Somos Teatreros

'Muerte de un Viajante' en el Principal

Origen del drama griego según Zielinsky

 De Th. Zielinsky, Historia de la civilización antigua, 205ss.:

En las fiestas populares, los poetas cantores se dirigían al público, declamando con una vez cantante sus versos, y acompañándose con un instrumento rudimentario de cuerdas (iambyké). El lazo de la corea, roto por Arquíloco, fue restablecido en el siglo VI meddiante la introducción del yambo, como verso del diálogo, en el drama; pero fue necesario para eso desarrollar el segundo elemento constitutivo del drama: el ditirambo. 

El ditirambo era en un principio un canto exaltado y extático en honor de Dionisos. El jefe del coro ocupaba en él un sitio muy particular; cierto elemento dramático se mezcló también, desde un principio, a esta clase de poesía coral. Este elemento dramático se encontró reforzado aún, cuando los miembros del coro se disfrazaban de sátiros (se llamaba así a los espíritus del bosque, los alegres compañeros de Dionisos). Como eran semihombres y semichivos, sus cantos se llamaban "canciones de los chivos", trag-ódia, de tragos, "macho cabrío"). Esta innovación se atribuyó al legandario Arión, poeta ditirámbico de la corte de Periandro, de Corinto. Su sucesor fue aquel Tespis que Pisístrato había invitado en 534 para realzar, con su tragedia, el brillo de las grandes Dionisíacas, instituidas por él. Allí, en Atenas, la tragedia extendió su horizaonte, admitiendo, al lado del ciclo de las tradiciones dionisíacas, todas las leyendas griegas, y hasta la historia contemporánea, en todo su vigor primero y juvenil. Así, después del poco éxito, amargo paa toda la Grecia, de la sublevación jónica y de la toma de Mileto en 494. Frínico hizo representar en Atenas una tragedia que, con el título de La toma de Mileto, conmovió hasta las lágirmas al público que asistió al espectáculo. 

Por lo demás, en esas primeras tragedias el elemento dramático estaba poco desarrollado. Era más bien una cantata (ditirámbica) puntuada por las recitaciones (yámbicas) de los mensajeros. En la época siguiente fue cuando la tragedia llegó a ser un verdadero drama.

Encasillamientos genéricos

Mi bibliografía sobre Hamlet

Enrique V - Culpable defensa

 

Cómo interpretar las apariencias a través de la literatura: don Quijote y las Cortes de la Muerte

A Glorious Accident - The Last Resort of Humanity

Life on a Desktop Interface

From Donald Hoffman's The Case Against Reality: Why Evolution Hid the Truth from Our Eyes (xii-xiii):

The idea that our perceptions mislead us about objective reality, in hole or in part, has a long history. Democritus, around 400 BCE, famously claimed that our perceptions of hot, cold, sweet, bitter, and color are  conventions, not reality. A few decades later, Plato likened our perceptions and conceptions to flickering shadows cast on the walls of a caver by an unseen reality. Philosophers ever since have debated the relation between perception and reality. The theory of evolution injects new rigor into this debate.

How can our senses be useful—how can they kep us alive—if they don't tell us the truth about objective reality? A metaphor can help our intuitions. Suppose you're writing an email, and the icon for its file is blue, rectangular, and in the center of your desktop. Does this mean that the file itself is blue, rectangular, and in the center of your computer? Of course not. The color of the icon is not the color of the file. Files have no color. The shape and position of the icon are not the true shape and position of the file. In fact, the language of shape, position, and color cannot describe computer files.

The purpose of a desktop interface is not to show you the "truth" of the computer—where "truth," in this metaphor, refers to circuits, voltages, and layers of software. Rather, the purpose of an interace is to hide the "truth" and to show simple graphics that help you perform useful taks such as crafting emails and editing photos. If you had to toggle voltages to craft an email, your friends would never hear from you. 

That is what evolution has done. It has endowed us with senses that hide the truth and display the simple icons we need to survive long enought to raise offspring. Space, as you perceive it when you look around, is just your desktop—a 3D desktop. Apples, snakes, and other physical objects are simply icons in your 3D desktop. These icons are useful, in part, because they hide the complex truth about objective reality. Your senses have evolved to give you what you need. You may want truth, but you don't need truth. Perceiving truth wwould drive our species extinct. You need simple icons that show you how to act to stay alive. Perception is not a window on objective reality. It is an interface that hides objective reality behind a veil of helpful icons

Science, Fate, and Religion

Amanda Coogan con su performance durativa

On Plato on Censorship

Cradle Will Rock

 

La risa hoy

La construcción social de la realidad

Una venganza de Don Mendo

El teatro en la España gris de los 70 y otros mitos

Notas sobre Searle y la construcción de la realidad social

Morfeo-Teatro: Noche de Reyes

EXITUS en el Cerbuna

Shakespeare no es patrimonio de una isla

 

Qué es una tragedia y cómo identificarla e interpretarla en el arte y la...

