408 research outputs found
Audience manipulation? Subverting the fourth wall in Pina Bausch’s Kontakthof (1978) and Nelken (1982)
No full textPina Bausch’s Tanztheater breaks everyday behaviour into its most elemental fragments, and fundamental aspects of stage etiquette are constantly challenged, not least the barrier between performer and spectator known as the fourth wall. Accordingly, the hierarchy of the theatre space is thrown into question, and the audience’s preconceived notions of boundaries, appropriate behaviour and expectations are left open ended. In the following article, two case study examples of Bausch’s works—Kontakthof (‘Meeting Place’, 1978) and Nelken (‘Carnations’, 1982)—have been selected in order to demonstrate the range of techniques Bausch employs in manipulating the fourth wall. Both are lengthy in duration and extremely complex, layered works of dance theatre, illustrating Bausch’s varied methods of audience manipulation at what I have identified as a ‘golden period’ in her career. This article explores the process of audience manipulation through Bausch’s peripatetic use of the fourth wall, illustrating that, as dance theatre has evolved, the performance event has become increasingly confrontational and direct, engaging with the audience in a more provocative manner, and calling into question the limits of the theatre space.Publisher PD
‘What Moves Them’ An investigation into the use of the techniques of Pina Bausch and the strategy of ‘creativity cards’ in the creation of a piece of dance theatre that communicates the brutalities of sex trafficking.
No full textThis thesis documents a process of practice-led research in which I drew on the techniques of Pina Bausch and a particular methodological and choreographic approach to making material – ‘creativity cards’ – in order to create a piece of dance theatre that communicated the brutalities of sex trafficking. The thesis concludes that the form of dance theatre together with the methodology of ‘creativity cards’ and Bauschian techniques such as the use of repetition, the use of ‘violence’ and the use of ‘memeplex’ (a specific characteristic movement species that can be found across Bausch’s work),
enabled me as a choreographer to establish a relationship between the performer and the audience. The combination of form, techniques and methodology used in the research project engaged the audience in such a way that they empathised with the performer and were encouraged to think about what was being presented on stage in The Body Shop. This engagement between audience and performer meant that the project was successful in conveying the brutal realities of sex trafficking
The truth of personal names
No full textPortuguese-speakers, when asked about their personal names, often respond with a notion of the
‘truth of’ their names. Basing itself on ethnographic data collected by the author in Macao (southern
China), Bahia (Brazil), and Portugal, the article interprets this notion of truth as a form of ontological
weighing that postulates the unitariness of the person by reference to a subjection to a bureaucratic
order and to a cultural and linguistic universe associated to it
El Tlacuache Núm. 422 (2010). 422 Año 10 (2010) junio. El Tlacuache
No full textLas guerras van sobre camino de papeles: la insurrección suriana en reportes de Regeneración por Valeria C. de Pina Ravest
A casa Pina Vaz em Ofir - reflexos do regionalismo crítico
No full text“A Casa Pina Vaz em Ofir. Reflexos do regionalismo crítico” é um pequeno ensaio sobre um projecto da fase final da carreira do arquitecto portuense Alcino Soutinho, que procura perceber até que ponto esta e outras obras deste autor poderão ter sido influenciadas pelo movimento denominado “Regionalismo Crítico”.“The Pina Vaz House in Ofir. Reflections of Critical Regionalism” is a short essay on a project of the final phase of the career of the Porto architect Alcino Soutinho, that seeks to understand the extent to which this and other works of this author have been influenced by the movement called “Critical Regionalism”.info:eu-repo/semantics/publishedVersio
Caminhos para dançar-se : Elementos da psicanálise no processo criativo de Pina Bausch
No full textEsta pesquisa é um desdobramento de um estudo iniciado em 2009, no qual a autora investigou a relação do processo criativo de Pina Bausch com a psicanálise freudiana, no que se refere ao acesso ao inconsciente através da associação livre. A partir da aproximação dessas duas áreas, o atual trabalho tem como objetivo aprofundar essa comparação, ampliando a análise bibliográfica, bem como investigar se o processo coreográfico de Pina Bausch assemelha-se ao processo psicanalítico também quanto às concepções de setting e transferência/repetição. A partir daí, a autora propõe a psicanálise freudiana como uma possível potencializadora do dançar-se, considerando a subjetividade clivada como fonte de criação de movimentos. Para essa investigação, a autora partiu de sua vivência pessoal, enquanto analisanda e bailarina, fundamentando sua pesquisa em autores como Bentivoglio, Gil, Cypriano, Fernandes, Lima e Galhós, no campo da dançateatro de Pina Bausch; e Freud, rodeado de alguns de seus pesquisadores, como Laplanche e Pontalis, Sandler, Greenson, Garcia-Roza, Roudinesco e Zimerman.This research is the outspreading of a study started in 2009, in which the author investigated the relation between Pina Bausch’s creative process and Freud’s psychoanalysis, regarding the access of the unconscious through free association. From the approximation of these two areas, the present study has as its objective to deepen this comparison, broadening the literature review, as well as investigating if Pina Bausch’s choreographic process is similar to the psychoanalytical when it comes to the conception of setting and transference/repetition. From that point, the author proposes Freud’s psychoanalysis as a possible catalyst of the dancing, considering the cleaved subjectivity as a source of creation of movements. For this investigation the author started from her personal life, as ballerina, substantiating her research with authors such as Bentivoglio, Gil, Cypriano, Fernandes, Lima and Galhós, in the area of dance-theater of Pina Bausch; and Freud, surrounded by some of his researchers, such as Laplanche and {pontalis, Sandler, Greenson, Garcia-Roza, Roudinesco and Zimerman
