139 research outputs found
Parliamo di… Franca Rame, autrice
No full textIl contributo è inserito nella rubrica Il ParlaggioNel corso della lunghissima collaborazione artistica di Franca Rame col marito Dario Fo, Parliamo di donne (1991) costituisce il primo spetta colo derivato da un copione originariamente redatto dall’autrice-attrice e, solo successivamente, revisionato da parte di Fo. Per questo, si tratta di una drammaturgia che permette di cogliere in modo esemplare la specifica cifra poetica della Rame rispetto a quella del marito: una specificità che risiede nell’attenzione dell’autrice-attrice nei confronti della “micropolitica” e dei temi del privato, congiuntamente ad una propensione al registro drammatico-tragico da cui, al contrario, Fo è sempre rifuggito.During Franca Rame’s very long artistic collaboration with her husband Dario Fo, Let's Talk About Women (1991) is the first show derived from a script originally written by the author-actress and, only subsequently, revised by Fo. For this reason, it is a dramaturgy that allows us to recognize in an exemplary way the specific poetic style of Rame compared to that of her husband: a specificity that lies in the attention of the author-actress towards “micropolitics” and private issues , together with a propensity for the dramatic-tragic register which, on the contrary, Fo has always shied away from
Franca Rame: persona e personaggio tra vita, scena e testimonianza
No full textFranca Rame is a well-known actress (and author), but studies have rarely highlighted the slippage between person and character in a contamination between public and private assumed as a stage technique and, even before, a consequence of her vocation for social and political commitment.
Her biographical story (as well as her autobiographical reconstruction, published under the significant title Una vita all'improvvisa - A Life Suddenly) also showa how a piece of writing so painfully autobiographical that it cannot go on stage without the actor's mask can become a therapy, at first personal and then collective and social, a testimony that becomes a denunciation and then a model for battles such as today's #MeToo
STRATEGI DAKWAH PONDOK PESANTREN AS-SALAFIYAH DALAM PEMBINAAN KEAGAMAAN PADA MASYARAKAT DESA TANJUNG RAME KECAMATAN MERBAU MATARAM LAMPUNG SELATAN
No full textABSTRAK
Strategi Dakwah Pondok Pesantren dalam Pembinaan Keagamaan pada Masyarakat
merupakan salah satu bentuk pendidikan Islam yang bersifat nonformal dan nampak sangat
dibutuhkan dikalangan masyarakat Islam, sebagai pengamalan agama dan syari‟at Islam
juga sebagai sarana pembinaan keagamaan yang khususnya memberi pemahaman tentang
pentingnya berakhlak mulia antar sesama muslim. Rumusan masalah dalam skripsi penulis
yaitu bagaimana bentuk strategi dakwah Pondok Pesantren dalam Pembinaan Keagamaan
pada Masyarakat dan apa saja yang menjadi faktor pendukung dan penghambat yang
dialami Pondok Pesantren As-Salafiyah dalam Pembinaan Keagamaan pada Masyarakat
Desa Tanjung Rame Kecamatan Merbau Mataram Kabupaten Lampung Selatan.
Tujuan penelitian ini ialah untuk mengetahui apa saja Bentuk Strategi Dakwah yang
digunakan Pondok Pesantren dalam Pembinaan Keagamaan pada Masyarakat dan juga
faktor pendukung dan penghambat di Desa Tanjung Rame Kecamatan Merbau Mataram
Kabupaten Lampung Selatan. Metode yang digunakan dalam penelitian ini adalah metode
Kualitatif deskriptif. Sedangkan Tekhnik pengumpulan data dalam skripsi ini
menggunakan Teknik observasi, wawancara dan dokumentasi. Sumber data primer dalam
penelitian ini diperoleh dari 3 Ustadz dan 3 santri serta 6 Masyarakat Desa Tanjung Rame.
Sedangkan untuk data sekunder diperoleh dari buku dan literatur lainnya.
