scholarly journals Gritos en la piel, sonidos del dolor. A propósito de Zona de Dolor 1 de Diamela Eltit

2019 ◽  
Vol 7 (12) ◽  
pp. 44-70
Author(s):  
Andrés Grumann
Keyword(s):  
Performance Analysis ◽  
Theoretical Perspective ◽  
The Body ◽  
Diamela Eltit ◽  
Theatre Studies ◽  
The Voice

Addressing a theoretical perspective from the Theatre Studies, the writing aims to perform an analysis of the performance Zona de dolor 1 or "Maipú" by Diamela Eltit from 1980. To do this,I stop at the skin, the body, the voice and the pain as surfaces of a sensitive experience generating knowledge that are perceived from the viewing of the available video of theperformance. This performance analysis requires a historiographic rescue in which the partiality with which the concept of "escena de anvanza" (Richard) interpreted the performances Zonas de dolor (1980 and 1982) is discussed, situating a reading of the filiations and crossings of Eltit with Ronald Kay and the seminar that he dedicated to the wisdom ofAntonin Artaud in 1974. The thought about the body, the flesh and the pain of the French teatrist accompanies the following reflections and allows to present the power of the performative in the voice of Diamela Eltit in some in some scenes from the video of Zona de dolor 1.

scholarly journals Archiveras anarquistas: Corporal Testimony in the Work of Diamela Eltit

2013 ◽  
Vol 1 (1) ◽  
pp. 1-17
Author(s):  
Megan Corbin
Keyword(s):  
Feminist Criticism ◽  
The Body ◽  
Diamela Eltit ◽  
Truth Telling ◽  
The Past ◽  
Cultural Texts ◽  
The Subject ◽  
Chilean Dictatorship ◽  
The Voice ◽  
Historical Model

Abstract: There exists a constant within the trajectory of Diamela Eltit’s contributions to New Chilean Fiction: the turn to the body’s revelatory capacity as a corporal archive of human existence. Simultaneously exploring and rejecting the confines of the traditional testimonial reliance on language, Eltit moves the reader to a re-consideration of the truth-telling function of the biological materiality of the body, placing imperfect corporalities on display as a means of speaking, even where the voice itself may falter.  This essay locates Eltit’s move to the corporal within the trajectory of feminist criticism, the traumatic realities of the Chilean dictatorship and post-dictatorship periods, and the search for the recuperation of those bodily knowledges represented by the disappeared.  Next, it turns to Eltit’s Impuesto a la carne as her most recent re-visioning of the importance of corporal textualities, whether or not the subject-matter of the body’s denunciation is connected to the dictatorship.  Lastly, this essay reconsiders the rejective power of the traditional archive, analyzing the effect set models have on those who seek to tell their stories outside of the traditional testimonial model. I argue that the case of Diamela Eltit is an example of the way writers and producers of cultural texts which actively inscribe alternative memories of the past are resisting the authoritative power of the archive and subversively inscribing narrative memory onto bodily materialities, re-orienting the view of the corporal from an evidentiary showing to an active process of re-telling the past. Eltit’s novels, inscribed with her corporal textual model, give voice to survivors, articulating an alternate historical model for the archive, embracing the biological and making it speak against the rigid abuses of authoritarianism.

scholarly journals The Poetry Reading

2017 ◽  
Vol 7 (1) ◽  
pp. 44-62 ◽  
Author(s):  
Martin Glaz Serup
Keyword(s):  
Theoretical Perspective ◽  
The Body ◽  
Specific Reading ◽  
Independent Form ◽  
Poetry Reading ◽  
The Voice ◽  
Form Of Expression

What is a poetry reading, how does the performed poem differ from the poem published on the page, and first and foremost: how do we read it? This article understands the poetry reading as an independent form of expression, which neither ranks above nor below the written poem, but can be placed alongside it. Contrary to the printed poem, the audience often only has access to the performed poem once – while it is being performed – and is subsequently forced to rely on the memory of the specific reading and situation. Similarly, the body, the voice, the place, the time – and, in the case of recorded readings, also the remediation – are vital to how the poetry reading creates meaning. The article methodologically investigates: How do we approach the poetry reading from an analytical and a theoretical perspective, and includes readings of three poetry readings by Vanessa Place, Pia Juul and Jacques Roubaud.

