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Using certain camera techniques and visual effects have been proven means of showing personal perspective in movies throughout the years. However, little research has been done with regard to such means of portraying a personal perspective in theatre. Therefore, we propose a theoretical study of the field, in order to outline previous work. Moreover, we will base our theoretical frame on three contemporary examples: (a) The encounter, directed by Simon McBurney, where the personal experience is shown through the use of aural effects and the audience closing and opening their eyes, creating a distancing or immersion effect; (b) Ubu Roy, directed by Declan Donnellan, where the personal perspective of the character is shown through a mix of digital and non-digital means, such as a first person camera and changing the movement-style of the actors; (c) The Loneliness of Stones, directed by Gelu Badea, in which the personal perspective is shown through projecting both abstract and non-abstract visual elements on stage, along with the use of a first-person camera. Through comparing these three productions which have very different aesthetics, we can better isolate the concrete instruments used by directors to change the perspective from an objective one to a subjective one in theatre. This procedure is harder in performance art than in film, due to the limitations of theatrical means. The conclusion of our presentation is that digital art is used in theatre to show the personal perspective of the characters, the cast and the directors. We argue that it is exactly because theatre has limited means of perspective-shift in comparison to film that theatre makers use technical and digital solutions for this specific staging need. [ABSTRACT FROM AUTHOR]

In opera, the drama typically unfolds with transgressions against the law or social norms. Legal conflict and crime are important devices used to hold audience interest. Opera embodies a rich combination of acting and song, orchestral music, stage architecture, and a plethora of other dramaturgical devices. The emotional connotations of lawbreaking are laid bare like in no other form of art. The overwhelming effect on the audience may well balance out the pronounced artificiality of this form of art and leave a lasting message. Its content will depend on factors identified in the law and popular culture literature. Character development and legal-political message are key to what opera teaches an audience. Today, audio-visual recordings are the prevailing form of opera consumption. To do justice to the complexity of socio-legal aspects in opera, we suggest methods making use of recorded opera. [ABSTRACT FROM AUTHOR]

Marugame Udon is a Japanese fast-food restaurant chain with many branches in Indonesia. This study examines the conveyance of the Japanese atmosphere to visitors as a performance. Interior research based on performance theory has not been widely conducted. This study aims to determine the performative influence of Marugame Udon's interior on visitors by exploring Richard Schechner's performance aspects (action, interaction, relationship). This study uses a qualitative approach with a case study method to deeply explore data from visitors and interior elements. The data collection techniques used are observation, in-depth interviews, literature study, and company profile reading. Data analysis is done by reduction, presentation, and drawing conclusions and recommendations. The findings of this study are: (1) the "action" exploration finds that the interior display is a manifestation of Marugame Udon's identity as a Japanese restaurant chain and its commitment to introducing Japanese culture, especially Sanuki; (2) the "interaction" exploration finds that the presence of interior elements is a mutually dependent system in displaying the atmosphere (Japanese), and visitors interact most with noren and the theater kitchen; (3) the "relationship" exploration reveals that Marugame Udon does not only act as a restaurant providing food and drinks but also as a stimulating agent that influences visitors' perceptions and evokes their memories and desires related to Japanese culture. These three findings indicate that Marugame Udon's interior is a static performative ecosystem that can interact and form relationships with visitors. [ABSTRACT FROM AUTHOR]

One of the hardest things to convey to present-day readers of modernist drama is the power it had to shock turn-of-the-century audiences. Defining shock as a "structure of feeling" (Raymond Williams) that was pursued in especially teachable ways by the modernist "play of ideas," this essay shares a set of pedagogical strategies for helping students to feel this shock while also reflecting on the political implications of an art committed to shock. Among these teaching strategies are two attempts to set this "terrible art" (G. B. Shaw) in new, revealing contexts: (1) comparing the modernist theater to non-theatrical practices that attach ideas to structures of feeling besides shock, and (2) pairing modernist plays that "shock" their audience in pursuit of a feminist politics with contemporary plays that "destroy the audience" (Young Jean Lee) in pursuit of an anti-racist politics. The result is not to lionize shock as a universal ideal, but to explore it as a tactic—useful in some settings, harmful in others; always distributing its benefits and its costs unevenly. [ABSTRACT FROM AUTHOR]

