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For a Phenomenology of the Interval in the Theatre performance. A Semiotic Analysis

Abstract

Theatre, in the notional complexity to be undertaken, updates and in this update it feels more pronounced the tendencies of increasing the performing spectrum. Writing about theatre inevitably leads you to set on something, on that attribute bringing the conviction that around its analysis the appreciative matters get interesting and reveal assumptions for future analysis.

The article we propose approaches theatre in the cardinal ambiguity of meanings, namely in what we call here interval. We assume an approximate delimitation of this range, balancing and improving the center-periphery relationship, and then establish ourselves to turn the performance itself into a phenomenon, with a double implication. Making a connection between the audience and the performance is not something new, but if the significance, the midpoint of this relationship is fractured in the process transmitter-receiver, can we not think of the possibility of the interval/range as a deconstruct refuge of meanings?

This paper asserts that if hiding the meaning becomes a phenomenon itself, it will be possible to read the performance by averaging this interval in which will be found, in the articulation of the public’s reception, the association of the cultural and theatrical codes.

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From Dramatic Text to Visual Dramaturgy

Abstract

As a system of signs or of signifying practices aimed at engaging with another system of signs and of signifying practices, the one belonging to the stage, the performance text found its postdramatic equivalent in visual dramaturgy. The critical attention is directed at the image or at the perceived relationship between body, space, sound, light and objects. The mission of visual dramaturgy is represented by the association between the viewer and what is being viewed, the semiotics of the visual, post-narratology, the phenomenology of the body or of the gaze, serving a single aim: organising the action in order to have it performed.

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New Paradigms in the Actor’s Training – Awareness

Making of Emotions , published in USA by The Institute of Heart Mats, 2003 Merleau Ponty, Maurice, Phenomenology of perception , Routledge Classics, London &New York, 2002 Roach R., Joseph, The player’s passion: Studies in the science of acting , University of Michigan Press, SUA, 1993 https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4960264/ , Schaffer, Joyce, 26 July 2016, Neuroplasticity and Clinical Practice: Building Brain Power for Health , ncbi.nlm.nih.gov, accessed on 17.10.2018. https://www.researchgate.net/publication/273774412 Tang

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Take Care of Your Scar(f), Lilya! De-stigmatizing the Image of the Post-Soviet Other in Nordic Cinema

References Bakić-Hayden, Milica 1995. ‘Nesting Orientalisms: The Case of Former Yugoslavia’. - Slavic Review, 54, 4, 917-931. de Beauvoir, Simone [1949] 1989. The Second Sex. Trans. and ed. H. M. Parshley. New York: Vintage Books. Elonet Kansallisfilmografia 2013. http://www.elonet.fi/fi/elokuva/147864#undefined (10 December 2013). Hegel, Georg Wilhelm Friedrich [1807] 1977. Phenomenology of Spirit. Trans. A. V. Miller. Oxford: Oxford University Press. Kaurismäki, Aki; Hukkanen

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Slowly Moving Bodies: Signs of Pictorialism in Aki Kaurismäki’s Films

. Berkeley: University of California Press. Hochberg, Julian 1978. Perception (Foundations of Modern Psychology). 2nd ed. Englewood Cliffs: Prentice-Hall. Hollander, Anne 1989. Moving Pictures. New York: Alfred A. Knopf. Lefebvre, Henri 1991. The Production of Space. Trans. Donald Nicholson-Smith. Oxford: Basil Blackwell. Merleau-Ponty, Maurice 1962. The Phenomenology of Perception. Trans. Colin Smith. London: Routledge. Mitry, Jean 1988. The Aesthetics and Psychology of the Cinema. Trans

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