Hasil penelitian ini menunjukan bentuk strategi dakwah yang dilakukan oleh Pondok
Pesantren di dalam pembinaan keagamaan pada masyarakat di Desa Tanjung Rame yaitu
dengan bentuk strategi sentimental (memfokuskan aspek hati dan perasaan), strategi
rasional yaitu (memfokuskan aspek pikiran) dan strategi indrawi yaitu kumpulan metode
dakwah yang berorientasi pada pancaindra . Adapun faktor pendukung pembinaan
keagamaan yaitu fasilitas majlis ta‟lim, adanya da‟i dan adanya jamaah lama yang antusias
rutin mengikuti pengajian. Faktor penghambat pembinaan keagamaan yaitu susahnya
membagi waktu, adanya pengaruh kecanggihan teknologi, dan kurangnya kesadaran dari
masing-masing individunya.
Kata kunci: Strategi Dakwah, Pondok Pesantren, Pembinaan Keagamaan.
iv
Abstrac
The Da‟wah Strategy of Islamic Boarding Schools in Religious Development in Society
is a from of Islamic education that is non-formal in nature and seems very much needed
among Islamic communicaties, as the practice of religion and Islamic Shari‟ah as well as a
means of religious development whitch in particular provides an understanding of the
importance of having noble morals among fellow Muslims. Te formulation of the problem
in the author‟s thesis is how the Islamic boarding school preaching strategy forms is the
Religious Development of the Community and what are the supporting and inhibiting
factors experienced by the As-Salafiyah Islamic Boarding School in Religious
Development in the community of Tanjung Rame Village, Merbau District, Mataram,
South Lampung Regency.
The purpose of this research is to find out what forms of da‟wah strategy are used by
Islamic boarding school in religious development in the community and also the supporting
and inhibiting factors in Tanjung rame Village, Merbau District, Mataram, South Lampung
Regency. The method used in this research is descriptive qualitative methode. While the
data collection technique in this thesis uses observation, interview and decumentation
techniques. Primary data sources in this study were obtained from 3 Ustadz and 3 students
and 6 Tanjung Rame Villagers. As for the secondary data obtained from books and other
literature.
The results of this study indicate that the form of da‟wah strategy carried out by Islamic
boarding schools in religious development in the community in Tanjung Rame Village is in
the form of a sentimental strategy (focusing on aspects of the heart and fellings), and a
rational strategy, namely (focusing on aspects of the mind) and a sensory strategy, namely
a collection of da‟wah methods sensory oriented. The supporting factors for religious
development are the majlis ta‟lim facilities, the presence of preachers and the presence of
enthusistic old congregations who regularly attend recitations. The inhibiting factors for
religious development are the difficulty in allocating time, the influence of technological
sophistication, and the lack of awareness of each individual.
Keywodrs: Da’wah Strategies, Islamic Boarding Schools, Religious Coachin
Oil Palm Empty Fruit Bunches (OPEFB): Existing Utilization and Current Trends Bio Refinery in Indonesia
No full textIn a future carbon-constrained global economy, the use of fossil fuels will be restricted. Biomass resources will be increased demand for renewable products. Oil Palm Empty Fruit Bunches (OPEFB) can be used as lignocellulose feedstock. The production of biofuels from lignocellulose feedstock can be achieved through biochemical or thermo-chemical routes. OPEFB contain chemical blocks of cellulose, hemicellulose and lignocellulose. Due to these substances, OPEFB can be converted into bio-products and chemical. Special attention to biorefinery approach that is present at relatively high potential in bio-products such as polymers, nutraceuticals, chemical building blocks, biofuels, and bioenergy. Different utilization types were considered and reviewed, and the most common and efficient process were discussed. In general, there is no single product which could be considered a solution to the utilization of managing OPEFB – in this review a number of product are more economic, effective and environmentally friendly.</jats:p
A Study on the Ecological Art Education for the Coexistence and Growth Based on Dewey's View of Nature
No full textLe insufficienze del contemporaneo. La Medea di Dario Fo e Franca Rame