This study investigates the two surviving performances of Brahms's Third Symphony conducted by Wilhelm Furtwängler and contextualizes them as part of the reception of cultural tradition and national music in Germany during the early and mid-twentieth century. Many of the conductor's performance choices appear motivated by a desire to project the narratives of heroism, nostalgia and nationalism invented for Brahms's Third by critics in the decades after its premiere. Through his copious writings on aesthetics, as well as critical commentaries on his performance style, particularly those of Theodor Adorno, Furtwängler emerges as a living manifestation of the historical sublime. Sublime aesthetics formed the basis of many contemporary assessments of Furtwängler. He was personified as an inspired orator in the classical tradition, one with special insight into the symphonic repertory, but particularly as an interpreter with a significant connection to the musical past of Central Europe. Perceptions of Furtwängler's »lateness« stemmed from those who identified him as one of the last proponents of the Espressivo style of music making. From this vantage point he was seen as a key protector of tradition and by extension, as the defender of a rapidly disappearing national hegemony of music. [ABSTRACT FROM AUTHOR]

Many organisational officials agree that most of the incidents in the field happen due to undesirable human performance (or human error). So, to maintain safety and efficiency at work where human subjects are involved, it is necessary to have in-depth knowledge about human performance analysis and assessment. This article reviewed human performance from its different facets to understand it and find techniques available to help manage it. To review this subject, we have followed a user-friendly, replicable technique. After the intense review, we noticed a need for more adaptable technologies in system safety, where the work can only be accomplished with human involvement. This review helps researchers and has the capability to advance studies both in the engineering psychology and human reliability fields. It also assists the novice in the organisational management team in understanding essential parameters responsible for human performance in order to improve human work safety and efficiency. [ABSTRACT FROM AUTHOR]

The aim of this paper is to distinguish between the theatrical and literary processes of performativity, to separate the theatrical (physical) practice of reality-formation from the literary (linguistic) construct. My analysis plays with the layered meanings of “to perform” and “the performance”, in order to deconstruct the equivalences expressed by the linguistic and theatrical insights (speech act theory and performance respectively) that gained prominence in the late sixties. [ABSTRACT FROM AUTHOR]

This article discusses how orientalism has operated and continues to operate within the North American artistic landscape of dance artists. The author starts by focusing on Uday Shankar (1900–1977), one of the major, though often overlooked, figures over the last 100 years of South Asian (and predominantly Indian) dance performance on the concert stage in the diasporic context, to consider how orientalism, the desire for authenticity, a nationalist agenda, religious fundamentalism, economic necessities, multi-cultural initiatives, and diversity desires all interact and coalesce to form an undercurrent of limited potentials about how and why South Asian dance can exist within the American performance discourse. In an auto-ethnographic move, the author then juxtaposes Shankar's historical legacy with a new artistic project by the author (b. 1969), entitled Reorient the Orient, premiering in 2024. The writing uses archival sources such as photographs, programs, publicity materials, featured essays, newspaper previews, reviews, filmed dance footage, choreographic analysis, and personal reflections to explore how social factors and personal ambitions create awkward relationships within orientalism's manifestations in the diasporic U.S. performance landscape. [ABSTRACT FROM AUTHOR]

In Caroline Link's popular 2001 film Nirgendwo in Afrika, a Jewish family fleeing the Holocaust finds refuge in British-controlled Kenya. Theater plays a crucial role in the film: Members of the Redlich family explicitly call upon one another to engage in roleplaying. They make use of theater to experiment, imaginatively, with their new roles within the colonial establishment. The film's production team, as I point out, was similarly preoccupied with questions of theater and theatricality. In interviews, the film's director and producers claim that their indigenous extras struggled to understand the distinction between fiction and reality, often became overly caught up in the roles they were portraying, and could only be, not truly perform, for the camera. In this way, the film's production team discounts their indigenous extras as genuine collaborators and, ultimately, justifies their monopoly over the work of cultural representation. If theater and performance are often portrayed as opening up a path to greater political and social emancipation, we find here instead an example of how it can be used both to initiate individuals into a colonial hierarchy and to maintain and reinforce patterns of exclusion.

