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Post-utopian staging of Europe's crisis in contemporary theatre. Philippe Quesne's Crash Park -La vie d'une île
No full textInternational audienceFrench theatre director Philippe Quesne’s 2018 staging Crash Park – La vie d’une île (2018), takes the audience to unknown territory by displaying a contemporary Robinsonade. In the face of Europe’s current situation, mainly characterised by several crises, this article points to the critical reflection and questioning of current realities by extracting the metaphorical scenic motifs of Europe and crash, which form the dramaturgical basis of this mise-en-scène. The author transfers both terms to topical issues such as economies, policies and cultural identities by considering also the ancient Greek meaning of ‘crisis’ in a theatrical context. With reference to various historical and philosophical interpretations of animal-related intellectual concepts, the author also exposes moles and octopods as the leading figures of Quesne’s stage work, and correlates their physical and kinetic constitution with the European crisis. Thus, Crash Park is declared and elevated to a signature piece of post-utopian theatre.Dans sa robinsonnade Crash Park-La vie d'une île (2018), le scénographe français Philippe Quesne emmène le public en terre inconnue. Notre article a pour objectif de proposer une réflexion critique sur l'Europe à partir de l'analyse des représentations métaphoriques qui sont à la base de cette pièce. En faisant référence aux multiples crises-économique, politique, identitaire et culturelle ̶ qui traversent l'Union, Quesne met en effet en relation les concepts d'Europe et de crash avec l`étymologie grecque du mot « crise », leur donnant une forme animale inspirée de différentes traditions historiques et philosophiques. Sur scène, des taupes et des poulpes géants symbolisent les tensions européennes à travers leur corps et leur énergie cinétique. C'est pourquoi Crash Park doit être considérée comme l'une des plus importantes pièces du théâtre post-utopique
Derra de Moroda, Joseph Lewitan und die Tanzkritik. Zwei Stile – eine Meinung? Forschungsbericht
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Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe 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
Games: Jeux. Sergei Tcherepnin trifft auf Vaslav Nijinsky: Zur künstlerischen Modellierung des Gegenwartsmenschen
Get PDFDer Beitrag befasst sich mit Sergei Tcherepnins Sound-Installation „Games“, die 2016 im Rahmen der Ausstellung „Kunst-Musik-Tanz. Staging the Derra de Moroda Dance Archives“ im Museum der Moderne Salzburg zu sehen war. In Auseinandersetzung mit Vaslav Nijinskys Ballett „Jeux“ von 1913 und seinem Referenzrahmen des homme moderne entwickelt Tcherepnin eine neue Modellierung des homme contemporain. Dabei greift er Genderfragen ebenso auf wie den Kult des Sportiven oder das Verschwinden von künstlerischen Gattungsgrenzen
Moderne Szenerien : Skizzen zur Diversität von Tanz- und Musikkulturen (1910-1950)
No full textherausgegeben von Nicole Haitzinger und Franziska KollingerBeiträge teilweise Deutsch, teilweise Englisc
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