533 research outputs found
Mitochondrial stress induced by a modified naphthaquinone
No full textPresentation given by Daniel LePage, John C. DiCesare, Robert J. Sheaff, and Paul Polen at 241st ACS National Meeting & Exposition, Anaheim, CA
Mechanism of firefly luciferase inhibition by novel naphthaquinone with modified anthracycline ring system
No full textPresentation given by Rebecca Bedford, Maddi Laizure, Jamie Potter, Daniel LePage, Rachel Hoffmann, John C. DiCesare, and Robert J. Sheaff at 241st ACS National Meeting & Exposition, Anaheim, C
Inhibition of Renilla luciferase by novel naphthaquinone with modified anthracycline ring system
No full textPresentation given by Rachel Hoffmann, Rebecca Bedford, Maddi Laizure, Jamie Potter, Daniel LePage, John C. DiCesare, and Robert J, Sheaff at 241st ACS National Meeting & Exposition, Anaheim, CA
Robert Lepage and authorial process
No full textLepage’s reputation is that of the auteur, but through discourse, he frames his devised work as self-authoring. We must, he urges, let work ‘appear by itself’. Through such statements, Lepage distances himself from authorship.
In this paper, James investigates whether Lepage’s work is indeed ‘orphaned’ (Burke) – lacking the trace of authorial signature. He argues that Lepage’s discourse elides authorship by asserting performance as selfauthoring, and mystifies authorial practices by foregrounding intuition (over aesthetic) as the basis of decision. Yet ‘authorial strategies’ (Fricker) are
identifiable in Lepage performances – convergence, reflexivity, use of character, and others. This contradicts accepted understanding of Lepage’s process as having ‘absolute freedom’ and no ‘preconceived ideas’ (Caux and Gilbert). The significance of identifying authorship within Lepage’s
collaborative context, therefore, is that it compels a re-description of that process, and challenges putative values like creative freedom attributed to it. Lepage’s process appears dialogic, and his performances writerly. But while his process is collaborative, and his performances retain a writerly
quality for spectators, Lepage is not ‘dead’ as an author. Authorship may be elided in discourse, but Lepage’s return to authorship is pre-inscribed by the privileging accorded to him in selecting a primary Resource. Through privileged editing of collaborator’s subjective materials, Lepage gradually imposes a monologic, readerly condition upon the work. The elision of
authorship in discourse thus conceals a potentially appropriative model of collaboration, and this paper critiques the ethics of such a model. Lepage’s reticence regarding authorial process is also challenged. This does more than displace responsibility for ‘meaning production onto audiences’ (Knowles). Lepage’s unwillingness to accept his role as the ‘big’ author denies ideological signature to his work – a lack that James argues is significant because it circumvents the full connection that Lepage seeks between his localised theatre-making practice, and the globalised context it operates within
Seven streams to Robert Lepage
No full textOrientador: Antonio Fernando da Conceição PassosTese (doutorado) - Universidade Estadual de Campinas, Instituto de ArtesResumo: Este trabalho desdobra-se sobre a obra do encenador canadense Robert Lepage, refletindo sobre o modo pelo qual ele traz à cena teatral ou cinematográfica determinados elementos, criando, através do jogo entre eles, uma poética singular e híbrida. Partindo do processo criativo da autora na encenação de Ofélia em Off e das memórias de sua experiência como espectadora da cena lepagiana, o trabalho apresenta, através das memórias de Robert Lepage, passagens de sua trajetória pessoal, relacionando suas possíveis repercussões sobre o processo de criação do encenador. Através de sete espetáculos criados e dirigidos por Robert Lepage (Vinci, Trilogia dos Dragões, Agulhas e Ópio, Os Sete Afluentes do Rio Ota, Elsinore, Geometria dos Milagres e A Face Oculta da Lua), é analisado o modo singular pelo qual o encenador faz uso de sete elementos recorrentes em sua arte: o idioma, os objetos, as imagens, o espaço, a palavra, a memória e o jogo. Apresentando a obra cinematográfica de Lepage, através da sinopse dos filmes Lê Polygraphe, Nô, Le Confessional e La Face Cachée de la Lune, relaciona sua criação teatral à cinematográfica, confluindo para a singularidade de sua poética multidisciplinar e híbrida. Nas conclusões, o trabalho apresenta as ressonâncias da pesquisa sobre a prática e o pensar artístico da autora, relacionando ainda a harmônica interdisciplinaridade da poética lepagiana e sua abertura à recepção criativa do público a uma visão contemporânea de mundo que parece apontar para a a integração dos opostos como elementos complementares, na dissolução de dualidades, correntemente tidas como irreconciliáveis .Abstract: This dissertation discusses the work of the Canadian director Robert Lepage. It proposes to reflect on his method of bringing specific elements to theater or cinema, creating, through the dialectics between them, a singular and hybrid poetics. A director herself, the dissertation.s author uses as a foundation her own creative process (in the play Ofélia em Off) and her experience as a spectator of Lepage.s works. She then examines Lepage.s memoirs and parts of his personal trajectory, relating their possible repercussions on his work. Focusing on seven theatrical pieces created and directed by Robert Lepage (The Dragon.s Trilogy, Vinci, , Needles and Opium, The Seven Streams Of the River Ota, Elsinore, Geometry of Miracles and The Far side of the Moon), the author analyses Lepage.s unique methods in treating seven elements: language, objects, images, space, words, memory, and games. Examining Lepage.s cinematographic work, via his films Le Polygraphe, Nô, Le Confessional and The Far side of the Moon, the author relates Lepage.s theater to his cinema, bringing together the singularity of his multidisciplinary and hybrid poetics. In her conclusions, the author shows how researching Lepage.s work has resonated in her own artistic praxis and thought, relating Lepage.s harmonic, interdisciplinary poetics and his openness to the audience.s creative participation to a contemporary vision of the world, one that seems to point to the integration of opposites as complementary, dissolving dualities normally seen as irreconcilable.DoutoradoMultimeiosDoutor em Multimeio
