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A politics of marginalisation – Theatre music in contemporary theatre
David Roesner
IFTR Conference Galway, 2021
Theatre music as an artistic practice, as a career, and as an often crucial part of the aesthetic experience of theatre production is remarkably neglected, marginalized and undervalued in the German-speaking theatre landscape. Theatre musicians and composers are often underpaid, overworked, critically unacclaimed, and academically ignored. If we look at theatre both as an organisation and an institution, it is inevitably an environment within which poltics and power play a significant part. Most receently – and on a much larger scale – Thomas Schmidt has offered an in-depth study on what he called „assymmetries of power“ in German theatre in his book „Power and Structure in Theatre“ (Springer 2019). Again, however, on the 444 pages on this important and influential report, theatre music(ians) are not mentioned once. In this paper I will therefore look at the intersection of a particular work environment, a hierarchy of aesthetic contribution and validation, and the politics of perception – or the lack thereof – in critical discourse about theatre music and theatre musicians. By using qualitative research and discourse analysis, I hope to be able to offer at least some preliminary answers to the following questions: why are theatre musicians undervalued within the organisation and how does this manifest itself? What are the institutional structures that contribute to the particular hierarchies and vectors of power around the role of music and musicians in theatre? Why does there work output receive so little attention and critical discussion?
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Goudouna. S. The Realistic Institution of an Open Assembly. IFTR 2015, University of Hyderabad, India, July, 2015.
Sozita Goudouna
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Absent Geographies:Transportation and Utopia in Musicals
Michael Eigtved
2017
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EUROPEAN ASSOCIATION FOR THE STUDY OF THEATRE AND PERFORMANCE BOLOGNA 27 FEB > 1 MAR 2020 ᐅ ARENA DEL SOLE THEATRE ᐅ LA SOFFITTA -DAMSLAB CUR ATORS
Filippo Romanello
Conference paper, 2019
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Authorship, Staging and Beyond: From Directorial to Collective Theatrical Mind: Rethinking and Changing Contemporary Theatrical Landscape
Tomaž Toporišič
Authorship, Staging and Beyond - EASTAP MILANO , 2022
The paper explores the idea of a collective “theatrical mind” in both directorial and devising practices including a number of creative methods aimed at rethinking theatrical language. Using the methods of performanceart conceptualized by the XX. Century reformers (from Meyerhold to Strehler) contemporary practitioners (Milo Rau, Oliver Frljić, Ontroerend Goed, Pippo Delbono, Brett Bailey, She She Pop, FC Bergman…) see art as something that is no longer a rival to philosophy and theory, but as something that carries its own self-sufficient truth. The contemporary performative practices follow the assumption of Georg Fuchs (in his 1909 book Die Revolution des Theaters) that “drama is possible without words and without sound, without sets and without costumes, as pure rhythmic motion of the human body.” The authentic provoker of the dramatic phenomenon being the actor. Or, as Manfredo Tofuri puts it (in “The Stage as virtual City”): “The stage obliges the real to compress itself into it and then to explode at the spectator.” But the stage also obliges the artist to become (as Giorgio Strehler puts it) “only the instrument of the poetry of theatre”. We will explore some examples of contemporary theatre that create a singular event, the repetition of which, night after night, “does not in any sense hinder the fact that, each and every time, the performance is evental; that is, singular” (Badiou, Handbook of Inaesthetics). In contemporary theatre “what counts in art, what makes art art /… / is neither the ‘beautiful’ nor the ‘sublime’; it is neither ‘sensible manifestation’ nor the ‘putting into work of truth’” (Jean Luc Nancy, Being Singular Plural). In a world in which the famous sentence of Antoine Vitez “On peut faire theatre de tout”, still holds true, the new artistic communities and groups reinvent the category of directing, collaborating and theatricality itself.
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Sozita Goudouna Lecture at PSi19: Performance Studies International Conference Calgary | On Scoring Elasticity: Elastic Imaging, Sonoelastography, Live Renderings
Sozita Goudouna
SOZITA GOUDOUNA | USA On Scoring Elasticity: Elastic Imaging, Sonoelastography, Live Renderings | PAP The paper discusses methods of translating three-dimen- sional work into a two-dimensional format and the ways an elastic movement and sound score can define the future of architecture and our build environment by examining the project OUT SCORE, a live arts program and exhibition that takes place at the sculpted theatre of Aixoni (http://www. sculpted-architectural-landscapes.gr/project.php?id=22) and at ‘T’ Space (Steven Holl). OUT SCORE generates encounters between dance, performance and the visual arts, in relation to the complex notions of notation and score, and the ways scoring elasticity can be conceived in the second decade of the century. Sozita Goudouna is the author of Beckett’s Breath: Antitheatricality and the Visual Arts published by Edinburgh University Press and released in the US by Oxford University Press. She has taught at NYU, Roger Williams, and other universities and was selected as the inau- gural Andrew W. Mellon Foundation curator at Performa NY. She is currently Head of Operations at Raymond Pettibon Studio.
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FIGUEIREDO, Filipe (2013) The Fleeting Gaze: Re-Discovering Theatre and Performance Through Image. FIRT. Barcelona. July, 2013 (Abstract)
Filipe Figueiredo
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Palgrave Theatre catalogue - 2012
Paula Kennedy
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Goudouna. Sozita. Versions of Exhaustion. IFTR - FIRT: World Congress: Cultures of Modernity, Ludwig- Maximilians-Universitat, Munich, July 26th-31st , 2010,
Sozita Goudouna
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Responding to Per.Art's Dis_Sylphide: Six Voices from IFTR's Performance and Disability Working Group
vibeke glørstad
Theatre Research International
This submission by IFTR's Performance and Disability working group features responses by six participants – voices projected from Canada, New Zealand, Norway, Wales, England and Australia – to Per.Art's production Dis_Sylphide, which was presented on 7 July 2018 at the Cultural Institution Vuk Karadžić as part of IFTR's conference in Belgrade at the invitation of the Performance and Disability working group. Per.Art is an independent theatre company founded in 1999 in Novi Sad, Serbia, by the internationally recognized choreographer and performer Saša Asentić, the company's artistic director. The company brings together people with learning disabilities, artists (theatre, dance and visual arts), special educators, representatives of cultural institutions, philosophers, architects and students to make work. This co-authored submission examines how the production responds to three important dance works of the twentieth century – Mary Wigman's Hexentanz (1928), Pina...
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