Too True to Be Good - Cartografía narrativa

Una noche en el teatro

Noche de Reyes

Goffman, el teatro de la interioridad

I Am Not the Actor, This Can't Be the Scene

The Destruction of Pompeii Every Evening

Cervantes, censor de obras literarias: un arte sin normas es un timo ideológico y un fraude cultural

La vida humana como autoengaño individual y colectivo: toda la acción del Quijote es puro teatro

En Tierra Extraña

Zaragoza Comedy 2022

"A Cualquier Precio" - Rap del Expediente Royuela

 

La gestión de la realidad mediante la atención

Enfrentados

El Ganso del Gobernador

 

¡Que salga Aristófanes!

Teoría paranoica de la observación mutua

 

Being Zuckerman

 

From Philip Roth's The Counterlife (319-20)

I suppose it can be said that I do sometimes desire, or even require,  a certain role to be rather clearly played that other people aren't always interestd enough to want to perform. I can only say in my defense that I ask no less of myself. Being Zuckerman is one long performance and the very opposite of what is thought of as being oneself. In fact, those who most seem to be themselves appear to me people impersonating what they think they might like to be, believe they ought to be, or wish to be taken to be by whoever is setting standards. So in earnest are they that they don't even recognize that being in earnest is the act. For certain self-aware people, however, this is not possible: to imagine themselves being themselves, living their own real, authentic, or genuine life, has for them all the aspects of a hallucination.

I realize that what I am describing, people divided in themselves, is said to characterize mental illness and is the absolute opposite of our idea of emotional integration. The whole Western idea of mental health runs in precisely the opposite direction: what is desirable is congruity between your self-consciousness and your natural being. But there are those whose sanity flows from the conscious separation of those two things. If there even is a natural being, an irreducible self, it is rather small, I think, and may even be the root of all impersonation—the natural being may be the skill itself, the innate capacity to impersonate. I'm talking about recognizing that one is actually a performer, rather than swallowing whole the guise of naturalness and pretending that it isn't a performance but you.

There is no you, Maria, any more than there's a me. There is only this way that we have established over the months of performing together, and what it is congruent with isn't "ourselves" but past performances—we're has-beens at heart, routinely trotting out the old, old act. What is the role I demand of you? I couldn't describe it, but I don't have to—you are such a great intuitive actress you do it, almost with no direction at all, an extraordinarily controlled and seductive performance. Is it a role that is foreign to you? Only if you wish to pretend that it is. It's all impersonation—in the absence of a self, one impersonates selves, and after a while impersonates best the self that best gets one through. (....)

All I can tell you with certainty is that I, for one, have no self, and that I am unwilling or unable to perpetrate upon myself the joke of a self. It certainly does strike me as a joke about my self. What I have instead is a variety of impersonations I can do, and not only of myself—a troupe of players that I have internalized, a permanent company of actos that I can call upon when a self is required, an ever-evolving stock of pieces and parts that forms my repertoire But I certainly have no self independent of my imposturing, artistic effects to have one. Nor would I want one. I am a theater and nothing more than a theater.

 

 

—oOo—

La tumba de Tennessee Williams

Sobre 'La Violación de Lucrecia'

Get Smart: The Human Mind

Nuria Espert, premio Princesa de Asturias de las Artes

Los Illuminati, directores de escena

 

(del libro de FRITZ SPRINGMEIER,  LINAJES DE LOS ILLUMINATI)

INTRODUCCIÓN

Me complazco en presentar este libro a todo el mundo que ama la verdad. Este es un libro para los amantes de la verdad. Este es un libro para aquellos que han estado familiarizados con mis escritos pasados. Un gran maestre Illuminati una vez dijo que el mundo es un escenario y todos nosotros somos actores. Por supuesto que este no es un pensamiento original, pero ciertamente describe el punto de vista Illuminati sobre cómo trabaja el mundo.

La personas del mundo son una audiencia a la cual los Illuminati entretienen con propaganda.

