Search

The discoveries he makes in his journey around the world, the admiration for the way Grotowski thinks and for Brecht’s theories, but also the history of the years 1960-1978 stir up Eugenio Barba, causing him to look for new meanings related to this art. After going through a period of disorientation and hearing around him from many people the question: what is the meaning of doing theater today?, he finds the answer: “theatre is an empty and ineffective ritual that we fill with our own why, with our personal necessity”. Barba praises the modesty and strength of the actor who considers himself the servant of the stage and not the “navel of the crowd” that surrounds him. The concepts of yoga lead him to write about the “body-spirit” and how essential it is for a performer to exercise his spirit.

The discoveries he makes in his journey around the world, the admiration for the way Grotowski thinks and for Brecht’s theories, but also the history of the years 1960-1978 stir up Eugenio Barba, causing him to look for new meanings related to this art. After going through a period of disorientation and hearing around him from many people the question: what is the meaning of doing theater today?, he finds the answer: “theatre is an empty and ineffective ritual that we fill with our own why, with our personal necessity”. Barba praises the modesty and strength of the actor who considers himself the servant of the stage and not the “navel of the crowd” that surrounds him. The concepts of yoga lead him to write about the “body-spirit” and how essential it is for a performer to exercise his spirit. [ABSTRACT FROM AUTHOR]

Time and space are defining elements of creation in theater and all performing arts. These two concepts are embedded in the elements of the stage situation and were summed up by K.S. Stanislavski into the questions: When? and Where? The scenic representation of space can include the scenographic vision or it can be integrated through various techniques into a symbolization of it, either through gesture, sound, etc. Theatre theorists have made their contribution to the vision of time specific to theatre, analyzing it and making it visible in directorial poetics. Starting from the directors' vision of the stage, we focused our research on how the performance and the perception of time change in the attempt to make the created scenic world as credible as possible. The concepts of time and space have evolved in directorial poetics from an exterior placement to an interior one. Furthermore, twenty-first-century performance art is developing new conventions of time and space through the most advanced technologies, and creators want the story to be experienced as intensely as possible by the audience. The research is also taking into account the chronological criterion, the period in which the directors in focus created--between the eighteenth and the twenty-first centuries. [ABSTRACT FROM AUTHOR]

Copyright of Journal on Masculinities & Social Change / Masculinidades y Cambio Social is the property of Journal on Masculinities & Social Change / Masculinidades y Cambio Social and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

En este texto analizamos las narrativas sobre el arreglo del cabello y la barba de catorce hombres de 27 a 40 años de edad de clase media alta limeña, así como de barberos y administradores de barberías. Realizamos entrevistas en profundidad y el análisis de contenido temático e interpretativo de las mismas. Nos preguntamos en qué medida el trabajo sobre la apariencia masculina da cuenta de relaciones de género, raza y clase. Encontramos que los entrevistados emplean diversas estrategias para evitar ser feminizados debido a su interés por arreglarse. A su vez, estos hombres buscan alinear su corte del cabello y/o la barba con la ropa que usan y su tipo de cuerpo, con el fin de estar bien presentados, lo que en el Perú se vincula fuertemente con narrativas raciales, de género y de clase.

In this paper we explore the hair and beard grooming narratives of fourteen upper-middle-class men aged between 27 and 40 years from Lima, as well as those of barbers and barbershop managers. We conduct in-depth interviews and analyze their thematic and interpretive content. We find that the interviewees use various strategies to avoid being feminized by their interest in grooming. At the same time, the subjects seek to match their hairstyle and/or beard with their clothing and body type in order to appear well turned-out; in Peru, this practice is strongly linked to racial, gender and class narratives. [ABSTRACT FROM AUTHOR]

Tradicionalmente, se ha creído que los reyes helenísticos comenzaron a afeitarse la barba siguiendo el ejemplo de Alejandro Magno. Este artículo propone una nueva visión de esta idea, dado que explica el rostro rapado de Alejandro a través de la juventud de los reyes macedonios. En nuestra opinión, los soberanos de Macedonia fueron presentados muchas veces por sus padres o regentes como eternos adolescentes para permanecer en el poder el mayor tiempo posible. Por lo tanto, la única forma de que cualquier miembro de la dinastía Argead logre una autonomía completa y sea completamente libre era sentarse en el trono. Lo mismo ocurre durante la vida de los generales populares (Parmenion) o consejeros (Aratus). El retrato real creado por los Diadochoi fue un símbolo de poder a través del cual podían gobernar, nunca fue una imitación de uno real. Sin embargo, este retrato real se inspiró en modelos macedonios que presentaban al príncipe Argead como inexperto y débil cuando no llevaban barba.

This contribution analyses accounts of the refining of mercury in the printed works of Biringuccio, Agricola, and Barba and in archival documents related to mercury production at Almadén. Similarities in printed texts, coupled with the lack of connections of their authors to significant sites of mercury mining in the early modern world, suggest that these authors developed their accounts not through personal experience or knowledge exchanges with practitioners but through the types of textual borrowings associated with period humanist scholarship. Examination of local archival sources produced at Almadén indicates, moreover, the lack of correspondence between these printed accounts and local practices at the foremost site of mercury production in early modern Europe. These findings indicate the continuing importance of textual forms of scholarship in the production of period technical knowledge and the dangers of using such learned treatises as indicators of actual practice. [ABSTRACT FROM AUTHOR]

The main purpose of this article is to describe the ways of working with music and song in the process of training actors in the ‘Regula contra regulam’ project conducted by Raúl Iaiza (Regula Theatre, Milan) and in the work of Domenico Castaldo (Laboratorio di Castaldo, Turin). The investigations of both artists belong to the stream of the Italian laboratory tradition, for which the main inspirations remain the work of Jerzy Grotowski and of Eugenio Barba. The article explains what the sources of this tradition are and how we can contemporarily understand the concept of the theatre as a ‘laboratory’. It subsequently describes briefly the most important findings regarding the approach to working with the voice advanced by Grotowski and Barba. We can find the continuation and expansion of their thoughts regarding work with the voice and with music in the work of both Iaiza and Castaldo, although, as this article attempts to show, the investigations of each of these artists achieve their own individual, original character. [ABSTRACT FROM PUBLISHER]

This article describes a personal journey into the International School of Theatre Anthropology (ISTA) during its fifteenth session in Albino in April 2016. It reflects upon the common elements underlying the different approaches to training in the different traditions that were represented by actors who are considered as ‘masters’ in their specific art forms. It highlights different techniques from both the West and Asia that were demonstrated and discussed. It takes a look at daily life during ISTA, as well as the training that the participants were asked to undergo. [ABSTRACT FROM PUBLISHER]