Performance studies and performativity are relatively new concepts - constantly evolving with great creative and developmental potential, which are often applied and related to various artistic and theoretical practices. Given that the relational framework between architecture and performative practice has yet to be sufficiently explored, the main research problem in this paper is the systematization of a discursively based view of the performativity of architecture. The architecture performativity is considered from the Performance studies applied to architecture, so the subject of research is focused on the artistic practices in which architecture is a tool, stage or part of performative act. The research process includes the systematization of the significance and meaning of performance in the tangential field of performance practices and architecture. Architecture, considered as an instrument of performative practice, instead of mere objectivity, foregrounds the effect it produces on the user in their mutual interaction.

In this article, I analyze how the coronavirus pandemic has affected stand-up comedy. Due to the restrictions, comedians lost the opportunity to perform live. It was a serious problem, because it is impossible to create stand-up material without the main verifier of jokes – the audience. Some comedians have chosen to perform their acts on the internet. However, this type of virtual barrier only emphasized the fact that a fundamental part of stand-up comedy is the presence of a live audience. In the second part of this article, I explore how comedians joked about the coronavirus and how their approaches to this diffcult topic differed. As it turns out, Polish comedians focused primarily on personal stories and minor observations related to lockdown. Meanwhile, American stand-ups displayed a journalistic bias, paying more attention to how the pandemic affected society as such.

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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.)

As advances in scientific, technological, economic and policy dimensions of sustainability challenges fail to produce widespread transformative change, an awareness of their ultimate insufficiency grows. In response, sustainability scholarship and activism are increasingly focused on sustainability's normative dimensions, identity, belief, meaning, purpose, etc. With this recognition comes a growing turn towards narrative as the expressive vehicles of our normativity. In this paper, we aim to build on (Fløttum and Gjerstand. 2017. 'Narratives in Climate Change Discourse.' WIREs climate change. 8.) efforts to develop more precise and structured relationships between sustainability and narratives by looking at what the field can learn from storytelling more specifically. We explore this first by exploring story structure as our society's ubiquitous theory of change; and second, how the story constructs its protagonist to activate the transformative dynamics inherent in story structure. We then conclude by exploring the implications these observations have for sustainability research more broadly. [ABSTRACT FROM AUTHOR]

In this study, both performance and polymedia serve as important conceptual lenses to examine how university students in the Global South handle the social media landscape in enacting cultural identity. Based on 17 focus groups with 105 students from Bolivian universities, we argue that in performing their multiplex identities, this group of Bolivian young people navigate social media as polymedia environments, taking advantage of its possibilities and testing its constraints. The research generated three key findings: (1) students mainly reported examples of cosmopolitan and national identity performances; (2) performances of national belonging showed an ambiguous mixture of self-glorification and self-reflexivity; (3) indigenous identities were rarely performed on the platforms used. [ABSTRACT FROM AUTHOR]

This paper examines how female Lālehzari performers of the 1950s–70s rejected conventional femininity through their performances of female masculinity in their music and in some of the song-and-dance scenes of the commercial cinema. It argues that by performing eshgh ast, a kind of camp, these artists lampooned the dominant culture's binary gender system and their fans' claims over masculinity, ultimately making gender more capacious and women's performative possibilities more diverse in the Lālehzari music scene. Ultimately, the paper demonstrates that these gender outlaws and their audiences developed their own homegrown, urban modernity beyond state discourses of Westernization. [ABSTRACT FROM AUTHOR]

In Living a Feminist Life, Sara Ahmed explains that precarity is akin to a vase on the mantelpiece. If it were pushed even slightly, it would fall off the edge. Existence on that edge, Ahmed explains, is what we allude to when we discuss precarious populations. Patriarchy, racism, ableism, homophobia, and transphobia are violent forces. They threaten to push us over the edge. Queer performance often begins in this in-between state on the mantelpiece, not quite fallen, not quite stable, negotiating, and straddling a balance between holding on to a fragile state and falling off the mantle entirely. In this article, I analyze the Queer Pride Inside Cabaret (June 2020), the first official partnership between Buddies in Bad Times Theatre, the largest and longest running queer theatre in the world, and the CBC, a Canadian federal Crown corporation and national public broadcaster. In considering the mainstream producers and the radical queer artists showcased, I refuse a simplistic antinormative/normative binary in queer performance in Canada and make space for accessing resources from the mainstream, while rejecting inequitable systems of oppression. If queer theatre is intended to break down ingrained static and naturalized assumptions of everyday practices, how do we understand queer performance through contradictions and incoherence? Can we simultaneously fuck the system and accept our complicity within it? Complicating the unique and diverse ways artists opt-in and out of mainstream queer presence, this article looks at creative practices that challenge and promote continuing legacies and failures of queer performance in Canada. [ABSTRACT FROM AUTHOR]

