The purpose of this scientific article is to investigate and analyse the inextricable link between politics and theatre,as well as their interdependence in social and political relations in the arena of African stage ...The purpose of this scientific article is to investigate and analyse the inextricable link between politics and theatre,as well as their interdependence in social and political relations in the arena of African stage play in the case of Andrew Buckland’s one-man show,which was performed on Thursday,August 15,2024 at the Market Theatre.As we know,in a particular country,without people,or more precisely,without actors who represent them in a theatrical performance,there are no history,politics,culture,theatre,and no political events in a certain time,space,and territory that we envision.Political events from the recent or distant past are often the subject of theatrical plays and art works in general.Such theatre develops into political theatre.The theatre can identify certain subjects in specific settings and solve their problems in their own way through performance,as well as critically explain and interpret them in terms of results,impacts,and repercussions.The writer of these articles observes the performance and immediately interviews the physical theatre performer Andrew Buckland in the backstage and analyses his performance on the topic of theater and politics correlations as a result from direct observation and audience position involvement.The research indicates the distinction between politics and theatre of one-man show of Andrew Buckland’s“The Ugly Noo Noo”in South Africa market theatre through the theory of Aristotle’s theatre and Brecht’s theatre,which is manifested in their different function and relationship to the state in political and theatre perspectives in depiction of“Identity,Identification,and Cultural Citizenship”.To assess the observed performance,the researcher relies on Aristotle’s and Brecht’s theatre theories.Aristotle’s theatre supports the existing state order as a divine order,but Brecht’s theatre destroys the state order through theatre.Brecht’s theatre transforms into a political theatre,with the goal of awakening and changing the audience’s consciousness,as well as converting it to an ideology that will contribute to the state.These and other theatre and political theories are used to analyze the aforementioned one-man show.In addition,the researcher of these articles uses primary and secondary datasets to define and question terms.To do so,the researcher employs a qualitative research methodology.After conducting an in-depth analysis of the dataset and observing the one-man show,the researcher discovered that Andrew Buckland’s one-man show“The Ugly Noo Noo”theatre depicts not only the past but also the present realities of South Africa and world politics by understanding and observing the very essence of politics,its true nature,and its true meaning.The research findings show that “The 2024 Ugly Noo Noo” is an impressed play that keeps its subversive thrust of the 80s but speaks to us now in this fractured world by narrating universal themes such as natural disasters, humanity and compassion, dreams and aspirations, isolation and connection, tradition vs. change of the world, freedom and oppression, courage and sacrifice, love and relationships, identity and self-discovery, power and corruption, conflict and resolution. He adds powerful and relatable components in his storytelling. As a result, Andrew Buckland’s “The Ugly Noo Noo” exemplifies theater’s power as a platform for political expression in Africa. The show pushes viewers to confront hard truths about identity and belonging in a fast changing world by delving into personal and societal concerns. As South Africa evolves, works like Buckland’s remind us of the long-standing importance of performance in shaping political conversation and promoting understanding.展开更多
Alzheimer＇s disease（AD）is a fatal progressive neurodegenerative disorder characterized by loss in memory,cognition,and executive function and activities of daily living.AD pathogenesis has been shown to involve los...Alzheimer＇s disease（AD）is a fatal progressive neurodegenerative disorder characterized by loss in memory,cognition,and executive function and activities of daily living.AD pathogenesis has been shown to involve loss of neurons and synapses,cholinergic deficits,amyloid-beta protein（Aβ）deposition,tau protein hyperphosphorylation, and neuroinflammation.展开更多
教学流程:一、课前准备及热身入境1.出示Class rules.确定评价机制。2.Listen and guess.引出故事人物。设计意图:通过听听猜猜的活动,引出本课谈论话题:duckling二、围绕主题,了解故事1.观察封面,了解故事背景知识。T:Look at the cove...教学流程:一、课前准备及热身入境1.出示Class rules.确定评价机制。2.Listen and guess.引出故事人物。设计意图:通过听听猜猜的活动,引出本课谈论话题:duckling二、围绕主题,了解故事1.观察封面,了解故事背景知识。T:Look at the cover of the storybook.What can you see in the picture?Ss:I can see some ducklings.Two are yellow.One展开更多
One day a lady(女士)walked into a hat shop.The shopkeeper smiledand said,“Good afternoon,madam.”“Good afternoon.”the lady answered.“There is a green hat with redflowers and blue leaves on it in your window.Will y...One day a lady(女士)walked into a hat shop.The shopkeeper smiledand said,“Good afternoon,madam.”“Good afternoon.”the lady answered.“There is a green hat with redflowers and blue leaves on it in your window.Will you please take it outof there?”展开更多
This paper aims to analyze some postmodern features shown in The Glass Mountain by Donald Barthelme,which could be roughly categorized into two types:1) Parody and collage in terms of the writing techniques;2) Absurdi...This paper aims to analyze some postmodern features shown in The Glass Mountain by Donald Barthelme,which could be roughly categorized into two types:1) Parody and collage in terms of the writing techniques;2) Absurdity,ugliness,and uncertainty in terms of the content.展开更多
