Wright, Craig S, The Scene and the Unseen (November 14, 2020). Available at SSRN: https://ssrn.com/abstract=3730685 or http://dx.doi.org/10.2139/ssrn.3730685
domingo, 31 de enero de 2021
sábado, 30 de enero de 2021
miércoles, 27 de enero de 2021
martes, 26 de enero de 2021
Is theatre Still There?
The Performing Arts Department and the Office of College Events and Cultural Planning at Bunker Hill Community College
presents
“Is Theatre Still There? — I Tell You My Story…”
A theatre symposium featuring a simulcast of Proshot Kalami's new play, I Tell You My Story, You Tell Me Yours, and
panel of a international Theatre & Performance Arts Scholars and Practitioners
Moderated by Arianna Maiorani, Senior Lecturer, Loughborough University
With opening remarks by Lori Catallozzi, Dean of Humanities and Learning Communities, Bunker Hill Community College
Friday, January 29, 2021
2 p.m. (Eastern Standard Time, USA)
Panel Participants:
Erik Brown, Senior Creative Producer, Stanford University
Dr. Proshot Kalami, Professor, Bunker Hill Community College
Cam Perridge, Sound Engineer and Guitarist
Dr. Shezad Khalil, Independent Researcher and Dance Scholar
Lee Santos Silva, Director of Center for Equity and Cultural Wealth, Bunker Hill Community College
Kevin Wery, Director of College Events and Cultural Planning, Bunker Hill Community College
Join by zoom: https://zoom.us/j/
Meeting ID: 938 1507 8973
Passcode: 514236
Join by phone: +1 929 205 6099 US (New York)
Meeting ID: 938 1507 8973
Passcode: 514236
Using Proshot Kalami’s new play You Tell Me Your Story, I'll Tell You Mine as inspiration for discussion, this symposium considers possible re-configurations of theatre in the times of COVID-19 that have removed performance from its usual space and its dedicated places.
- What is the new space of theatre?
- How are the different entities involved in performance re-located?
- If the hyperspace of online streaming is the new real, has the old real become hyperreal?
- What is the new performing body and what does it preserve of the old one?
- What is the body's interaction with the new space and what impact does this have on audiences?
- How does the removal impact on different forms of performance?
- How do students react to performance re-
configuration? - How does the interplay between different modes of performance change in re-configured theatre?
A brief introduction to the evening will precede the broadcast of Dr Kalami’s play, which will be followed by a panel-led discussion and brainstorming session that welcomes contributions from the audience.
About the Moderator: Dr. Arianna Maiorani is a Senior Lecturer in Linguistics at Loughborough University, UK. A former dancer and choreographer from the Opera Theatre in Rome, she holds an MA in Modern Languages and Literatures from the University of Rome “La Sapienza” and a PhD in Cultural Sciences from the International School of High Studies of the San Carlo Foundation in Modena, Italy. As a specialist in Multimodality, her research focuses on communication in complex environments and she has recently created a new interdisciplinary research area, Kinesemiotics, in collaboration with Professor Massimiliano Zecca (engineering), Dr Russell Lock (computer science) and the English National Ballet, with whom she conducted experiments on the nature of dance discourse in relation to performance space. In 2014, she created the community cast choreography for Michael Pinchbeck’s Bolero. Her most recent publication is Kinesemiotics: Modelling How Choregraphed Movement Means in Space (Routledge 2021) and she is currently leading the project “The Kinesemiotic Body: a pragmatic account of the local discourse organization of dance” funded by the AHRC and the DFG in collaboration with Professor John Bateman from Bremen University (co-leader) and the English National Ballet.
About the Playwright: Dr. Proshot Kalami, a Professor at
Bunker
Hill Community College, Boston, MA, has received her PhD in Comparative
Literature with two designated emphasis in Performance Studies and Film
Studies from UC Davis in 2007. She has taught World Literature, Film
Studies, and Theatre at UC Berkeley, UC Santa
Cruz & UC Davis before moving to Loughborough University in the UK
continuing to teach World Cinema, World Literature and Theatre. Proshot
is also a certified Visual Thinking Stra
Her creative works are in Theatre, Documentary Filmmaking, Video Installation, Visual Arts and Creative Writing. Her works have been featured internationally at performances, festivals & academic conferences across the US, UK, Europe, and India. In 2009, her dramaturgy of Death of Yazdgerd was featured in the BBC Persian. As a videographer she has worked with the Asia Society (NYC), Brooklyn Academy of Music (BAM, NYC), Cal Performances (UC Berkeley), Mondavi Center (UC Davis), Chorus Repertory Theatre (Imphal, Manipur, India), and the Barbican (London). She has published two poetry books in Farsi in addition to her English poems and those which have been translated into Italian, Hungarian, and Serbian and have been presented at international poetry festivals. Her poems have been featured in two poetry anthologies in Serbia and Iran. Proshot speaks, writes, and conducts her research as well as creative works in 5 languages. As a visual artist, she has won prizes for her pastel and watercolour painting as well as her installation inspired by #MeToo movement, titled “The Invisible Women”.
About the Play: I Tell You My Story, You Tell Me Yours is an excerpt of a longer play written by Proshot Kalami. Delving into unspoken memories of performers, each actor enacts the impossibility of telling, embarking on a journey towards healing and transformation. The text of the performance is informed through a collaborative process of telling and co-writing. A process that troubles the notion of the “other” by allowing performers to be the “other” and thus defying it at the same time. By performing everyday life realities, the play triggers both the individual and the collective to emerge. The “uprooted” then begins to live in the liminal space of tensions between the familiar and the unknown, the native and the foreign, us and them.
This email may contain information that is privileged and confidential. If you suspect that you were not intended to receive it, please delete it and notify the sender as soon as possible.
Dr Arianna Maiorani PhD FHEA
Senior Lecturer in Linguistics, School of Social Sciences and Humanities
Senior Lecturer in Linguistics, School of Social Sciences and Humanities
Loughborough University
lunes, 25 de enero de 2021
domingo, 24 de enero de 2021
sábado, 23 de enero de 2021
viernes, 22 de enero de 2021
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Cálculo de intereses
De pasada me citan en este artículo narratológico sobre el interés narrativo y dramático de los argumentos—y de las fábulas de Esopo.
Szilas, Nicolas, Sergio Estupiñán Vesga and Urs Michael Richle. "Qualifying and Quantifying Interestingness in Dramatic Situations." In InteractiveStorytelling. 9th International Conference on Interactive Digital Storytelling, ICIDS2016. Ed. F. Nack and A. S. Gordon. Cham: Springer, 2016.* (Aesop's Fables, narrativity).
DOI : 10.1007/978-3-319-48279-8_30
Online at Archive Ouverte UNIGE (Université de Genève).*
https://archive-ouverte.unige.ch/unige:91113/ATTACHMENT01
2020
En la Puerta del Sol como el año que fue
El concierto de Nacho Cano en una puerta del Sol desierta https://t.co/lyjfcZm81O vía @telemadrid
— Cristina Losada 🐝 (@christinalosada) January 1, 2021
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Retropost, 2014: Leyendo estos días tanto los Ensayos de Montaigne como La Construcción Social de la Realidad, de Berger y Luckmann, he o...
