How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936,...How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936, Benjamin already anticipated in The Work of Art in the Age of lts Technological Reproducibility that something is missing even in the best-finished reproduction. And memories of dance and physical theatre are intricate. The question is how to create a type of documentation that does not betray the vital flow of the event-based phenomenon. In this short article we will see a series of choreographic and performance artists like Esther Ferrer, Ayara Hern^indez Holz, and Olga de Soto who claimed a new form of organic documentation, making it turn performance or memory of viewers. Other creators as the company La Fura dels Baus claim documentation as spectacle and others on the opposite side, as Tino Sehgal propose radically non documentation of their work. Precisely, these different positions coincide with those of thinkers like Peggy Phelan, Sarah Bay-Cheng, or Paula Caspao who respect to a range of documentation and how it can never replace the live art.展开更多
This proposed project is not viable in profitable terms to private enterprise, so it applied a modified version of the CVM （Contingent Valuation Method） to realize this project. A survey was conducted in Lefkada Isl...This proposed project is not viable in profitable terms to private enterprise, so it applied a modified version of the CVM （Contingent Valuation Method） to realize this project. A survey was conducted in Lefkada Island in Greece, where 200 interviewees took part in order to consider whether they wish to voluntarily participate in the excavation and restoration of the ancient theater of Lefkada. Half of the interviewees were given information on the history of the site and then were asked to fill out a questionnaire. The other half of the interviewees were given no historical information on the archeological site and also were asked to fill out a questionnaire. The interviewees who were not given any information on the history of the site briefed on the history and then were asked to fill out another questionnaire. The purpose was to observe the different responses that the interviewees gave before and after being informed. This study aims to compare the WTP （Willingness To Participate） for this public good among those who were informed and those who were not.展开更多
When discussing the roots of Arab theatre, we find ourselves confronting two main streams of thought. The first one, represented by prominent Arab writers like Najib Mahfuz, Abbas A1-Aqqad, M. Badawi, and other critic...When discussing the roots of Arab theatre, we find ourselves confronting two main streams of thought. The first one, represented by prominent Arab writers like Najib Mahfuz, Abbas A1-Aqqad, M. Badawi, and other critics, rejects the theory that an Arab theatre existed before the mid-19th century. The second stream, represented by prominent scholars like Ali A1-Rai, Ibrahim Hamada and S. Moreh, see modern Arab theatre as part of a continuum, emphasizing of some elements of dramatic manifestations in Arab literary heritage. This paper intends to examine these two streams, their evidences and arguments. Such examination will shed some light on the origin of Arab theatre as a literary genre, and how it was influenced, if any, by Western theatrical heritage. Thus, answering the main question of this paper, whether Arab theatre is original or simply a Western imitation.展开更多
This paper examines the contemporary theatre of Simos Kakalas, the director of Horos Theatre Company, and his troupe. The object of this study is the performances of the troupe during the period 2004-2016, which incl...This paper examines the contemporary theatre of Simos Kakalas, the director of Horos Theatre Company, and his troupe. The object of this study is the performances of the troupe during the period 2004-2016, which include： （1） the eight different versions of the dramatic idyll Golfo, written in 1894 by Spyridon Peresiadis; （2） the three different versions of the tragedy Erofili, written in Crete in 1595 by Georgios Hortatzis, and （3） the three different versions of the ancient Greek tragedy Euripides＇ Orestes written in 408 B.C. The research shows how these performances bring the young audience closer to the Greek theatre, tradition and identity, and at the same time they lead the audience＇s thought to current issues. It also explores how Kakalas brings the past closer to us to the present time, combining the poetic fifteen-syllable verse, the theatrical codes of the Greek ＂bouloukia＂ （the wandering troupes who used to play at squares in the nineteenth century）, the technique of narration, parody and shadow theatre with postmodern style, manga masks, video projections and anime.展开更多
The political theatre in the Arab world emerged from rough seas of opposition and state monitoring schemes. Some critics may claim that political tendencies in Arab theatre can be traced to the early contributors to A...The political theatre in the Arab world emerged from rough seas of opposition and state monitoring schemes. Some critics may claim that political tendencies in Arab theatre can be traced to the early contributors to Arab theatre Others attribute the emergence of this theatre to the revolution of Egypt＇s Nasir. However, the Syrian playwright Sa＇d Allah Wannus may be viewed as the true representative of this kind of theatre in the Arab world. Shocked by the defeat of the Arabs by Israel in 1967, he began what he coined ＂theatre of politicization＂, aiming to attack Arab governments and blaming them for the defeat, and at the same time, insighting his audience to revolt against existing political ideas. In this kind of theatre, the audience assumed ever-increasing importance. Wannus wrote several plays, the aim of which was to develop a mentality and strengthen a collective consciousness in an Arab historical context. This article aims to exploring the concept of theatre of politicization and the impact of that on Arab political theatre展开更多
