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The five Senses between Illusion and Deception: sensory manipulations in some operas from Orlando furioso and Gerusalemme liberata
Get PDFIn Orlando Furioso and Jerusalem Delivered, Ariosto and Tasso granted a leading place to the sensory experience of their heroes. The manipulations of the senses allowed to deceive and charm them with seductive delusions by means of the beauty of their bodies and the wealth of their clothes, but also the delights of the feasts using the joy sometimes visual with the change of setting or auditive with the recurring presence of the music used as a background for these festivities. Moreover, we mustn’t forget another field of the knightly period which gives an importance to the five senses: that is the contentious dimension. Through the observation of seven operas booklets taken from the Orlando Furioso and Jerusalem Delivered we will attempt to see how the singing theatre show this idea of sensory theatre in all its flamboyance
The Awakening of the five Senses in the Actor\u27s Body. A view on the physical Theatre of contemporary Greece.
Get PDFThis study is an exploration of Modern Greek theatre. Nowadays in Modern Greek theatre we see many recreated, reformed theatre language forms, emphasizing actor’s body fundamental potentials. They seem to be an attempt, during the financial and social crisis, to assign mostly to art the role of supporting human culture. This is maybe the best era Greek theatre is experiencing. Theatre appears as the dominant artistic expression of Greeks, inside the spectrum of “physical” or “formal” theatre. The beginnings of this theatre date back to the Ancient Greek mimic, continuing through the Commedia dell\u27Arte renaissance, until the 20th century, when important artists began to deal with the actor’s body forces, embedding new experienced theories
Le recours à l’amorce spectaculaire dans le processus de resensibilisation du spectateur : ouvertures vers le sacré
Get PDFAlthough it plunges the viewer into a more or less familiar world, contemporary theatre at times employs a dramatic primer that, by just preceding the performance itself, plays a crucial role in the process of resensitization of the audience that is present at such an event. This process can be theorized through the notion of the experience where the theatrical event is transformed, and through the liminal quality of the introduction that precedes it. With the help of two remarkable Québécois theatre performances – Les Troyennes d\u27Euripide and Ascension d’Olivier Choinière – this article will investigate how the dramatic primer allows for the activation of the viewer\u27s senses by reconnecting them with a moving, touching, dynamic, feeling body, in order to broaden his openness beyond the everyday reality. 
The immersive Show: Experiences of Mediterranean Theatre
Get PDFWe cannot speak of Gibellina without addressing the idea of time, of memory and of their effects on the present and the future, of its relation to man confronted with ruins. More precisely, with the ruins left by the earthquake that struck the towns that had for centuries stood in the Belice Valley during the night between January 14 and 15, 1968. Since that time, to get back on its feet, Gibellina has engaged in an intensive process of reconstruction, with art and theater as leading players. The Gibellina theater experience is an example of total theater: only a spectator, an active and participating visitor can fully comprehend the scope of a show in which the person is drawn in by a natural event, which serves as prologue and epilogue of each performance
Théâtre de la Nuit et poétique des sens : une dramaturgie du sentir(e) au service d’une esthétique de l’humain
Get PDFContrary to a western philosophical tradition that has always favoured vision and language as synonyms of thought, the theatre of the Senses uses the memory of the body and sensorial languages to make the audience experience a crossing (internal as well as external) into the darkness of non-knowledge. In this theatre of the Night, the « passengers » (name given to the audience) take part in the action, guided by « inhabitants » (the actors) who have developed for them a sensorial journey whose each stage mobilizes the whole body in an active listening. By making their way in this manner in the dark, everybody is asked to discover in themselves a new spatiality which they will use to see and hear better, to « hear oneself see, ultra-see and ultra-hear » (Bachelard, 1957) that is to say sentir(e), word which also means listen both in Spanish and Italian and is indissociable from thinking (Damasio, 1995). A new relation to the world, concrete, non -visual and non-verbal ensues that has consequences in the all the orders of life
La notion de rasa dans le théâtre indien
Get PDFThis communication presents the notion of rasa in the Natyasastra, founding book of the theory of the theatre in India. This term defines the emotional state of the viewer needs the theater. The first meaning of the word rasa is sap, or juice of plants. One speaks, for example, of the rasa of the sugar cane that is what conveys the flavor of the cane sugar. The aesthetic experience is therefore presented as a tasting. Rasa is sensuality, proximity, experience. It is aromatic, it fills the space, absorbed by the body, it becomes a part, it works from the inside. Its means are similar to those in the kitchen : the combination and transformation of distinct elements in a new offering of the flavours mix. The Indian theatre prefer experience in distancing, the action of taste to that of judge. Author, actor, spectator, all have links, although different, with him rasa
Le combat pour le regard de l’Autre. À propos de la performance « Accommodation » de Hantu Yanna Kor
Get PDFThe aesthetical experience of the spectator foregrounds on the sense of vision. However in the theatre we more than see, we look at. The performance space becomes the area of the conjunction of gazes, that of spectator and that of artist, the ring of combat for the gaze of the Other. But what if we choose the blindness as the primary point of focus? Influenced by Denis Diderot’s essay Letter on the Blind for the Use of those who can see (1749) the performance Accommodation of Hantu (Pascale Weber and Jean Delsaux) offers a discourse about the gaze and the zone of blindness that surrounds it in the context of the aesthetic experience of the spectator and of the artist.
L\u27uomo ridotto a una sola posizione. Fame e asservimento ne Le neveu de Rameau di Diderot
Get PDFLe neveu de Rameau is a novel that provided many stimuli to philosophers. The dialogue between the two main characters â the philosopher and the servant, the buffoon of the rich and powerful â inspired the Hegelian reflections on the dialectic between servant and master. Le neveu de Rameau is a remarkable representation of the relationships of dependence and negation between those who have power and who is affected by it. The servant is represented as a hungry man, with a knot in his stomach and his mouth open and awaiting; he assumes strained postures which show his subaltern position regarding the master. These bodily figures and behavioral schemes have a relevant ethical and social meaning within the novel: they express the reduction of the complex human unity to a mere condition of need. 
Un romanzo gastrico. Fenomenologia della fame e del disgusto a partire da Fame di Knut Hamsun
Get PDFThe novel Hunger by Knut Hamsun, published in 1890, marks a crucial phenomenon for the literature of the 20th Century. The essay aims at showing the central role of the hunger in the novelâs conception and writing. The phenomenology of hunger and disgust displayed by the Norwegian writer plays several symbolic functions: it appears as a physical sensation, a process of the life of the mind, a symbol of artistic creation and an ethical choice in front of the modern social disorder. 
The Theatre of Senses: New Perspectives of Research
Get PDFIn the articulation of Western thought, the senses of taste, smell and touch have been marked by exclusion, if not by condemnation and repression, compared to the more “noble” senses of sight and hearing. The European project “Senses” was born precisely on the basis of this question that concerns the opposition and the hierarchy of the senses. It investigates the ways in which theatre addresses and uses the senses of the spectator, and the possibility that theatre may stimulate a larger and more complex sensoriality. For this reason, the project also deals with the importance of Aesthetics, as a philosophical discipline which aims at understanding how the senses work and at shedding new light on the meaning of the performative aspect that characterizes the contemporary scenic arts