4,301 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
Scanning electronmicrographs of <i>S. cerevisiae</i> cells treated with PuroA, Pina-M, Pina-W→F and PuroB.
No full text<p><b>A.</b> No-peptide control, magnification 28,000×, scale bar 1 µm; <b>B.</b> PuroA 64 µg/mL, magnification 28,000×, scale bar 1 µm; <b>C.</b> PuroA 125 µg/mL, magnification 28,000×, scale bar 1 µm; <b>D.</b> Pina-M 64 µg/mL, magnification 28,000×, scale bar 200 nm; <b>E.</b> Pina-M 125 µg/mL, magnification 29,000×, scale bar 200 nm; <b>F.</b> Pina-W→W 125 µg/mL, magnification 28,000×, scale bar 200 nm; <b>G.</b> Pina-W→W 250 µg/mL, magnification 29,000×, scale bar 200 nm; <b>H.</b> PuroB 250 µg/mL, magnification 29,000×, scale bar 200 nm.</p
Book Review of Marco, F. Pina, F., and Remesal, J. 2016. Autorretratos. La creación de la imagen personal en la Antigüedad
No full textBook Review of Marco, F. Pina, F., and Remesal, J. 2016. Autorretratos. La creación de la imagen personal en la Antigüedad. Colecció Instrumenta 53. Barcelona: Universitat de Barcelona Edicions
María Carmen Marín Pina, Páginas de sueños. Estudios sobre los libros de caballerías castellanos, Zaragoza: Instituto Fernando el Católico, CSIC, 2011
No full textMaría Carmen Marín Pina, Páginas de sueños. Estudios sobre los libros de caballerías castellanos, Zaragoza: Instituto Fernando el Católico, CSIC, 2011
Lilia E. F. de Ordun
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
SDS-PAGE and Western blotting analyses of total and starch-bound PINA in transgenic and control lines.
No full text<p>A. SDS-PAGE of TX-114-soluble proteins isolated from flours of transgenic and control lines. B. Western blotting results of total PINA. C. Densitometry quantification of western blotting results of total PINA. D. SDS-PAGE of starch bound puroindolines isolated from flours of transgenic and control lines. E. Western blotting results of starch-bound PINA. F. Densitometry quantification of western blotting results of starch bound PINA. PINA protein is indicated by arrow on both stained SDS-PAGE and Western blots. Data are given as mean ± SEM. *and ** indicates the significant differences with the PINA levels of control variety Chinese Spring at 0.05 or 0.01 probability level, respectively.</p
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
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