How do audiences come to understand a character who appears to lack a discrete performed identity? This paper explores how, in performance, music and theories of magic and reader response interact to create the identity of the musical spirit, Ariel, from William Shakespeare’s (1564-1616) The Tempest (1611). To facilitate this exploration, I outline Ariel’s characterisation across six productions from the Renaissance, Restoration, and modern-day on two levels: textual (concerning how culturally-bound theories of magic and gender affect interpretations of the play’s script), and performed (concerning practical decisions such gender casting, voice type, and visual design). Across both the textual and performed levels, I emphasise the roles of socio-cultural contexts and resultant audience perceptions in informing Ariel’s identity in each production, ultimately proposing that while Ariel’s textual identity as a genderless spirit remains relatively stable from the Renaissance to the modern-day, each production of The Tempest creates a new performed identity for the character through dynamic interactions between culture, history, directors, performers, and audiences.

An experimental study is conducted to investigate the effects of different operating parameters on the performance of liquid–gas jet pumps. A square nozzle with an area ratio of 2.25 is designed for the liquid–gas jet pump, and an experimental setup for the liquid–gas jet pump system is constructed. By varying parameters such as inlet flow rate, temperature, and inlet pressure, the variations in the pumping capacity and pumping ratio of the system are studied. The performance of liquid–gas jet pumps with square nozzles and traditional circular nozzles under the same working conditions was compared through experimental data. Explore the performance advantages and disadvantages of liquid–gas jet pumps with different shaped nozzles under the same working conditions. The experimental results indicate that as the inlet flow rate of the liquid–gas jet pump increases, the pumping capacity of the system increases, leading to an increase in the pumping ratio. The operational efficiency slightly decreases with a rise in the working water flow rate. The pumping ratio of the system increases with an increase in the inlet pressure, reaching a peak value of around 4.0 when the inlet valve is fully open. Inlet pressure significantly affects the efficiency of the liquid–gas jet pump, with the highest efficiency point achieved at Pa (inlet air pressure) = 60 kPa, reaching an operational efficiency of 42.48%. When Pa exceeds 70 kPa, the operational efficiency rapidly declines. Comparing the performance of square and circular nozzle liquid–gas jet pumps under the same operating conditions, the performance of the square nozzle liquid–gas jet pump outperforms that of the circular nozzle counterpart. The pumping system’s performance decreases continuously with an increase in the working liquid temperature; however, the decline in pumping performance becomes gradual after exceeding 40 °C. As the water level rises, both the pumping capacity and pumping ratio of the system increase. After the liquid level reaches 40 cm, the changes in the pumping system’s performance become less pronounced.

The image of the Apsara, a celestial dancer in Cambodian myth, is closely associated with Cambodian cultural preservation practices like Cambodian classical dance. The Apsara, its aesthetic features and its association with Cambodian cultural preservation have taken on new meaning in Cambodia’s diasporic communities. In the diaspora, Apsara aesthetics have come to symbolize Cambodian heritage, history and identity, becoming a major feature of performances by Cambodian diasporic artists. However, orientalist expectations of Asian performers in the diaspora, paired with both the forgotten history of colonial intervention in Cambodian arts and state-sanctioned initiatives towards Cambodian nationalism, contributes to orientalist (and thus racialized) expectations of Cambodian diasporic performance. Mixed-race artists fail to fit neatly into the dominant narratives of Cambodian performance and have been marginalized by the Cambodian diasporic community’s dominant conceptions of performance that are rooted in cultural preservation. As people that sit outside of the aestheticized markers of Cambodian-ness, mixed-race artists often struggle to have their work and their subjectivities recognized by their communities. To circumvent questions of their racial legibility, mixed-race Cambodian American artists construct performances that are strategically padded with markers of Khmer identity by engaging with Apsara aesthetics. This article will explore how three different SoCal-based artists have negotiated their Cambodian American identity and cultural politics through performance and/or performance related materials (ads, images, etc.). I will be using examples from the work of music artist and violinist Chrysanthe Tan, theater practitioner Kalean Ung, and autoethnographic engagement with my own creative projects to show how examining the work of multi-racial Cambodian American performing artists can bring forth the complex dynamics of Cambodian diasporic cultural politics and belonging.