INFRARED EMISSION SPECTRUM OF DBO
No full textY. Kawashima et al., J. Molec. Spectrosc. \textbf{133}, 116-127 (1989) and {44th Symp. Molec. Spectrosc}., Columbus, (1989). P. Colarusso et al Sympos. on Molec. Spectrosc. Columbus, (1996).Author Institution: Department of Chemistry, University of Waterloo; Department of Chemical Technology, Kanagawa Institute of Technology; Department of Chemical Technology, The Graduate University for Advanced StudiesWe generated the transient molecule DBO by reading deuterium with the parent molecule, HBO. at temperatures above in a ceramic tube furnace. In fared emission spectra were recorded with a Fourier transform spectrometer at a resolution of from 350 to 3600 . We observed the three fundamental vibrational bands as well as various hot and combination bands. A strong Coriolis interaction was detected between the and energy levels. The high-resolution infrared data for DBO will be combined with previous to yield a thorough analysis of the ground electronic state
Leukocyte adhesion-induced mechanotransduction in human endothelial cells
No full textBibliography: p. 140-16
The Experience Theater choreographed by Pina Bausch
No full textA theater where the spectator is involved in all senses, offering welcoming conditions. In the work of Pina Bausch, everyday body behavior is not just a matter of style; her dance develops content with a proper writing, inviting the spectator to experience a poetic reality. For this purpose, the article initially presents a historical line of Tanztheater, its attributes and interrelationships, closing with the specific characteristics of four works of the choreographer, created in the period comprising the initial two decades (1974-1989) of her fruitful production, and which were watched live by the author of the text
On Pina Bausch’s Legacy: an interview with Dominique Mercy
No full textPerhaps no other author has better characterized the work of Pina’s
dancers – and, therefore, the artist’s herself – than José Sasportes – a
remarkable Portuguese dance critic and historian. This brief observation of
Sasportes, made in a text entitled Acção para bailarinos [Action for dancers],
and regarding an event held in Lisbon in honor to Pina Bausch, allows to perceive in quite clearly the meaning of the experience and legacy of a remarkable artist, that are summarized in the figure of one of her greatest collaborators, Dominique Mercy.
Certainly, there is no need to introduce Dominique. It is worthy,
though, to recover some moments that preceded his fortuitous encounter with Pina in the early 1970’s in Saratoga, United States. Born in 1950 in the city of Mauzac, France, Dominique’s first professional steps in the dance world from the mid-1960’s on were in the Bordeaux Grand Théâtre,
later followed by the Amiens Ballet du Art Contemporain. In 1973, two
years after his first encounter with Pina in the Summer Festival of Saratoga,
in 1971, Dominique goes to Germany, to Wuppertal, to be part of the
recently founded Tanztheater.
His close relationship with Pina allowed, in fact, that her legacy could
be kept alive following her sudden death in 2009. Dominique took over the
artistic direction of the Company with Robert Sturm for some of the
following years, having later transferred the position to his co-worker and
dancer Lutz Forster. It was beside Pina and so many others from the
Wuppertal ensemble that Dominique ended up writing one of the major
pages in the annals of dance history in the 20th century.
The experience of – or rather, with – Pina that each one of us
apparently has with her when meeting her work for the first time, allowing
to understand in a certain extent the fascination that she exerts until
nowadays on the audience, passes as well and indispensably through those
who worked with her and by her means. My first time with Pina was, for
sure, beside Dominique Mercy, or rather, in front of him. Dominique was
half-naked, wearing only a tutu and carrying a watering can. It was 2006,
for the presentation of Fur die kinder von gestern, heunte und morgen, in
Porto Alegre. Pina was also there.
The unusual encounter – even though separated by the proscenium
arch – would happen again years later in Paris. However, this time, in
2011, without Pina and with no line dividing us. I was introduced to
Dominique following one of the presentations of Como el musguito em la
piedra..., by the also Tanztheater Wuppertal dancer Daphnis Kokkinos. On
that occasion, Dominique had an extremely light and welcoming attitude.
Over the years, I noticed that it was not a protocol way of introduction, but
Dominique Mercy; Marcelo de Andrade Pereira – On Pina
Bausch’s Legacy: an interview with Dominique Mercy
the very donation of part of what he was, how he was, not in a way, but in
his way, with or without tutu. In January 2018, when recollecting that
encounter with Dominique in his house in Barmen, Wuppertal, he did not
remember it. And he certainly could not, as I, absorbed in my amazement,
had articulated little – or nothing – at that moment. However, even in my
involuntary contemplation, something had been given to me, a long-lasting
presence.
It was according to Dominique’s generous, honest and delicate way
that this interview actually happened. I thank him for the attention and for
the coffee. I also thank my dear friend Eddie Martinez, who made this and
so many other happy encounters possible to me
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