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

scholarly journals Sign Language Interpreting in Theatre: Using the Human Body to Create Pictures of the Human Soul

2017 ◽  
Vol 9 (1) ◽  
pp. 45
Author(s):  
Michael Richardson
Keyword(s):  
Sign Language ◽  
Mirror Neuron System ◽  
Mirror Neuron ◽  
The Body ◽  
Literary Translation ◽  
Human Soul ◽  
Neuron System ◽  
Theatre Studies ◽  
Neurological Research ◽  
Sign Language Interpreting

This paper explores theatrical interpreting for Deaf spectators, a specialism that both blurs the separation between translation and interpreting, and replaces these potentials with a paradigm in which the translator's body is central to the production of the target text. Meaningful written translations of dramatic texts into sign language are not currently possible. For Deaf people to access Shakespeare or Moliere in their own language usually means attending a sign language interpreted performance, a typically disappointing experience that fails to provide accessibility or to fulfil the potential of a dynamically equivalent theatrical translation. I argue that when such interpreting events fail, significant contributory factors are the challenges involved in producing such a target text and the insufficient embodiment of that text. The second of these factors suggests that the existing conference and community models of interpreting are insufficient in describing theatrical interpreting. I propose that a model drawn from Theatre Studies, namely psychophysical acting, might be more effective for conceptualising theatrical interpreting. I also draw on theories from neurological research into the Mirror Neuron System to suggest that a highly visual and physical approach to performance (be that by actors or interpreters) is more effective in building a strong actor-spectator interaction than a performance in which meaning is conveyed by spoken words. Arguably this difference in language impact between signed and spoken is irrelevant to hearing audiences attending spoken language plays, but I suggest that for all theatre translators the implications are significant: it is not enough to create a literary translation as the target text; it is also essential to produce a text that suggests physicality. The aim should be the creation of a text which demands full expression through the body, the best picture of the human soul and the fundamental medium of theatre.

scholarly journals Społecznie konstruowane ciała i performatywna magia: Teoria socjologiczna Pierre’a Bourdieu w badaniach performatywnych

2017 ◽  
Author(s):  
Lucyna Kopciewicz
Keyword(s):  
Social Construction ◽  
Social Science ◽  
Performance Studies ◽  
Sociological Theory ◽  
Cultural Anthropology ◽  
The Body ◽  
Communication Studies ◽  
Spatial Practices ◽  
Theatre Studies ◽  
The Subject

Social construction of the body and the performative magic: Pierre Bourdieu’s sociological theory in performance studiesPerformance studies are a developing field of social science which draws on the insights of sociology, ethnography, cultural studies, cultural anthropology, theatre studies and communication studies. The object of performance studies is human activity seen as expression which constitutes the process of production and reproduction of subjectivity. In this text the author analyses Pierre Bourdieu’s sociological theory from the perspective of performance studies: of questions about social agency, understood as constructing the subject within a specific field of power. The author focuses particularly on the following aspects of individual and collective practices as described by Pierre Bourdieu: spatial practices, bodily practices, and masculine domination. Społecznie konstruowane ciała i performatywna magia: Teoria socjologiczna Pierre’a Bourdieu w badaniach performatywnychPerformatyka jest rozwijającą się dziedziną badań społecznych, która korzysta z dorobku socjologii, etnografii, studiów kulturowych, antropologii kulturowej, teatrologii, studiów nad komunikowaniem. Przedmiotem badań performatywnych jest aktywność ludzka rozumiana jako ekspresja, która stanowi proces wytwarzania i reprodukowania podmiotowości. W niniejszym tekście autorka analizuje teorię socjologiczną Pierre’a Bourdieu w perspektywie performatyki: pytań o społeczną sprawczość rozumianą jako konstruowanie podmiotu w określonym polu władzy. Szczególnemu namysłowi autorka poddaje następujące aspekty indywidualnych i zbiorowych praktyk opisane przez Pierre’a Bourdieu: praktyki przestrzenne, praktyki cielesne, męska dominacja.