In this article, I explore performances of letter writing within the archives of the London-based theatre company Clean Break, who work with justice-experienced women and women at risk. Clean Break’s archive at the Bishopsgate Institute in London contains an extensive collection of production ephemera and letters. Charting the company’s development across forty years of theatre productions, public advocacy, and work in prisons and community settings, these materials of the archive—strategic documents, annotated playscripts and rehearsal notes, production photography and correspondence—reveal the acute importance of the letter to people living on the immediate borderlands of the prison. Despite these generative resonances, however, the epistolary form is very rarely used in Clean Break’s theatre: as the archive reveals, since the company was founded by two women in HM Prison Askham Grange in 1979, stagings of letters have occurred in only a handful of instances. In this archival exploration of the epistolary in three works by Clean Break—a film broadcast by the BBC, a play staged at the Royal Court, and a circular chain-play written by women in three prisons—I investigate what lifeworlds beyond prison epistolary forms in performance propose.

The histories of Black Americans who significantly influenced French life and culture in Paris are hardly marked or visible across the most frequented tourist destinations or within state-sponsored museums dedicated to national history. Instead, certain tourist-oriented live performances constitute audible monuments to Black soldiers and musicians. Audible monuments are sound objects constructed through live orature, collective participation, or sound-producing movements that recall history and memory for the purpose of witness engagement or tourist consumption. Toward a critical analysis grounded in performance studies theory this essay first replays and reinterprets the music and military histories shared between African-descended US soldiers and the nation of France as a gendered and misaligned romance, and then suggests how performance events like the tours of “Black Paris” can rehearse that romance and then rupture it by a contemporary African presence.

Noah Hawley's anthology series Fargo (FX, 2014-) has received critical acclaim for its equally humorous and violent depiction of small-town delinquency. Participating in a range of criminal conflicts in and around Fargo, perpetrators are at the heart of the series' thematic interest. However, Fargo self-reflexively deviates from classic crime and detective fiction schemes and rearranges generic conventions into a pastiche of cultural references. As I demonstrate in this article, the series' playful rearrangement of familiar elements also affects the depiction of perpetrators. While the series features classic criminal characters such as hitmen and gang members, it is also interested in portraying previously blameless characters who gradually develop criminal potentials--characters who evolve from ordinary citizens to murderers, from oppressed to oppressors, from victims to perpetrators. I argue that the evolution of these unlikely villains is complemented by the choice of actors for the respective roles. The "recycling of the bodies of actors" is part of what Marvin Carlson has termed "ghosting" in theatre studies (The Haunted Stage 10). By interspersing reminiscences of some actors' previous roles, Fargo deliberately activates the audience's cultural memory to alienate them from established connotations and create new, uncommon villains. In this vein, the series prompts its audience to reflect on their own expectations that are based on cultural conventions and problematizes the issue of role-playing in the evolution of perpetrators both on a thematic and on a performative level. [ABSTRACT FROM AUTHOR]

As in-person social interaction became widely known as the primary mode of transmission of the COVID-19 virus, alternative modes of social interaction were adopted to maintain interpersonal communication during the various lockdowns that were to come. By analysing the application of five key concepts (Goffman's definition of the situation, Anderson's imagined communities, Fischer-Licht's autopoietic feedback loop, Murray's procedural authorship and Agamben's state of exception), we develop an assemblage for assessing Innersloth's Among Us as a proxy for the pandemic experience. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) 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.)

In this essay, I define Femi Euba's theater in respect to his multifaceted career as an actor, playwright, and critic. As I narrate Euba's artistic trajectory, I keep Wole Soyinka in sight, reflecting on the ways his mentorship and collaboration opened pathways in theater, creative writing and criticism that Euba, as a prominent member of Soyinka's circle, utilized and took in new directions. In discussing Euba's theory of Drama of Epidemic, his acting performance of Colonel Moses in Òpèrá Wónyòsi (1977), and his play The Gulf (1991), I argue that Euba's theatrical works are defined by the crossroads, a flexible paradigm that informs intercultural creativity, as well as temporal transgressions. I argue that multitemporality in Euba's works creates a postcolonial futurity, which aligns agency over processes of becoming with an ongoing struggle in the present to make sense of the aftermath of slavery and colonialism. [ABSTRACT FROM AUTHOR]

