African Traditional Drama and Issues in Theater and Performance Criticism

1994 ◽  
Vol 28 (1) ◽  
pp. 3-18 ◽  
Author(s):  
John Conteh-Morgan
Keyword(s):  
Performance Criticism ◽  
And Performance

scholarly journals Using Communication Boundaries to Minimize Athlete Social Media Distractions During Events

2021 ◽  
Vol 25 (6) ◽  
pp. 683-704
Author(s):  
Michelle Hayes ◽  
Kevin Filo ◽  
Caroline Riot ◽  
Andrea N. Geurin
Keyword(s):  
Social Media ◽  
Best Practice ◽  
Media Use ◽  
Negative Consequences ◽  
Social Media Use ◽  
Communication Privacy Management ◽  
Performance Criticism ◽  
And Performance ◽  
Use Of Social Media ◽  
Sport Events

Sport organizations regulate athletes' use of social media for many reasons including the protection of the organization's reputation. Several strategies have been introduced to minimize issues related to the negative consequences athlete social media use may present, yet whether these strategies also work to address social media distractions experienced by athletes during major sport events is not well known. Utilizing communication privacy management (CPM) theory, the purpose of the current research was to examine the aspects of social media that sport administrators perceive to be distracting to athletes and what support and management mechanisms are utilized to address such concerns during major sport events. Semistructured interviews ( N = 7) with Australian national sport organization (NSO) administrators were conducted. Sport administrators reported several aspects of social media that are perceived to distract athletes including personal and performance criticism and a fixation with social media profiles. Social media could also be used to manage athlete temperament. As a result, organizations highlighted both proactive and reactive communication boundaries and mechanisms that could be used to address concerns including content restrictions, best practice case studies, engaging in conversations, and monitoring. Opportunities for sport practitioners are described including conducting consultation sessions with athletes to better understand their needs regarding their social media use.

The Gospel of Mark, Orality Studies and Performance Criticism

2018 ◽  
Vol 25 (3-4) ◽  
pp. 350-393
Author(s):  
Pieter J.J. Botha
Keyword(s):  
New Testament ◽  
Gospel Of Mark ◽  
Critical Studies ◽  
Jesus Movement ◽  
Greco Roman ◽  
Performance Criticism ◽  
The New Testament ◽  
Performance Events ◽  
History Of ◽  
And Performance

Abstract Orality/aurality is recognised by a growing number of scholars as a significant aspect of the context of New Testament texts. As part of the exploration of the oral features of New Testament texts some are turning to Greco-Roman storytelling and oratory, informed by performance studies. A selection of these explorations are discussed to introduce scholarship that attempts to identify various elements of performance events in the early church as a basis for re-thinking our ways of studying and our interpretations of the New Testament writings in their original context. The obstacles to such efforts are considerable, but some significant gains have been made. Focusing on research on the Gospel of Mark, this discussion shows how performance critical studies allow new insights into the origins of the Gospels, leading to interesting new and meaningful perspectives on the history of the early Jesus movement with specific attention to the role telling and presenting the Markan story played.

The Oxford Handbook of Shakespeare and Performance

2017 ◽  
Keyword(s):  
North America ◽  
Latin American ◽  
Cultural Hegemony ◽  
Sound Recording ◽  
The Third ◽  
Performance Criticism ◽  
The World ◽  
And Performance ◽  
Latin American Countries ◽  
Final Group