With an analysis on Golden Bough Theater＇s Troy, Troy... Taiwan, this article will investigate how they de-contextualize Greek Epic Iliad with an eclectic collage of the tropes of Greek epic, the techniques of enviro...With an analysis on Golden Bough Theater＇s Troy, Troy... Taiwan, this article will investigate how they de-contextualize Greek Epic Iliad with an eclectic collage of the tropes of Greek epic, the techniques of environmental theater and Taiwan Residents local opera, and the aesthetics of Taiwan Residents indigenous rituals and Pili Puppetry. It will discuss how the performers transform Greek epic into a Taiwan Residents allegory in search of Taiwan Residents cultural roots and identities. Furthermore, in the cultural encounter between the East and the West, multiple folds of significance will be explored through their hybridized performance genres and rituals as well as symbolic interaction in various performance venues with different historical and cultural legacies.展开更多
The lifetimes for the states of magnetic dipole band in106Ag have been measured using the Doppler-shift attenuation method via the reaction of100Mo(11B,5n)106Ag at a beam energy of 60 MeV.The reduced transition streng...The lifetimes for the states of magnetic dipole band in106Ag have been measured using the Doppler-shift attenuation method via the reaction of100Mo(11B,5n)106Ag at a beam energy of 60 MeV.The reduced transition strengths of the magnetic dipole band,the B(M1)/B(E2)ratios together with the signature of the level energy as a function of angular momentum for the positive parity states of106Ag show that a drastic change of excitation mode,that is,from electric rotation to magnetic rotation,occurs within one unit of spin at around Iπ=12+.Theoretical calculations based on the triaxial projected shell model consistently reproduce the experimental data and provide an explanation on the nature of observed phenomena such that the dynamical drift of the rotational axis suddenly from the principal axis to the tilted one,along the positive parity bands of106Ag.展开更多
Avant-garde director seeks to interpret Western plays from a traditional Chinese perspective In a desolate wasteland,sits a small mound overhung with boughs.The stage is set for a Chinese version of Waiting for Godot,...Avant-garde director seeks to interpret Western plays from a traditional Chinese perspective In a desolate wasteland,sits a small mound overhung with boughs.The stage is set for a Chinese version of Waiting for Godot,presented by the Contemporary Legend Theater from Taiwan at the Tianqiao Performing Arts Center in Beijing on May 15.展开更多
文摘How can choreography and physical theatre pieces continue to perpetuate the work after rendering？ How to preserve their aura, their dynamics, and their ephemeral and genuine nature, as Walter Benjamin said？ In 1936, Benjamin already anticipated in The Work of Art in the Age of lts Technological Reproducibility that something is missing even in the best-finished reproduction. And memories of dance and physical theatre are intricate. The question is how to create a type of documentation that does not betray the vital flow of the event-based phenomenon. In this short article we will see a series of choreographic and performance artists like Esther Ferrer, Ayara Hern^indez Holz, and Olga de Soto who claimed a new form of organic documentation, making it turn performance or memory of viewers. Other creators as the company La Fura dels Baus claim documentation as spectacle and others on the opposite side, as Tino Sehgal propose radically non documentation of their work. Precisely, these different positions coincide with those of thinkers like Peggy Phelan, Sarah Bay-Cheng, or Paula Caspao who respect to a range of documentation and how it can never replace the live art.
文摘This proposed project is not viable in profitable terms to private enterprise, so it applied a modified version of the CVM （Contingent Valuation Method） to realize this project. A survey was conducted in Lefkada Island in Greece, where 200 interviewees took part in order to consider whether they wish to voluntarily participate in the excavation and restoration of the ancient theater of Lefkada. Half of the interviewees were given information on the history of the site and then were asked to fill out a questionnaire. The other half of the interviewees were given no historical information on the archeological site and also were asked to fill out a questionnaire. The interviewees who were not given any information on the history of the site briefed on the history and then were asked to fill out another questionnaire. The purpose was to observe the different responses that the interviewees gave before and after being informed. This study aims to compare the WTP （Willingness To Participate） for this public good among those who were informed and those who were not.