Theatre in South Africa is deeply entrenched in the art of storytelling. We live, speak and move our stories in our embodied performance practices. While performance and its development are by their nature ephemeral, how can they be captured as data? And how can the data develop digital outputs that eventually tell their own stories? This paper will outline the way in which the rehearsal process of Antigone (not quite/quiet), the first of three practice-based research productions of the ReTAGS project, was documented and curated into an online repository. As data stewards, we will share the journey undertaken to migrate the ephemeral process of theatre devising into interactive and searchable data on UCT's digital collections platform, Ibali. We chronicle the processes and jobs undertaken to capture, catalogue, document, enhance, curate and showcase the material. We explore how an online repository can be constructed not only in order to share the multiple stories present in the rehearsal process, but to encourage further engagements to advance a rigorous living archive. Through this we aim to give precedence to the way artist-researchers can use performance-based methods as reputable means by which to produce data, in order to drive academic research. [ABSTRACT FROM AUTHOR]

I argue performance studies' modernist ontological assumptions of fleeting are antithetical to contemporary performance art which relies on digital technology for mediated viewing processes. In this essay, I argue for a hybrid postmodern performance studies that allow for varying modes of experiencing performance art. I situate Allan Kaprow and Fluxus as the genealogical beginning of performance and argue that Peggy Phelan's ontological assumptions of performance are inherently modernist. I then pose a postmodern approach to performance studies that embrace an embodiment of hybrid viewing methodologies of performance. Lastly, I use three examples as embodiments and symptomatic representations of this embodiment of a hybrid postmodern performance ontology. [ABSTRACT FROM AUTHOR]

This article looks at the presence and function of animals in the dramatic works of Sarah Kane. The by now massive scholarship on Kane has tended to see her work as epitomizing the move beyond the dramatic paradigm famously theorized by Hans-Thies Lehmann, and as equally marked by increasingly dehumanized constructions of subjectivity that culminate in the disembodied theatrical landscapes of her late plays. The research presented here addresses a hitherto unexplored dimension to Kane’s joint engagement with the boundaries of subjectivity and the boundaries of theatre, namely, the pervasive presence of animals across her entire oeuvre and their thought-provoking intersections with the human subjects with whom they share the stage. Through a combination of textual and performance analysis, I chart the complex, changing configurations of this relationship of co-habitation and mutual implication, offering a comprehensive discussion of the role of animals as key players in Kane’s dramaturgy of simulacra. [ABSTRACT FROM AUTHOR]

This article presents William B. Worthen’s latest book: Shakespeare, Theatre, Technicity (Cambridge, 2020), which offers a reflection on staging Shakespeare in the age of digital media domination. This publication by the renowned Shakespeare scholar is an important voice in the discussion of theatre as a hypermedium, that is, a medium that reaches for other media in order to establish its historical version in a particular period. Worthen’s concept is anchored not only in media theories, but above all in the philosophy of Bernard Stiegler, who regards the human being is a technical being, using material and technical prostheses to transcend his/her being-towards-death and to be able to exist beyond purely biological conditions. One of Worthen’s crucial arguments for considering theatre as a hypermedium is his extensive analysis of the practices, myths and dilemmas concerning the reconstruction of traditional Elizabethan theater; he defines them as remediation practices.

Instructors: Ghigo di Tommaso (Landscape Architecture and Environmental Planning), Erika Chong Shuch (Theater, Dance & Performance Studies), Susan Moffat (Global Urban Humanities Initiative)Term: Spring 2018Course #: Why Read This Case Study?This case study of the course Siteworks: Understanding Place through Design and Performance may be useful to teachers of urban studies, architecture, landscape architecture, design, theater, dance, and multiple humanities disciplines. This interdisciplinary research studio course combined landscape architecture methods including site analysis, mapping, graphic representation and oral presentation; performance methods including sensory immersion, embodied exercises, and engagement with an audience; and humanities methods including writing and interpretation.This case study explains the steps of site analysis, research, and iteration that led to the creation of a site-based performance that aimed to share the students’ undertanding of the site with an invited audience.It describes the ways that three instructors from the fields of performance, landscape architecture, and urban planning team-taught a course with undergraduates from majors including architecture, computer science, development studies, and political science.The conclusions of the case study include:• Place-based, project-based learning encourages students to road-test concepts in a concrete fashion that may have greater staying power than book learning alone.• Fieldwork can be useful in arts and humanities education.• Design students benefit from exercises that deepen awareness of social factors.• Collaborative, hands-on projects provide training in teamwork and time management for students and graduate teaching assistants that is useful both inside and outside academia.• Writing exercises associated with project- based learning produce critical thinking of a quality that might not have been achieved without the place-based, hands-on work.