Body Resonance and the Voice

2016 ◽  
Vol 26 (1) ◽  
pp. 137-157
Author(s):  
Vita Heinrich-Clauer
Keyword(s):  
Self Efficacy ◽  
The Body ◽  
The Other ◽  
Therapeutic Approaches ◽  
Important Distinction ◽  
Vocal Expression ◽  
Psychotherapeutic Process ◽  
Other Hand ◽  
The One ◽  
The Voice

This article focuses on bioenergetic principles and the link between emotions and the voice, discussing various approaches to vocal expression in the psychotherapeutic process. There is an examination of the idiosyncrasies of bioenergetic work with the voice in contrast to therapeutic approaches that work solely with the body. There is an important distinction for practical bioenergetic work between liberating vocal discharge on the one hand and the build-up of tone, boundaries and self-efficacy on the other hand (cf. Shapiro, 2006, 2008, 2009).

Priming the Body: Breath as a Foundation for Exploring Ethical Performance Practice

2015 ◽  
Vol 6 (1) ◽  
pp. 6-21
Author(s):  
Leena Rouhiainen
Keyword(s):  
Theoretical Perspective ◽  
Body Awareness ◽  
Teaching Experiment ◽  
The Body ◽  
Body Psychotherapy ◽  
The Arts ◽  
Critical Skills ◽  
Theatre Pedagogy ◽  
And Performance ◽  
Performance Project

Abstract This article contemplates how the cultivation of breath through specific body awareness techniques might be understood to support a dialogical and ethical relatedness between collaborators constructing a performance through an open-ended process. The article introduces a teaching experiment based mainly upon exercises drawn from strands of body psychotherapy that took place within a larger experimental and cross-artistic workshop and performance project. This project aimed at enhancing the collaborative, creative, and critical skills of MA students in dance and theatre pedagogy of the Theatre Academy of the University of the Arts Helsinki. The article discusses the overall artistic project as well as the kind of bodywork the teaching experiment involved, and it makes a phenomenologically oriented reading of the written interview material gathered from the students. The specific theoretical perspective taken on the topic draws from two phenomenologically inspired thinkers, namely, Luce Irigaray’s and Timo Klemola’s views on the influence that cultivation of breathing can have on subjectivity. The article suggests that exploring and cultivating breathing through compassion can support the evolution of ethical collaboration in open-ended performance processes.

Theatres of Terror and Cruelty: From Noise to the Voice

2016 ◽  
Author(s):  
Guillaume Collett
Keyword(s):  
Language Acquisition ◽  
The Body ◽  
Antonin Artaud ◽  
Present Book ◽  
Body Without Organs ◽  
The Voice

While, for many, Deleuze’s philosophy is synonymous with his concept of the ‘body without organs’, and even though he first explicitly develops this concept in The Logic of Sense, a large part of the present book argues that it is rather the organ-ised body – here figuring specifically as incarnated structure, building explicitly on Leclaire – on which his onto-logic of sense hinges. Nonetheless, this body only emerges later on in the ‘dynamic genesis’, the psychoanalytic portion of The Logic of Sense which provides a psycho-sexual account of language acquisition and of the emergence of sense, and first we must turn to the dis-organ-ised body of Klein and Artaud. In The Logic of Sense, Deleuze develops his conception of the body without organs based on a reading of the work of Antonin Artaud.

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