Shakespearean performance criticism has undergone a sea change in recent years, and strong tides of discovery are continuing to shift the contours of the discipline. The essays in this volume, written by scholars from around the world, reveal how these critical cross-currents are influencing the ways we now view Shakespeare in performance. Essays are divided into four groups. The first group interrogates how Shakespeare continues to achieve contemporaneity for Western audiences by exploring modes of performance, acting styles, and aesthetic choices that are regarded as experimental. The second group tackles the burgeoning field of reception: how and why audiences respond to performances, or actors to the conditions in which they perform; how immersive productions turn spectators into actors; how memory and cognition shape and reshape the performances we think we saw. The third group addresses the ways in which technology has altered our views of Shakespeare, both through the mediums of film and sound recording, and through digitalizing processes which have caused a profound reconsideration of what performance is and how it is accessed. The final group grapples with intercultural Shakespeare, considering not only matters of cultural hegemony and appropriation in a ‘global’ importation of non-Western productions to Europe and North America, but also how Shakespeare has been made ‘local’ in performances staged or filmed in African, Asian, and Latin American countries. Together, these groundbreaking essays attest to the richness and diversity of Shakespearean performance criticism as practised today, and point the way to critical continents not yet explored.

Cheerful History: the Political Theatre of John McGrath

2002 ◽  
Vol 18 (4) ◽  
pp. 313-324 ◽  
Author(s):  
Drew Milne
Keyword(s):  
Samuel Beckett ◽  
Karl Marx ◽  
The Political ◽  
Political Theatre ◽  
Harold Pinter ◽  
Performance Criticism ◽  
Direct Address ◽  
University Of Cambridge ◽  
And Performance

In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.

Oral Fixation or Oral Corrective? A Response to Larry Hurtado

2016 ◽  
Vol 62 (2) ◽  
pp. 183-200 ◽  
Author(s):  
Kelly R. Iverson
Keyword(s):  
Ancient World ◽  
Recent Issue ◽  
Performance Criticism ◽  
Oral Fixation ◽  
Biblical Texts ◽  
Interpretive Method ◽  
And Performance

Over the last several decades, performance criticism has made significant headway as an interpretive method. However, in a recent issue of this journal, Larry Hurtado argues that the key assumptions of the movement ignore various historical realities regarding the use of texts in the ancient world. The following discussion offers a brief response to what Hurtado suggests are several ‘oversimplifications’. The essay argues that rather than being a ‘fixation’ as Hurtado maintains, the renewed focus on orality and performance is a corrective that helps to provide a broader understanding of how biblical texts were typically experienced in the ancient world.

scholarly journals Hopeful Acts in Troubled Times: Thinking as interruption and the poetics of nonconforming criticism

2019 ◽  
Vol 5 (1) ◽  
pp. 25-41
Author(s):  
Diana Damian Martin
Keyword(s):  
The Political ◽  
Differential Relation ◽  
Politics Of Recognition ◽  
Line Drawings ◽  
Performance Criticism ◽  
The Enlightenment ◽  
And Performance

In his work titled ‘Dance Curves: On the Dances of Palucca’ (1926), Wassily Kandisky translates two postures of the German Expressionist choreographer Gret Palucca from photographs into line drawings. The drawings are a study, but they are neither pictorial, nor straightforwardly representational. Staging an encounter between Dance Curves and Hannah Arendt’s investigation into thinking as both an interrupted and interruptive activity, this essay argues for a poetics of appearance as it is constituted by nonconforming acts of critique.Negotiating conflicts that shape a politics of recognition for criticism which deliberately or implicitly refutes utility, I articulate a process of appearance of meaning with differential relation to modernist concerns for interpretation, dissenting from rationalist and objectivist traditions that have dominated theatre and performance criticism since the Enlightenment.  What happens when I disavow the drawings from the images, remove them from the source? Perhaps in such a place, we might find critique as a process of deliberately mishandled translation, as an occupation of an idea shifted elsewhere, as a displacement of meaning. Appearance shapes itself around slippages of attention that depart from the work of performance.In this essay, I turn to how these slippages fold outwards from the encounter, to the political nexus between performance and its world. In Arendt, I locate a means through which forms of thinking rendered as criticism constitute a resistant poetics to normative modes of paying attention, operating beyond what Bojana Kunst calls ‘the ready-made possibilities of discourse’ (2015, 13) under neoliberalism, that is, the ‘pre-established models of criticality and reflexivity’ to which art and artistic subjectivity often partake (ibid.) 