This paper argues that Nietzsche＇s view of tragedy as involving the Apollinian and the Dionysian may explain the appeal of the popular film Black Swan. The basis for this argument rests on Nietzsche＇s innovation in ...This paper argues that Nietzsche＇s view of tragedy as involving the Apollinian and the Dionysian may explain the appeal of the popular film Black Swan. The basis for this argument rests on Nietzsche＇s innovation in The Birth of Tragedy, namely, his emphasis on spectacle. Nietzsche argues for a collective experience, where the ego is abandoned in a renewed and shared sense of life. Black Swan provides a spectacle outside the confines of high culture and philosophical categories, where destructive and bestial nature is presented in an illusory and safe way for the audience. From a Nietzschean perspective, tragedy and Black Swan achieve this effacement of the ego through the aesthetic marriage of clarity and confusion, ugliness and beauty, music and image, inducing an experience in the audience that goes beyond moral judgment. This Nietzschean prism provides a case for the film＇s artistic merits where traditional conceptions of aesthetics and morality arguably fail to provide insight.展开更多
文摘The purpose of this scientific article is to investigate and analyse the inextricable link between politics and theatre,as well as their interdependence in social and political relations in the arena of African stage play in the case of Andrew Buckland’s one-man show,which was performed on Thursday,August 15,2024 at the Market Theatre.As we know,in a particular country,without people,or more precisely,without actors who represent them in a theatrical performance,there are no history,politics,culture,theatre,and no political events in a certain time,space,and territory that we envision.Political events from the recent or distant past are often the subject of theatrical plays and art works in general.Such theatre develops into political theatre.The theatre can identify certain subjects in specific settings and solve their problems in their own way through performance,as well as critically explain and interpret them in terms of results,impacts,and repercussions.The writer of these articles observes the performance and immediately interviews the physical theatre performer Andrew Buckland in the backstage and analyses his performance on the topic of theater and politics correlations as a result from direct observation and audience position involvement.The research indicates the distinction between politics and theatre of one-man show of Andrew Buckland’s“The Ugly Noo Noo”in South Africa market theatre through the theory of Aristotle’s theatre and Brecht’s theatre,which is manifested in their different function and relationship to the state in political and theatre perspectives in depiction of“Identity,Identification,and Cultural Citizenship”.To assess the observed performance,the researcher relies on Aristotle’s and Brecht’s theatre theories.Aristotle’s theatre supports the existing state order as a divine order,but Brecht’s theatre destroys the state order through theatre.Brecht’s theatre transforms into a political theatre,with the goal of awakening and changing the audience’s consciousness,as well as converting it to an ideology that will contribute to the state.These and other theatre and political theories are used to analyze the aforementioned one-man show.In addition,the researcher of these articles uses primary and secondary datasets to define and question terms.To do so,the researcher employs a qualitative research methodology.After conducting an in-depth analysis of the dataset and observing the one-man show,the researcher discovered that Andrew Buckland’s one-man show“The Ugly Noo Noo”theatre depicts not only the past but also the present realities of South Africa and world politics by understanding and observing the very essence of politics,its true nature,and its true meaning.The research findings show that “The 2024 Ugly Noo Noo” is an impressed play that keeps its subversive thrust of the 80s but speaks to us now in this fractured world by narrating universal themes such as natural disasters, humanity and compassion, dreams and aspirations, isolation and connection, tradition vs. change of the world, freedom and oppression, courage and sacrifice, love and relationships, identity and self-discovery, power and corruption, conflict and resolution. He adds powerful and relatable components in his storytelling. As a result, Andrew Buckland’s “The Ugly Noo Noo” exemplifies theater’s power as a platform for political expression in Africa. The show pushes viewers to confront hard truths about identity and belonging in a fast changing world by delving into personal and societal concerns. As South Africa evolves, works like Buckland’s remind us of the long-standing importance of performance in shaping political conversation and promoting understanding.
文摘Alzheimer＇s disease（AD）is a fatal progressive neurodegenerative disorder characterized by loss in memory,cognition,and executive function and activities of daily living.AD pathogenesis has been shown to involve loss of neurons and synapses,cholinergic deficits,amyloid-beta protein（Aβ）deposition,tau protein hyperphosphorylation, and neuroinflammation.
文摘教学流程:一、课前准备及热身入境1.出示Class rules.确定评价机制。2.Listen and guess.引出故事人物。设计意图:通过听听猜猜的活动,引出本课谈论话题:duckling二、围绕主题,了解故事1.观察封面,了解故事背景知识。T:Look at the cover of the storybook.What can you see in the picture?Ss:I can see some ducklings.Two are yellow.One
文摘One day a lady(女士)walked into a hat shop.The shopkeeper smiledand said,“Good afternoon,madam.”“Good afternoon.”the lady answered.“There is a green hat with redflowers and blue leaves on it in your window.Will you please take it outof there?”
文摘This paper aims to analyze some postmodern features shown in The Glass Mountain by Donald Barthelme,which could be roughly categorized into two types:1) Parody and collage in terms of the writing techniques;2) Absurdity,ugliness,and uncertainty in terms of the content.
文摘This paper argues that Nietzsche＇s view of tragedy as involving the Apollinian and the Dionysian may explain the appeal of the popular film Black Swan. The basis for this argument rests on Nietzsche＇s innovation in The Birth of Tragedy, namely, his emphasis on spectacle. Nietzsche argues for a collective experience, where the ego is abandoned in a renewed and shared sense of life. Black Swan provides a spectacle outside the confines of high culture and philosophical categories, where destructive and bestial nature is presented in an illusory and safe way for the audience. From a Nietzschean perspective, tragedy and Black Swan achieve this effacement of the ego through the aesthetic marriage of clarity and confusion, ugliness and beauty, music and image, inducing an experience in the audience that goes beyond moral judgment. This Nietzschean prism provides a case for the film＇s artistic merits where traditional conceptions of aesthetics and morality arguably fail to provide insight.