Auf der Basis einer quantitativen und qualitativen Analyse von 106 Gesamtaufnahmen von Franz Schuberts Winterreise (1827) wird eine ausführliche Diskussion der Strategien der Ausführenden hinsichtlich der makroformalen Gestaltung dieses Zyklus vorgelegt. Hermeneutische und analytische Deutungen des Werkes machen ein Spannungsfeld von zyklischer Kohärenz und Fragmentierung sichtbar und problematisieren in vielfältiger Weise Identitätskonzepte und die Vorstellung musikalischer ›Geschlossenheit‹. Anhand der Vielzahl unterschiedlicher Transpositionsvarianten, die den Aufnahmen zugrunde liegen, wird (auch mittels Perspektiven der Neo-Riemannian Theory) eine neue Sicht auf die makroharmonische, tonartliche Anlage von Schuberts Werk geworfen und gezeigt, wie grundlegend sich bereits die Entscheidung für eine bestimmte Transpositionsfolge auf die zyklische Dramaturgie auswirken kann. Anhand einer Diskussion von Dauern, Initialtempi und Prozentanteilen (Gewichtung von Liedern und Liedgruppen innerhalb der Gesamtdauer) in den untersuchten 106 Aufnahmen werden fünf makroformale Modelle unterschieden, die in manchen Deutungen besonders prägnant realisiert werden: Rahmenmodell, Binnenmodell, Eröffnungsmodell, Finalmodell und Balancemodell. Die Diskussion bezieht statistische Verfahren ein (Korrelations- und Faktorenanalyse), aber auch qualitative Aspekte wie narrative, klangfarbliche oder semantische Facetten der Interpretation. In Bezug auf die prägenden Deutungen Dietrich Fischer-Dieskaus sowie mittels der Auswertung eines Podiumsgesprächs mit zwei Interpreten der Winterreise im Rahmen eines Workshops werden diese Aspekte abschließend im Spannungsfeld zu den Ergebnissen der quantitativen Datenanalyse erörtert. Dieser breite Blick auf die Interpretationsgeschichte und ihre nachhaltig divergierenden Tendenzen legt es nahe, auch für die Gegenwart eine stärkere Diversifizierung von Interpretationsansätzen einzufordern. On the basis of a quantitative and qualitative analysis of 106 complete recordings of Franz Schubert’s Winterreise (1827), this article presents a detailed discussion of performers’ strategies with regard to the macroformal design of this cycle. Hermeneutic and analytical interpretations of the work reveal a tension between cyclical coherence and fragmentation, and they problematize identity concepts and the idea of “musical unity” in a variety of ways. On the basis of the multitude of transposition variants on which the recordings are based, a new view of the macroharmonic tonal structure of Schubert’s work is suggested (also drawing on Neo-Riemannian theory); it is also shown how the decision to use a certain transpositional variant may have a fundamental impact on cyclical dramaturgy. A discussion of durations, initial tempos, and percentages (weighting of songs and song groups within the total duration) in the 106 recordings examined generates a distinction between five macroformal models, which in some interpretations are implemented concisely: frame model, internal model, opening model, finale model, and balance model. The discussion includes statistical procedures (correlation and factor analysis), but also qualitative aspects such as narrative, tonal, or semantic facets of interpretation. With regard to the formative readings of the cycle by Dietrich Fischer-Dieskau, as well as by evaluating a panel discussion with two performers of Winterreise as part of a workshop, these aspects are finally explored in relation to the results of the quantitative data analysis. This broad view of the cycle’s performance history and its continuously divergent tendencies also suggests the need for a greater diversification of performative approaches in the present.