Ancient Greek Tragedy as Performance: the Literature–Performance Problematic

2019 ◽  
Vol 35 (1) ◽  
pp. 19-32
Author(s):  
Mario Frendo
Keyword(s):  
Performing Arts ◽  
Greek Tragedy ◽  
Fifth Century ◽  
Ancient Greek ◽  
Early Modernity ◽  
Performance Criticism ◽  
Theatre Studies ◽  
And Performance ◽  
Insight Into ◽  
A Performance

In this article Mario Frendo engages with the idea of ancient Greek tragedy as a performance phenomenon, questioning critiques that approach it exclusively via literary–dramatic methodologies. Based on the premise that ancient Greek tragedy developed within the predominantly oral context of fifth-century BCE Greece, he draws on Hans-Thies Lehmann's study of tragedy and its relation to dramatic theatre, where it is argued that the genre is essentially ‘predramatic’. Considered as such, ancient Greek tragedy cannot be fully investigated using dramatic theories developed since early modernity. In view of this, Walter J. Ong's caution with respect to the rational processes produced by generations of literate culture will be acknowledged and alternative critiques sought, including performance criticism and performance-oriented frameworks such as orality, via which Frendo traces possible critical trajectories that would allow contemporary scholarship to deal with ancient tragedy as a performance rather than literary phenomenon. Reference will be made to Aristotle's use of the term ‘poetry’, and how performance criticism may provide new insight into how the Poetics deals with one of the earliest performance phenomena in the West. Mario Frendo is lecturer of theatre and performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is director of CaP, a research group focusing on links between culture and performance. His research interests include musicality in theatre, ancient tragedy, and relations between philosophical thought and performance.

Jonson and Performance

2016 ◽  
Author(s):  
Matthew Steggle
Keyword(s):  
Ben Jonson ◽  
Performance Criticism ◽  
Sam Mendes ◽  
Psychological Truth ◽  
And Performance ◽  
Critical Writings

For Una Ellis-Fermor, there is a ‘deeply inherent non-dramatic principle’ in the drama of Ben Jonson, a fundamental dislike of theatricality, and a pursuit instead of ‘psychological truth’. Conversely, theatre directors such as Sam Mendes see Jonson’s plays as beautifully engineered blueprints for performance, and locate the psychological truth of Jonson precisely in performance on the stage. This chapter considers current approaches to the whole question of Jonson in performance. It examines the idea of an antitheatrical Jonson, rooted in Jonson’s own critical writings and developed by Ellis-Fermor, Herford and Simpson, and Jonas A. Barish, among others. It contrasts that with the more theatre-friendly version of Jonson which informs much recent performance criticism. The chapter builds up to a reading of the metatheatrical and performance aspects of the most often staged Jonson play of all: Volpone.

Transmission Scanning Electron Microscopy and Energy Analysis with the Siemens ELMISKOP 101

1972 ◽  
Vol 30 ◽  
pp. 450-451
Author(s):  
H. M. Thieringer
Keyword(s):  
Objective Lens ◽  
Transmission Microscopy ◽  
Image Recording ◽  
Mode Of Operation ◽  
Scanning Transmission ◽  
Electron Microscopes ◽  
And Performance ◽  
Convergent Beam ◽  
Ray Path ◽  
Beam Diffraction

It has repeatedly been show that with conventional electron microscopes very fine electron probes can be produced, therefore allowing various micro-techniques such as micro recording, X-ray microanalysis and convergent beam diffraction. In this paper the function and performance of an SIEMENS ELMISKOP 101 used as a scanning transmission microscope (STEM) is described. This mode of operation has some advantages over the conventional transmission microscopy (CTEM) especially for the observation of thick specimen, in spite of somewhat longer image recording times.Fig.1 shows schematically the ray path and the additional electronics of an ELMISKOP 101 working as a STEM. With a point-cathode, and using condensor I and the objective lens as a demagnifying system, an electron probe with a half-width ob about 25 Å and a typical current of 5.10-11 amp at 100 kV can be obtained in the back focal plane of the objective lens.

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