The politics of interweaving performance cultures
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225719 , vital:49252 , xlink:href="https://doi.org/10.1080/10137548.2015.1014170"
- Description: According to the former president of the International Federation of Theatre Research (IFTR), Brian Singleton, the study of ‘[i]nterculturalism as a practice and a theory gained currency with Richard Schechner’s anthropologically-inspired new discipline of performance studies’ (p. 79). Schechner’s new discipline led to the formation of the annual Performance Studies International (PSI) conferences, and earlier this year I attended the twentieth instalment in Shanghai, which was held under the rubric of ‘Tradition and the Avant-Garde’. One of the things which struck me was the extent to which the (relatively) newly economically empowered Chinese theatre makers were creating grand productions based on Western theatre traditions. For example, many of the presentations for delegates were based on Western texts (such as Hamlet, Miss Julie and even a play by Woody Allen). And yet these productions were performed in Mandarin, using purist Chinese forms, such as Beijing Opera. During the discussions there seemed to be an awkward defensiveness from some of the Chinese hosts who insisted they were not ‘copying’ Western theatre, but that they were using it to express a pure Chinese aesthetic. There were also other performances at the conference, such as a series of parables called Confucius Disciples, which told didactic tales with content very foreign to a Western audience. A visiting troupe from Bulgaria presented their own version of some of these parables, using a strongly East European aesthetic to convey a Chinese message. In this way, experiments with cultural forms and content were clearly foregrounded by the conference presentations.
- Full Text:
- Date Issued: 2015
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225719 , vital:49252 , xlink:href="https://doi.org/10.1080/10137548.2015.1014170"
- Description: According to the former president of the International Federation of Theatre Research (IFTR), Brian Singleton, the study of ‘[i]nterculturalism as a practice and a theory gained currency with Richard Schechner’s anthropologically-inspired new discipline of performance studies’ (p. 79). Schechner’s new discipline led to the formation of the annual Performance Studies International (PSI) conferences, and earlier this year I attended the twentieth instalment in Shanghai, which was held under the rubric of ‘Tradition and the Avant-Garde’. One of the things which struck me was the extent to which the (relatively) newly economically empowered Chinese theatre makers were creating grand productions based on Western theatre traditions. For example, many of the presentations for delegates were based on Western texts (such as Hamlet, Miss Julie and even a play by Woody Allen). And yet these productions were performed in Mandarin, using purist Chinese forms, such as Beijing Opera. During the discussions there seemed to be an awkward defensiveness from some of the Chinese hosts who insisted they were not ‘copying’ Western theatre, but that they were using it to express a pure Chinese aesthetic. There were also other performances at the conference, such as a series of parables called Confucius Disciples, which told didactic tales with content very foreign to a Western audience. A visiting troupe from Bulgaria presented their own version of some of these parables, using a strongly East European aesthetic to convey a Chinese message. In this way, experiments with cultural forms and content were clearly foregrounded by the conference presentations.
- Full Text:
- Date Issued: 2015
Uncle Noodle
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229676 , vital:49699 , xlink:href="https://hdl.handle.net/10520/EJC176906"
- Description: “Ah,” he seemed surprised to see me, “Now you find out who really cares...” His kidneys hadn‟t been on the job in months, and with the machines failing, his hands were fattening into stubby yellow fingers, as the waste shored up inside of him. I touched his arm, and we joked about the broad blunt strokes of the casiotone the old dame played for the lunch-eaters next door. Uncle Noodle had always been my favourite. In a world where adults were always certain, ready to disdain and judge and pass verdict – I loved it that he was indecisive, insecure, unsure. Often wretched, often defeated. His heart had chasmed in the wake of his wife‟s leaving, finally dividing him from all his hopes, collapsing his dignity destroying his happiness machinery.
- Full Text:
- Date Issued: 2015
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/229676 , vital:49699 , xlink:href="https://hdl.handle.net/10520/EJC176906"
- Description: “Ah,” he seemed surprised to see me, “Now you find out who really cares...” His kidneys hadn‟t been on the job in months, and with the machines failing, his hands were fattening into stubby yellow fingers, as the waste shored up inside of him. I touched his arm, and we joked about the broad blunt strokes of the casiotone the old dame played for the lunch-eaters next door. Uncle Noodle had always been my favourite. In a world where adults were always certain, ready to disdain and judge and pass verdict – I loved it that he was indecisive, insecure, unsure. Often wretched, often defeated. His heart had chasmed in the wake of his wife‟s leaving, finally dividing him from all his hopes, collapsing his dignity destroying his happiness machinery.
- Full Text:
- Date Issued: 2015
Whose voice is it anyway?
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225695 , vital:49249 , xlink:href="https://doi.org/10.1080/1013929X.2015.1086195"
- Description: This essay surveys a number of different interpretations of the metaphor of “voice”. It begins by exploring the use of free writing exercises as a means of nurturing the emergence of physical (audible) voice in creative writing classes before assessing some of the ramifications and implications of the trope, both diachronically and synchronically. A key issue of this discussion is whether voice is regarded as individual or social.
- Full Text:
- Date Issued: 2015
- Authors: Krueger, Anton
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/225695 , vital:49249 , xlink:href="https://doi.org/10.1080/1013929X.2015.1086195"
- Description: This essay surveys a number of different interpretations of the metaphor of “voice”. It begins by exploring the use of free writing exercises as a means of nurturing the emergence of physical (audible) voice in creative writing classes before assessing some of the ramifications and implications of the trope, both diachronically and synchronically. A key issue of this discussion is whether voice is regarded as individual or social.
- Full Text:
- Date Issued: 2015
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