 

(Arte) Más o menos blanco

 

El mundo como teatro

 

Evolution and Our Inner Conflict

Pint of Science

 

Tragedy and the Oedipal Subject: Sophocles and Freud

Paranoid Park, secreto al cuadrado

 

Prologue (1) to THE FIGURE OF THEATER

TITUS ANDRONICUS, 'The Most Lamentable Tragedy'

Shakespeare para todos en Brown University

18ª Muestra de Teatro Universitario

La Biblioteca: William Shakespeare

Dios en todo: Sobre Pascal

Noche de Reyes (Morfeo Teatro)

Todo lo que ha pasado en la legislatura lo había escrito Shakespeare ya

Tom Stoppard and Nicholas Hytner on 'The Hard Problem'

Jamming on Tour

Sócrates: Juicio y muerte de un ciudadano

Sea Sincero pero No Mucho

Shakespare Apps

Manifestación por el Expediente Royuela en Madrid; con Vito Quiles

Trolösa: Trasuntos tras los asuntos

Los Teatros de la Memoria

 

La polyphonie de l'être

 

Retropost, 2012: La polyphonie de l'être https://vanityfea.blogspot.com/2012/05/la-polyphonie-de-letre.html

Más sobre simulación, detección y autoengaño

 

Iannis Xenakis ‎– Oresteïa (1966)

La risa social

La proyección mental de la realidad

Dramática historia del hijo de El Cordobés

The Embodied Simulation Hypothesis

 

From Benjamin K. Bergen's Louder than Words  (Basic Books):

 

Think about the direction you turn the doorknob of your front door. You probably visually simulate hat your hand would look like, but if you're like most people, you do more than this. You are able to virtually feel what it's like to move your hand in the appropriate way—to grasp the handle (with enough force to cause the friction required for it to move with your hand (clockwise, perhaps?) at the wrist. Or if you're a skier, you can imagine not only what it looks like to go down a run, but also what it feels to shift your weight back and forth as you link turns.

Now, in all these examples, you're consciously and intentionally conjuring up simulations. That's called mental imagery. The idea of simulation is something that goes much deeper. Simulation is an iceberg. By constantly reflecting, as you just have been doing, you can see the tip—the intentional, conscious imagery. But many of the same brain processes are engaged, invisibly and unbeknownst to you, beneath the surface during much of your waking and sleeping life. Simulation is the creation of mental experiences of perception and action in the absence of their external manifestation. That is, it's having the experience of seeing without the sights actually being there or having the experience of performing an action without actually moving. When we're consciously aware of them, these simulation experiences feel qualitatively like actual perception, colors appear as they appear hen directly perceived, and actions feel like they feel when we perform them. The theory proposes that embodied simulation makes use of the same parts of the brain that are dedicated to directly interacting with the world. When we simulate seeing, we use the parts of the brain that allow us to see the world: when we simulate performing actions, the parts of the brain that direct physical action light up. The idea is that simulation creates echoes in our brains of previous experiences, attenuated resonances of brain patterns that were awcwtwive during previous perceptual and motor experiences. We use our brains to simulate percepts and actions without actually perceiving or acting.

Outside of the study of language, people use simulation hen they perform lots of different tasks, from remembering facts to listing properties of objects to chroreographing a dance. These behaviors make use of embodied simulation for good reason. It's easier to remember where we left our keys when we imagine the last place we saw them. It's easier to determine what side of the car the gas tank is on by imagining filling it up. It's easier to create a new series of movements by first imagining performing them ourselves. Using embodied simulation for rehearsal even helps people improve at repetitive tasks, like shooting free throws and bowling strikes. People are simulating constantly.

Notas sobre Searle, THE CONSTRUCTION OF SOCIAL REALITY

Frankenstein, the ballet

Peter Bradshaw on SON OF SAUL

Fuera de quicio

Se cancela la función

The Gift for Theatrical Self-Transformation

(from Philip Roth's The Counterlife, p. 210):

"What people envy in the novelist aren't the things that the novelists think are so enviable but the performing selves that the author indulges, the slipping irresponsibly in and out of his skin, the reveling not in 'I' but in escaping 'I', even if it involves—especially if it involves—piling imaginary afflictions upon himself. What's envied is the gift for theatrical self-transformation, the way they are able to loosen and make ambiguous their connection to a real life through the imposition of talent. The exhibitioinism of the superior artist is connected to his imagination, fiction is for him at once playful hypothesis and serious supposition, an imaginative form of inquiry—everything that exhibitionism is not. It is, if anything, closet exhibitionism, exhibitioinism in hiding. Isn't it true that, contrary to the general belief, it is the distance between the writer's life and his novel that is the most intriguing aspect of his imagination?"

El aristotelismo de Cervantes

La Caverna del Cerebro: El lenguaje como realidad virtual

Belle