1,720,976 research outputs found
Oczy w poszukiwaniu kokoro: Butoh w twórczości i pedagogice Roberty Carreri
Full text linkIn 1984, Roberta Carreri, Odin Teatret actress since 1974, saw Niwa (The Garden), a Butoh dance performance by Muteki-Sha, and attended a three-day workshop with Natsu Nakajima, direct heir of the Butoh pioneer Tatsumi Hijikata. In 1986, she traveled to Japan to work with Natsu Nakajima and Kazuo Ohno. The meeting with the Asian masters changed her approach to training and the creative process. For her, the most remarkable aspect of this apprenticeship was the work with the eyes. The way the eyes are used in Butoh conditioned Carreri’s training and the creative process of her solo performance Judith (1988). Since those same years, the Italian actress has been developing her own pedagogy. Today, she travels globally leading the workshop Dance of Intentions, which includes “flexing the eyes,” an exercise whereby the actress transmits to trainees how it is possible to shape the quality of scenic presence through the eyes. Drawing on a rich bibliography, Roberta Carreri’s work diaries, unpublished documents, and audiovisual materials kept at the Odin Teatret Archives, this paper aims to analyze how the actress embodied the ability to find the kokoro (Japanese for “heart” or “soul”), its application to the creative process and the performance, as well as her pedagogic work, and how this Butoh apprenticeship conditioned her professional identity.W roku 1984 Roberta Carreri, aktorka Odin Teatret od 1974, zobaczyła spektakl tańca butoh Niwa (Ogród) w wykonaniu grupy Muteki-Sha i wzięła udział w trzydniowych warsztatach prowadzonych przez Natsu Nakajimę, bezpośrednią spadkobierczynię Tatsumiego Hijikaty, pioniera butoh. W 1986 roku Carreri udała się do Japonii, by pracować z Natsu Nakajimą i Kazuo Ohno. Spotkanie z azjatyckimi mistrzami w znacznym stopniu zmieniło jej podejście do procesu twórczego. Najważniejszym aspektem tej praktyki była praca oczu. Sposób, w jaki oczy traktowane są w sztuce butoh, wywarł głęboki wpływ na proces twórczy Carreri, szczególnie podczas pracy nad jej monodramem Judith (1988). Włoska aktorka od końca lat osiemdziesiątych rozwijała własną pedagogikę i dziś podróżuje po całym świecie, prowadząc warsztaty Dance of Intentions. W ich ramach przekazuje uczestnikom technikę pracy oczu, która wpływa na jakość scenicznej obecności aktorów. Celem tego artykułu jest przeanalizowanie, w jaki sposób Roberta Carreri ucieleśniła umiejętność odnajdywania kokoro (w języku japońskim „serce” lub „dusza”) i jak to wpływa na jej proces twórczy, a także na jej pracę pedagogiczną. Korzystając z bogatej literatury przedmiotu, dzienników pracy Roberty Carreri, niepublikowanych dokumentów oraz materiałów audiowizualnych przechowywanych w Odin Teatret Archives, artykuł stara się rzucić światło na to, w jaki sposób praktyka butoh ukształtowała tożsamość zawodową aktorki i wpłynęła na jej karierę artystyczną
Documentare, formalizzare e archiviare la prassi dell’immateriale
Full text linkThe Convention for the Safeguarding of the Intangible Cultural Heritage (2003) includes performing arts among the domains in which intangible cultural heritage is manifested. But at a previous level, it considers part of the intangible cultural heritage also practices, knowledge and skills that communities, individuals or groups recognize as part of their cultural heritage. The article analyzes the concept of the creative process as a practice through which theatre groups share knowledge and skills, and identifies the possible documentary sources that contain traces of artistic creation. Finally, the intervention wants to understand if existing formalization procedures can allow the archiving of the creative process, in order to preserve it and make it accessible for groups and scholars communities that consider it part of their cultural heritage
The origins of seminar. Theatre Laboratory as new production system
Full text linkNei primi anni Sessanta, in area scandinava, le accademie d’arte drammatica istituzionali adottavano metodi pedagogici obsoleti. Nel 1966 l’Odin Teatret guidato da Eugenio Barba si trasferisce da Oslo nel piccolo centro danese di Holstebro e introduce il termine “teatro-laboratorio”. Sostenuti dalla giunta comunale e dall’interesse per la pedagogia teatrale di Christian Ludvigsen e di altri studiosi danesi, Eugenio Barba e i suoi attori creano un sistema di produzione mai sperimentato fino ad allora, che unisce l’aspetto pedagogico alla creazione di spettacoli. Il saggio esamina la nascita, l’intensificazione e gli sviluppi della pratica del seminario in ambito teatrale, volendone sottolineare l’importanza sul piano pedagogico, artistico e produttivo. Oltre ad alcune conversazioni con Eugenio Barba e a una ricca bibliografia di riferimento, la ricerca si è svolta anche attraverso la consultazione di materiale d’archivio inedito presente negli OTA (Odin