The Theme of Social and Political Consciousness as a Challenge for Indian Recorded Music

2004 ◽  
Vol 32 (11/12) ◽  
pp. 84
Author(s):  
Pankaj Rag
Keyword(s):  
Political Consciousness ◽  
Recorded Music

Realism 2.0

2019 ◽  
pp. 663-679
Author(s):  
Augusta Rohrbach
Keyword(s):  
Web 2.0 ◽  
Knowledge Sharing ◽  
Real Time ◽  
Social Reform ◽  
Data Modeling ◽  
Political Consciousness ◽  
Web 2.0 Technologies ◽  
Reform Agenda ◽  
Social Purpose ◽  
The Social

This chapter looks to the future of teaching realism with Web 2.0 technologies. After discussing the ways in which technologies of data modeling can reveal patterns for interpretation, the chapter examines how these technologies can update the social-reform agenda of realism as exemplified by William Dean Howells’s attempted intervention into the Haymarket Riot in 1886. The advent of Web 2.0 techologies offers students a way to harness the genre’s sense of social purpose to knowledge-sharing mechanisms to create a vehicle for political consciousness-raising in real time. The result is “Realism 2.0,” a realism that enables readers to engage in their world, which is less text-centric than it was for previous writers.

Political Consciousness in a Local Union

1951 ◽  
Vol 15 (4) ◽  
pp. 692 ◽  
Author(s):  
Joel Seidman ◽  
Jack London ◽  
Bernard Karsh
Keyword(s):  
Political Consciousness ◽  
Local Union

Towards a Poor Theatre in Brazil

1989 ◽  
Vol 14 (2) ◽  
pp. 152-164 ◽  
Author(s):  
David George
Keyword(s):  
Complex System ◽  
Musical Instruments ◽  
Unique Form ◽  
Military Dictatorship ◽  
Marked Influence ◽  
Social Vision ◽  
Practical Applications ◽  
Recorded Music ◽  
The Military ◽  
Abstract Formulation

São Paulo's Grupo Macunaíma has established a paradigm for a unique form of poor theatre, which has had a marked influence on alternative troupes in Brazil attempting to break the commercial mould and to return to a social vision, lost during the darkest years of the military dictatorship. Grotowski's Towards a Poor Theatre outlines the abstract formulation and practical applications of the method he elaborated in his Polish Laboratory Theatre. The director-theoretician proposed first and foremost to overturn what he called rich theatre: a form of staging using ‘borrowed mechanisms’ from movies and television and expensive scenic technology. The Polish Laboratory was also an actor-centred theatre in which the stage was redesigned architecturally for each performance to allow the performers to interact with the audience and in which there were no naturalistic sets or props, no recorded music or sophisticated lighting. The actor, through a complex system of signs, continually created and recreated the meaning of text, constumes, set, and props. ‘By this use of controlled gesture the actor transforms the floor into a sea, a table into a confessional, a piece of iron into an animate partner, etc.’ (Poor Theatre, p. 21). Grotowski's plays were filled with costumes made of torn bags, bathtubs serving as altars, bunkbeds becoming mountains, hammers used as ‘musical’ instruments. ‘Each object must contribute not to the meaning but to the dynamic of the play; its value resides in its various uses.’ Other tenets of the Grotowski system germane to this study are a return to mythical and ritual roots, the theatrical remaking of classical works, and the collective basis of stagecraft.

Protest and Political Consciousness.

1978 ◽  
Vol 7 (6) ◽  
pp. 780
Author(s):  
James A. Geschwender ◽  
Alan Marsh
Keyword(s):  
Political Consciousness

Recorded Music

2009 ◽  
Vol 301 (3) ◽  
pp. 92-92
Author(s):  
Michael Moyer
Keyword(s):  
Recorded Music
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