found in the movements between leader and follower in Argentine tango. Engaging Kleist's text in the double form of a speech and a tango performance, this critical contribution follows a twofold direction: it questions Kleist's representation of dance as a mechanical activity deprived of any form of intelligence and it refuses his attempt to force the aesthetic experience of dance into a framework that privileges theory over bodily experience. These two classical philosophical positions are questioned and provocatively opposed to the dynamic, situated, and dialogic thought performed within a witty tango interaction.

     
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    Quelle: GiNDok
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); bookPart
    Format: Online
    ISBN: 978-3-85132-616-1
    DDC Klassifikation: Bühnenkunst (792); Literatur und Rhetorik (800)
    Sammlung: ICI Berlin
    Schlagworte: Kleist, Heinrich von; Über das Marionettentheater; Tango
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess
  3. 'Perché mi vinse il lume d'esta stella' : Giovanni Giudici's rewriting of Dante's "Paradiso" for the theatre
    Autor*in: Ardissino, Erminia
    Erschienen: 21.10.2019

    Transforming a text - narrative or poetic - into a play, made of dialogues and organized into scenes, has been one of the most frequent forms of literary transcodification both in the past and in the present. We can find examples of this procedure at... mehr

     

    Transforming a text - narrative or poetic - into a play, made of dialogues and organized into scenes, has been one of the most frequent forms of literary transcodification both in the past and in the present. We can find examples of this procedure at the very origins of Italian theatre, which indeed began as the rewriting of earlier texts, both in the "sacre rappresentazioni" and in the profane field: the Bible in the first case and the Ovidian mythologies in the second. Poliziano's "Fabula d'Orfeo" and "Cefalo e Procri" by Niccolò da Correggio are the first well-known examples of this process. Thus, the metamorphosis of a text into a dramatization has many models in the history of theatre and literature. It would be of great interest to start with an overview of the different types, aims, and forms of transcodification of texts that are enacted in order to create dramatizations capable of being performed on stage. Erminia Ardissino attempts to offer an introduction to her study of Giovanni Giudici's play about Dante's "Paradiso" with a brief discussion of three different practices of theatrical transcodification. She looks at three pièces written at the request of the Italian scenographer Federico Tiezzi between 1989 and 1990 as stage productions of the three cantiche of the Divine Comedy. Although they belong to the same project, are inspired by the same person, and share a unified aim, the three pièces created by Edoardo Sanguineti, Mario Luzi, and Giovanni Giudici show three different approaches to the task of transcodifying a text in order to produce a drama - the task, in Genette's words, of creating a theatrical palimpsest.

     
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    Quelle: GiNDok
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); bookPart
    Format: Online
    ISBN: 978-3-85132-617-8
    DDC Klassifikation: Bühnenkunst (792); Literatur und Rhetorik (800); Italienische, rumänische, rätoromanische Literaturen (850)
    Sammlung: ICI Berlin
    Schlagworte: Dante Alighieri; Divina Commedia. Paradiso; Rezeption; Giudici, Giovanni; Bearbeitung; Theater; Adaption <Literatur>
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess
  4. 'La vera diversità' : multistability, circularity, and abjection in Pasolini's "Pilade"
    Autor*in: Holzhey, Christoph F. E.
    Erschienen: 16.12.2019

    Before completing his uncharacteristically hopeful filmic vision of an African Oresteia, Pier Paolo Pasolini invented a theatrical continuation of Aeschylus's trilogy. "Pilade" (1966/70) imagines what happens after Orestes, having being absolved by... mehr

     

    Before completing his uncharacteristically hopeful filmic vision of an African Oresteia, Pier Paolo Pasolini invented a theatrical continuation of Aeschylus's trilogy. "Pilade" (1966/70) imagines what happens after Orestes, having being absolved by the Aeropagos in Athens, goes back to Argos. With its clear allusions to political developments in the last century - fascism, the Resistance, and Communist revolutions - the play reads as a mythical allegory for the situation of engaged intellectuals in thetwentieth century. As Christoph F. E. Holzhey's contribution '"La vera Diversità": Multistability, Circularity, and Abjection in Pasolini's "Pilade"' shows, Pasolini's imagined continuation of the Oresteia challenges an ideology of rational foundation and progress by moving through a series of aspect changes prompted by sudden events that allow for some integration while also creating new divisions. After all possible alliances among the principal characters - Orestes, Electra, and Pylades - have been played through, Pylades curses reason for its deceptive, consoling, and violent function and embraces his abjected position of true diversity beyond intelligibility. However, Holzhey argues, rather than functioning as the play's telos, this ending is an open one and participates in the paradoxical performance of a self-contradictory subjectivity and a circular temporality without entirely giving up hope for a truly different alternative.

     
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    Quelle: GiNDok
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel); bookPart
    Format: Online
    ISBN: 978-3-85132-681-9
    DDC Klassifikation: Bühnenkunst (792); Literatur und Rhetorik (800)
    Sammlung: ICI Berlin
    Schlagworte: Pasolini, Pier Paolo; Aeschylus; Orestia; Paradoxon; Widerspruch; Inversionsfigur; Wahrnehmungswechsel
    Lizenz:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess
  5. Therapeutic theatre and spontaneity: Goethe and Moreno
    Autor*in: Scheiffele, Eberhard

    Moreno noted a similarity between a late 18th Century play by the great German scholar and artist, Goethe, and some elements of psychodrama, which can be substantiated; however, Goethe was not, as Moreno suggested, an early promoter of spontaneity.... mehr

     

    Moreno noted a similarity between a late 18th Century play by the great German scholar and artist, Goethe, and some elements of psychodrama, which can be substantiated; however, Goethe was not, as Moreno suggested, an early promoter of spontaneity. The similarities and contrasts between these two men are intriguing.

     
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    Hinweise zum Inhalt: kostenfrei
    Quelle: GiNDok
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Online
    DDC Klassifikation: Bühnenkunst (792)
    Schlagworte: Goethe, Johann Wolfgang von; Moreno, Jacob Levy; Theater
    Lizenz:

    publikationen.ub.uni-frankfurt.de/home/index/help

    ;

    info:eu-repo/semantics/openAccess