Teatret Archives).In the early 1960s, in the Scandinavian area, the institutional academies of dramatic art adopted obsolete pedagogical methods. In 1966, Odin Teatret moved from Oslo to the small Danish town of Holstebro and introduced the term "theatre-laboratory". Supported by the city council and by the interest in theatrical pedagogy of Christian Ludvigsen and other Danish scholars, Eugenio Barba and his actors create a production system never experienced before, which combines the pedagogical aspect with the creation of performances. The essay examines the birth, intensification and developments of the practice of the seminar in the theatre, wanting to emphasize its importance on the pedagogical, artistic and productive levels. In addition to some conversations with Eugenio Barba and a rich reference bibliography, the research was also carried out through the consultation of unpublished archive material present in the OTA (Odin Teatret Archives)
Creation Remains. Archivi Digitali, Arti Performative, Processi Creativi
No full textIl complesso rapporto tra archivio e performance è una delle problematiche su cui gli studi teatrali internazionali hanno focalizzato da almeno un ventennio la loro attenzione. Tale problematica si costituisce in seno alla natura intangibile e immateriale dell’evento performativo, che si scontra con le necessità concrete dell’archivio in quanto luogo atto a custodire le tracce materiali che l’evento stesso lascia dietro di sé.
Come le performance che essi generano, anche i processi creativi sono intangibili ed effimeri. Ma anche questi lasciano delle tracce, riscontrabili nei documenti che provengono dalla cultura materiale della creazione scenica, prodotti a supporto dalla creazione stessa, che una volta esaurita la loro funzione di ausilio al lavoro degli attuanti possono diventare memoria-fonte al servizio dello studioso.
L’obiettivo di questa ricerca è quello di individuare, all’interno della memoria archivistica, le tracce documentarie derivanti dalla produzione e dal processo creativo di un evento spettacolare e pianificare una loro organizzazione, al fine di realizzare un ambiente digitale che le renda accessibili e analizzabili per studiosi e ricercatori che si occupano di studi teatrali e Performance Studies.
L’approccio metodologico adottato è interdisciplinare: insieme agli studi sulla performance, tiene in considerazione la disciplina archivistica, le teorie della documentazione, le modalità di organizzazione e rappresentazione della conoscenza derivanti dalle scienze dell’informazione applicabili sia in ambito archivistico che biblioteconomico, nonché teorie dei media e punti di vista epistemologici atti a evidenziare potenzialità e limiti di ambienti digitali costruiti per la rappresentazione di archivi che conservano insiemi documentali e tracce dello spettacolo dal vivo.
Il primo capitolo si concentra sulle modalità, sulle tecniche e sugli strumenti adottati in ambito archivistico per rappresentare un archivio in rete, concentrandosi principalmente sulle più diffuse pratiche di metadatazione e sulle possibilità concesse dagli strumenti creati più recentemente per organizzare e rappresentare la conoscenza archivistica in ambito digitale.
Il secondo capitolo si orienta invece verso l’analisi di esperienze che attraverso la modellazione di ontologie e metadata schemas esistenti hanno tentato di formalizzare e rendere fruibile e accessibile a posteriori la conoscenza immateriale veicolata dalle arti performative attraverso la documentazione correlata allo spettacolo.
Il terzo capitolo prende in esame alcuni casi studio, veri e propri archivi in rete legati alle arti performative e li analizza sia da un punto di vista tecnico, analizzando le modalità e gli strumenti utilizzati per la rappresentazione in rete dei documenti e delle loro relazioni, che teorico, a partire dalla data visualization e dagli apparati critici e metainformativi forniti all’utente.
Sebbene i casi studio analizzati nel terzo capitolo rappresentino eccellenti esempi di rappresentazione di archivi in rete, che quindi rispettano i dettami della disciplina archivistica adattandosi ai linguaggi del web, essi si concentrano per lo più sulla documentazione degli eventi performativi, e quindi degli spettacoli, dando uno spazio secondario ai processi creativi da cui gli spettacoli stessi derivano. Ecco perché il quarto capitolo, a partire da considerazioni di carattere storico e antropologico e confrontando le stesse con la “Convenzione per la salvaguardia del patrimonio culturale immateriale” sottoscritta dall’UNESCO nel 2003, si focalizza sul processo creativo e sulla sua identificazione come bene culturale. Inoltre, un ampio spazio è dedicato alle fonti e ai documenti che derivano dalla creazione artistica, definibili appunto come remains, resti che testimoniano i passaggi e le dinamiche che conducono dall’ideazione dello spettacolo alla sua prima rappresentazione.