文摘When discussing the roots of Arab theatre, we find ourselves confronting two main streams of thought. The first one, represented by prominent Arab writers like Najib Mahfuz, Abbas A1-Aqqad, M. Badawi, and other critics, rejects the theory that an Arab theatre existed before the mid-19th century. The second stream, represented by prominent scholars like Ali A1-Rai, Ibrahim Hamada and S. Moreh, see modern Arab theatre as part of a continuum, emphasizing of some elements of dramatic manifestations in Arab literary heritage. This paper intends to examine these two streams, their evidences and arguments. Such examination will shed some light on the origin of Arab theatre as a literary genre, and how it was influenced, if any, by Western theatrical heritage. Thus, answering the main question of this paper, whether Arab theatre is original or simply a Western imitation.
文摘This paper examines the contemporary theatre of Simos Kakalas, the director of Horos Theatre Company, and his troupe. The object of this study is the performances of the troupe during the period 2004-2016, which include： （1） the eight different versions of the dramatic idyll Golfo, written in 1894 by Spyridon Peresiadis; （2） the three different versions of the tragedy Erofili, written in Crete in 1595 by Georgios Hortatzis, and （3） the three different versions of the ancient Greek tragedy Euripides＇ Orestes written in 408 B.C. The research shows how these performances bring the young audience closer to the Greek theatre, tradition and identity, and at the same time they lead the audience＇s thought to current issues. It also explores how Kakalas brings the past closer to us to the present time, combining the poetic fifteen-syllable verse, the theatrical codes of the Greek ＂bouloukia＂ （the wandering troupes who used to play at squares in the nineteenth century）, the technique of narration, parody and shadow theatre with postmodern style, manga masks, video projections and anime.
文摘The political theatre in the Arab world emerged from rough seas of opposition and state monitoring schemes. Some critics may claim that political tendencies in Arab theatre can be traced to the early contributors to Arab theatre Others attribute the emergence of this theatre to the revolution of Egypt＇s Nasir. However, the Syrian playwright Sa＇d Allah Wannus may be viewed as the true representative of this kind of theatre in the Arab world. Shocked by the defeat of the Arabs by Israel in 1967, he began what he coined ＂theatre of politicization＂, aiming to attack Arab governments and blaming them for the defeat, and at the same time, insighting his audience to revolt against existing political ideas. In this kind of theatre, the audience assumed ever-increasing importance. Wannus wrote several plays, the aim of which was to develop a mentality and strengthen a collective consciousness in an Arab historical context. This article aims to exploring the concept of theatre of politicization and the impact of that on Arab political theatre
文摘With an analysis on Golden Bough Theater＇s Troy, Troy... Taiwan, this article will investigate how they de-contextualize Greek Epic Iliad with an eclectic collage of the tropes of Greek epic, the techniques of environmental theater and Taiwan Residents local opera, and the aesthetics of Taiwan Residents indigenous rituals and Pili Puppetry. It will discuss how the performers transform Greek epic into a Taiwan Residents allegory in search of Taiwan Residents cultural roots and identities. Furthermore, in the cultural encounter between the East and the West, multiple folds of significance will be explored through their hybridized performance genres and rituals as well as symbolic interaction in various performance venues with different historical and cultural legacies.
基金supported by the NationalNatural Science Foundation of China(Grant Nos.10975191,10775184,10775182,10675171,10575133,11021504,11175258 and 11275068)the Chinese Major State Basic Research Development Program(Grant No.2007CB815005)
文摘The lifetimes for the states of magnetic dipole band in106Ag have been measured using the Doppler-shift attenuation method via the reaction of100Mo(11B,5n)106Ag at a beam energy of 60 MeV.The reduced transition strengths of the magnetic dipole band,the B(M1)/B(E2)ratios together with the signature of the level energy as a function of angular momentum for the positive parity states of106Ag show that a drastic change of excitation mode,that is,from electric rotation to magnetic rotation,occurs within one unit of spin at around Iπ=12+.Theoretical calculations based on the triaxial projected shell model consistently reproduce the experimental data and provide an explanation on the nature of observed phenomena such that the dynamical drift of the rotational axis suddenly from the principal axis to the tilted one,along the positive parity bands of106Ag.
文摘Avant-garde director seeks to interpret Western plays from a traditional Chinese perspective In a desolate wasteland,sits a small mound overhung with boughs.The stage is set for a Chinese version of Waiting for Godot,presented by the Contemporary Legend Theater from Taiwan at the Tianqiao Performing Arts Center in Beijing on May 15.
