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Masks from Indonesia have been worn in performances in a number of contexts. In Java, masked drama occurred in the royal courts as well as in the countryside. In Bali masks are still a feature of daily life in connection with performances in temples and at life cycle ceremonies. Balinese masks relate to a range of genres. In Kalimantan masks are mostly used in rituals connected with rice-growing. Indonesian masks in the Náprstek Museum collections all come from one of these contexts, most having been used and later discarded, while some were made especially for the tourist market.
Albers, Yvonne. “The Empty Chair: On the Politics of Spectatorial Situatedness in the Performances of Rabih Mroué” in Commitment and Beyond: Reflections on/of the Political in Arabic Literature since the 1940s , edited by Friederike Pannewick and Georges Khalil. Wies-baden: Dr Ludwig Reichert Verlag, 2015, 317–332.
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The contemporary landscape of performing arts becomes more and more populated by hybrid genres or “artistic installations” (Rebentisch) which fuse traditional artistic, theatrical and performance practices with scientific procedures, political activism and designing new technologies (e.g. bioart, technoart, digital art and site-specific performance). In this context, theatre texts can no longer be perceived as autopoietic means of solely artistic expression but become part of an assemblage of different discourses and practices. As contemporary assemblage theory contends (DeLanda), assemblages are relational entities which change dramatically depending on relations between its different human and nonhuman elements and various contexts in which they function. Taking the contemporary installation art as a vantage point, this paper aims to analyse a Restoration comedy The Virtuoso (1676) by Thomas Shadwell in an assemblage of theatrical, scientific and political discourses and practices of Early Modern England. Staged in Dorset Gardens theatre in London, the play mobilised a plethora of discourses of science (the status of experimental philosophy institutionalized in 1660 as the Royal Society), politics (Restoration of the monarchy under Charles II) and gender (the infamous heac vir or effeminate man). Drawing on contemporary new materialism, the paper focuses predominantly on Shadwell’s use of the laboratory as a site of emerging assemblages rather than objective matters of fact. In this context, the play itself becomes an assemblage laboratory where new ways of thinking and being are being forged and constantly negotiated.
The article is an attempt at applying the concept of counterfactuality, typically employed with reference to narrative forms, to the analysis of visual culture, particularly to theatre photography. The material for case studies is provided by the works of Polish photographers who redefine the function of this form of photography. Typically, photography is seen by theatre historians as the prime form of theatre documentation, and therefore treated as subservient to the needs of theatre studies as an academic discipline. Contrary to that, the photographic projects analysed in the present paper (particularly those of Ryszard Kornecki and Magda Hueckel), although made in theatre during performances, have been produced and distributed as autonomous art forms which neither represent nor document theatre productions. In the analysis of these projects, I employ Margaret Olin’s concept of “performative index”, which describes the relationship between the image and the viewer as a dynamic creation of meaning. With reference to this theoretical framework, I argue that counterfactuality of theatre photography is a strategy of turning this medium into an autonomous form of art.
: W. W. Norton & Company, 2014.
Mailer, Norman. Of a Fire on the Moon . New York: Random House, 2014.
McCurdy, Howard E. Space and the American Imagination . Baltimore: Johns Hopkins University Press, 2011.
McKenzie, Jon. Perform or Else… From Discipline to Performance . London and New York: Routledge, 2001.
Siddiqi, Asif A. “Cosmic Contradictions. Popular Enthusiasm and Secrecy in the Soviet Space Program.” In Into the Cosmos: Space Exploration and Soviet Culture , edited by James T. Andrews, Asif A. Siddiqi. Pittsburgh: University of
, 2012. https://www.youtube.com/watch?v=d39aYCyOGk8.
Linnap, Peeter. “Everyday Absurdieties. The Techno-Realism of Gvido Kajons” and “Self - Performance. Peeter Linnap: The Critic in Conversation with The Artist.” In McCulloch, Martha J., ed. Borderlands. Contemporary Photography from the Baltic States. Glasgow: Street Level, 1993, pages not numbered.
Matulytė, Margarita. “Pergalės maršas: Iljos Fišerio sovietinių demonstracijų fotoarchyvas.” Metraštis 15 (2012): 23-24.
Matulytė, Margarita. Nihil obstat. Lietuvos