L’obiettivo del quinto capitolo è quello di applicare, attraverso il caso di studio rappresentato dagli Odin Teatret Archives, alcuni degli strumenti e delle tecniche analizzati nei primi due capitoli alle teorie e ai concetti evidenziati rispetto al processo creativo in quanto bene culturale, al fine di fornire a ricercatori e studiosi nell’ambito delle arti performative e dello spettacolo punti di accesso e strumenti in rete utili allo studio e all’analisi della creazione artistico-performativa.
Le conclusioni intendono affermare l’importanza antropologia e culturale dei processi creativi e, sebbene la relativa rappresentazione in rete sia frammentata e frammentaria, essa potrebbe offrire a un’utenza specializzata nelle discipline dello spettacolo, nei theatre and performance studies e nella performance theory punti di accesso privilegiati tanto agli archivi dello spettacolo quanto ai processi creativi, dal momento che quest’ultimi sono stati negli ultimi quarant’anni l’oggetto principale della ricerca nei rispettivi ambiti disciplinari.The complex relationship between archive and performance is one of the issues on which international theatre studies have focused their attention for at least twenty years. This problem arises within the intangible and immaterial nature of the performative event, which clashes with the concrete needs of the archive as a place suitable for preserving the material traces that the event itself leaves behind.
As the performances they generate, even creative processes are intangible and ephemeral. However, these also leave traces, which can be found in the documents that come from the material culture of scenic creation, produced in support of the creation itself, once their function as an aid to the work of the actors has been exhausted, they can become memory-sources at the service of the scholar.
This research aims to identify, within the archival memory, the documentary traces deriving from a performance's production and creative process and plan their organization. Its goal is to create a digital environment that makes these traces accessible and analyzable for scholars and researchers in theatre and performance studies.
The methodological approach adopted is interdisciplinary: together with performance studies, it takes into consideration the archival discipline, the theories of documentation, the modalities of knowledge organization and representation deriving from information sciences and applicable both in the archival and library science, as well as media theories and epistemological points of view aimed at highlighting the potential and limits of digital environments built for the representation of archives that preserve documentary sets and traces of live performances.
The first chapter focuses on the methods, techniques and tools adopted in the archival field to represent an archive on the web, focusing mainly on the most widespread metadata practices and the possibilities granted by the tools created more recently to organize and represent archival knowledge in a digital environment.
The second chapter is instead oriented towards analyzing experiences which, through the modelling of existing ontologies and metadata schemas, have attempted to formalize and make usable and accessible a posteriori the immaterial knowledge conveyed by the performing arts through documentation related to the performance.
The third chapter examines some case studies, real online archives linked to the performing arts and analyzes them both from a technical point of view, analyzing the methods and tools used for the online representation of documents and their relationships, and theoretical, starting from the data visualization and the critical and meta-informative devices provided to the user.
Although the case studies analyzed in the third chapter represent excellent examples of representation of online archives, which therefore respect the dictates of the archival discipline by adapting to the languages of the web, they mainly focus on the documentation of public performances, giving a secondary space to the creative processes from which the performances themselves derive. Thus, the fourth chapter, starting from historical and anthropological considerations and comparing them with the "Convention for the Safeguarding of the Intangible Cultural Heritage" signed by UNESCO in 2003, focuses on the creative process and its identification as a cultural asset. Furthermore, a large space is dedicated to the sources and documents that derive from the artistic creation, definable precisely as “remains” that testify to the steps and dynamics that lead from the conception of the performance to its first public representation.
The objective of the fifth chapter is to apply, through the case study represented by the Odin Teatret Archives, some of the tools and techniques analyzed in the first two chapters to the theories and concepts highlighted concerning the creative process as a cultural asset in order to provide researchers and scholars in the field of performing arts and theatre studies with access points and online tools valid for the study and analysis of artistic-performative creation.
The conclusions intend to affirm the anthropological and cultural importance of creative processes and, although the related representation online is fragmented and fragmentary, it could offer users specialized in theatre and performance studies points of privileged access to both the performing arts archives and the creative processes, since the latter have been the main object of research in their respective disciplinary fields over the last forty years
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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