Big Talk, 12/27/2007
No full textSuzanne Murphy and Kate O’Halloran talk turkey with Alison LePage, local food blogger and author of the article “Eating Maine - Lessons and Rewards of an All-Maine Diet”.https://digitalcommons.usm.maine.edu/wmpg_bigtalk/1018/thumbnail.jp
The visual testimony in Primavera em Tchernóbil, by Emmanuel Lepage
No full textEm abril de 2008, um grupo de artistas e ativistas políticos visita Tchernóbil para documentar a vida dos moradores das zonas de exclusão e os resultados da maior catástrofe nuclear da história, entre eles o quadrinista francês Emmanuel Lepage. No entanto, apesar de irem para registrar os horrores do desastre, o que encontram é a natureza exuberante do isolamento e a vida cotidiana. Como desenhar aquilo que não se vê, o horror invisível da radiação que paira sobre aquela realidade aparentemente comum e até mesmo bela? Como representar o irrepresentável? Apesar de Lepage considerar seu trabalho como uma reportagem em quadrinhos, este artigo busca enquadrar Primavera em Tchernóbil na tradição literária do testemunho, visto como a obra lida com a aporia testemunhal da impossibilidade de representar e a urgência de testemunhar. Dessa forma, acreditamos que o autor realiza um testemunho visual, ao trazer as hesitações, a pressa, o subjetivismo da sua experiência em Tchernóbil aos desenhos e à narrativa em quadrinhos. In April 2008, a group of artists and political activists visited Chernobyl to document the lives of residents in the exclusion zones and the aftermath of the largest nuclear disaster in history, including the French cartoonist Emmanuel Lepage. However, despite their intention to record the horrors of the disaster, what they found was the lush nature of isolation and everyday life. How do you draw what cannot be seen, the invisible horror of radiation that looms over that seemingly ordinary and even beautiful reality? How can one represent the unrepresentable? While Lepage considers his work a comic report, this article seeks to frame Primavera em Tchernóbil as belonging to a literary tradition of testimony, as the work grapples with the testimonial aporia of the impossibility of representation and the urgency of witnessing. In this way, we believe the author creates a visual testimony by infusing the hesitations, urgency, and subjectivity of his experience in Chernobyl into the drawings and the comic narrative
Narative and visual specifics in the work of Robert Lepage
No full textThis thesis deals with the work of the Canadian filmmaker, playwright, actor, scenographer and theatre director Robert Lepage, who has until now shot five films during the period of 1995-2003. Systematic and detailed analysis of the chosen topic is accompanied by excursions into the cultural and political context of the Québec province, as Lepage's films are inherently connected with it. Methodologically the thesis is based on formalist analysis and contextual interpretation of Lepage's films. To describe Lepage's narrative style, fragmental and complicated in organization of time and space, the author has come up with a few unorthodox terms (such as "cubist narrative"). The aim of each chapter is to point out that in Lepage's films formal techniques are closely bound with the very nature of his works: searching for Québec's identity and the desire to approach the truth about man in general. After having read this thesis, the reader should conceive Robert Lepage as an author who has gained worldwide popularity in the field of theatre and opera, whose films, however, are still waiting (especially in Europe) to be recognized
Narative and visual specifics in the work of Robert Lepage
No full textThis thesis deals with the work of the Canadian filmmaker, playwright, actor, scenographer and theatre director Robert Lepage, who has until now shot five films during the period of 1995-2003. Systematic and detailed analysis of the chosen topic is accompanied by excursions into the cultural and political context of the Québec province, as Lepage's films are inherently connected with it. Methodologically the thesis is based on formalist analysis and contextual interpretation of Lepage's films. To describe Lepage's narrative style, fragmental and complicated in organization of time and space, the author has come up with a few unorthodox terms (such as "cubist narrative"). The aim of each chapter is to point out that in Lepage's films formal techniques are closely bound with the very nature of his works: searching for Québec's identity and the desire to approach the truth about man in general. After having read this thesis, the reader should conceive Robert Lepage as an author who has gained worldwide popularity in the field of theatre and opera, whose films, however, are still waiting (especially in Europe) to be recognized
Conte, littérature et musique une lecture intermédiale de Le projet Andersen de Robert Lepage
No full textThis article aims to unravel how Robert Lepage, in Le Projet Andersen, a drama that combines youth literature and music, achieves this integration. The important question here is: how does Robert Lepage put music at the service of youth literature? The general hypothesis states that the Canadian author uses the material elements of music, its effects, and its aesthetics to construct youth literature. In light of intermedial theory, three axes are addressed in the text: the material presence of music in the play, the effects of music in the work, and the stakes of the co-presence of these two arts—youth literature and musicCet article démontre comment Robert Lepage, dans sa pièce de théâtre Le Projet Andersen, combine littérature de jeunesse et musique. La réflexion répond à la question importante suivante: comment Robert Lepage met-il la musique au service de la littérature de jeunesse ? L’hypothèse générale affirme que l’auteur canadien se sert du matériel musical, de ses effets et de son esthétique pour construire la littérature de jeunesse. À la lumière de la théorie intermédiale, trois axes sont abordés dans le texte : la présence matérielle de la musique dans la pièce, les effets de la musique dans l’œuvre, et les enjeux de cette coprésenc
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