Dieser Beitrag untersucht auf Grundlage einer umfassenden quantitativen Datenerhebung aus 66 Gesamteinspielungen von Beethovens ›Diabelli-Variationen‹ mit Aufnahmedatum zwischen 1937 und 2018 Aufführungsweisen von Pianist*innen zur Gestaltung zyklischer Makroform. Aufnahmen dieser Variationenfolge bieten ein weites Feld, um methodische Ansätze der musikalischen Interpretationsforschung zu erproben. Es liegt ein Ansatz zugrunde, der sich sowohl einer computergestützten Auswertung als auch ästhetisch-deskriptiver Höranalysen bedient und es zulässt, innerhalb des aufführungsgeschichtlichen Kontextes unterscheidbare Gesamtdramaturgien zu differenzieren. Die Aufnahmeanalysen stützen sich auf die absoluten Dauern des Themas und der 33 Variationen sowie auf deren Prozentanteile an der Gesamtdauer. Weitere Datenbestände bilden die Werte der Initialtempi und der Grad an Stabilität und Flexibilität in den Tempogestaltungen der Pianist*innen (unter Bezugnahme auf die relative Standardabweichung). Die Untersuchung der Interpretationsgeschichte von Beethovens op. 120 legt pianistische Aufführungsstrategien offen, die ein Spannungsfeld zwischen makroformaler Kohärenz und mikroformalen Details abstecken. In this article, a performance analysis of Beethoven’s “Diabelli Variations” op. 120 is presented, based on a corpus of recordings made between 1937 and 2018. Complete recordings of this cycle offer ample opportunities to reconsider methodological approaches in musical performance studies. Discussions of the staging of large-scale form in performance emerge from quantitative and qualitative software-based research into sixty-six complete recordings. Pianists’ form-shaping strategies are examined, tracing varying approaches to cyclic form and their historical contexts. Analyses of audio recordings involve the absolute durations of the theme and the thirty-three variations and their relationship to the total duration (expressed as percentage values). Further data assembled are initial tempo values and each pianist’s degree of stability and flexibility in tempo (by referring to the relative standard deviation). By exploring the performance history of Beethoven’s op. 120, this article aims at differentiating performative dramaturgies that move between the poles of macroformal coherence and microformal detail.

Diese Response beschränkt sich nicht darauf, die einzelnen Texte der vorliegenden Sonderausgabe zu zitieren, zu kommentieren und im Eventualfall zu kritisieren. Die durchgängig hohe Qualität der Beiträge, deren konkrete Ergebnisse an drei spezifische zyklische Werke gebunden bleiben, rückt stattdessen die Frage nach den grundsätzlichen Voraussetzungen der hier vorgestellten Forschungen ins Zentrum: (1) Die methodischen Implikationen von Zeitpunktmessungen könnten noch genauer reflektiert werden (die Diskussion der empirischen Messungen erfolgt vor allem anhand der Beiträge zu Bachs ›Goldberg-Variationen‹). (2) Normative Voreinstellungen bei der Selektion von Aufnahmen oder Textreferenzen sollten explizit mitdiskutiert werden (die Diskussion der hermeneutischen Meinungsbildung erfolgt vor allem anhand der Beiträge zu Beethovens ›Diabelli-Variationen‹). (3) Die gemeinsamen oder getrennten Zugangswege von Theorie und Praxis werden nochmals zur Debatte gestellt (nun stärker anhand der Beiträge zu Schuberts Winterreise). (4) Als Ausblick werden Möglichkeiten zur Weiterverwertung der Daten in einem eigenen Analysebeispiel anhand von Aufnahmen des Pianisten Igor Levit vorgeführt. This response is not limited to quoting, commenting on, and, if necessary, criticizing the individual texts in this special issue. The consistently high quality of the contributions, the concrete results of which remain tied to three specific cyclical works, instead suggests a focus on the fundamental prerequisites of the research presented here: (1) The methodological implications of time measurements should be reflected on more closely (the discussion of the empirical measurements takes place primarily on the basis of the articles about Bach’s “Goldberg Variations”). (2) Normative preconditions for the selection of recordings or text references should be explicitly discussed (the discussion of the hermeneutic formation of opinion takes place primarily on the basis of the articles about Beethoven’s “Diabelli Variations”). (3) The common or separate access routes for theory and practice are once again put up for debate (now more on the basis of the articles about Schubert’s Winterreise). (4) As a sign of the new directions such research might take , possibilities for further processing of the data are presented in an analytical example by the author, based on recordings by the pianist Igor Levit.