No full textL’intervento intende declinare il tema della contemporaneità nelle arti (nel caso specifico del teatro) in una direzione inconsueta, quella dell’inadeguatezza a dare voce e valore alle istante politiche più urgenti, tanto da imporre la necessità di un recupero del “classico”. Questo aspetto dell’insufficienza del contemporaneo sarà sviluppato attraverso l’analisi della Medea di Dario Fo e Franca Rame, che risale al 1977 e si colloca nel contesto più ampio delle riscritture di modelli classici. All’interno di un panorama di voci femminili contemporanee, Una donna sola, La mamma fricchettona e Abbiamo tutte la stessa storia, che compongono lo spettacolo Tutta casa, letto e chiesa, quella di Medea, ultimo personaggio della tetralogia, si distingue per una dissonanza di stile, di genere e di lingua. Dario Fo, autore dell’opera, e Franca Rame, coautrice ed interprete, manifestano qui l’esigenza di attingere al mito e all’archetipo proprio perché le figure della contemporaneità non sono in grado di parlare al pubblico con una vis tale da legittimare l’urgenza del cambiamento, che nel caso specifico è il rinnovamento individuale e collettivo della donna. Il recupero, quindi, della figura archetipica di Medea, eroina nera del mito greco, rompe lo schema prefissato nello spettacolo che vede come preponderante l’uso del genere comico e dello stile quotidiano (come aspetto tematico e linguistico), per attingere invece al tragico e all’estraneo, attraverso un codice semantico nuovo che scaturisce dalla commistione di riferimenti temporali (l’antichità greca, il medioevo, il rinascimento, la contemporaneità) ed elementi stilistici (il dialetto umbro-marchigiano del Quattrocento, il maggio toscano sette-ottocentesco) difformi.Medea, the last carachter appearing in Dario Fo’s play Tutta casa, letto e chiesa (1977), differs from the other female contemporary voices of the tetralogy (Una donna sola, La mamma fricchettona e Abbiamo tutte la stessa storia) for her style, genre/type and language. Dario Fo and Franca Rame – joint author and starring actress – draw on Myth as contemporaneity, although suggesting political and ideological expectations (as women general revival), seems incapable of feeding our modern imagination. Medea, archetype and black heroine of the Greek Myth, breaks into the play disturbing its fixed pattern made of comic and colloquial style. As a result, drama loses its strangeness making use of a new scheme of mixed time relations (the Ancient Greece, the Middle Ages, Reinassance, the Modern world) and differing language styles (the ancient umbro-marchigiano dialect, the tuscan tradition of the singing “maggio”)
Dramaturgy of translation: dramaturgical construction in Brazilian translations of plays by Franca Rame and Dario Fo available in the SBAT collection
No full textThis text investigates the reception of the work of the Italian playwrights Franca Rame and Dario Fo in Brazil by analyzing the translations into Portuguese made for the stage, that is, for the staging of their plays. Before discussing the translations, we provide an overview of the life and work of the authors and list the main characteristics of their plays (FARRELL, 2013; 2014; RAME; FO, 2009); furthermore, we go over some discussions about translation in general (BERMAN, 1995). In addition, we take up some discussions on translation criticism in general (BERMAN, 1995), on theater translation (PAVIS, 2008a and 2008b), and, more specifically, on the translation of the theatrical work of Rame and Fo (DUMONT-LEWI, 2012; 2016; 2020), presenting the concept of dramaturgy of translation, being fundamental the thoughts of Dort (1986) and Danan (2010) about the most recent concepts of dramaturgy, which expand the meanings of the term. There is no necessarily positive or negative evaluation regarding the idea of dramaturgy of translation, which consists in the overlap of the dramaturgical project - a set of aesthetic, ideological, and relational choices that anticipate the staging - of the translators on that of the author. Next, we analyze the plays available in the Sociedade Brasileira de Autores Teatrais (SBAT) collection and present data, including the critical reception, about their first stagings. In the analysis, two issues in particular were observed, corresponding to the two main challenges of those who insert the plays by Rame and Fo in the Brazilian cultural polysystem, linked to the socio-historical-cultural particularities of Italy: the translation, into Portuguese, of the political content and the humorous content of their theater. Overall, we consider that there are more cases of translation of dramaturgy - that is, the recreation, in another cultural polysystem, of the authors' dramaturgical project. It is in the translation of texts whose central theme is the women’s condition – Brincando em cima daquilo (1984) and Casal aberto... ma non troppo (1984) – that predominates the dramaturgy of translation, as well as in the film Não vamos pagar nada (2020). Besides the SBAT collection, the Biblioteca Jenny Klabin Segall, the Hemeroteca Digital da Biblioteca Nacional, the Folha de São Paulo newspaper collection and the Archivio Franca Rame-Dario Fo were fundamental sources for this research.No presente trabalho, investigamos a recepção da obra dos dramaturgos italianos Franca Rame e Dario Fo no Brasil através da análise das traduções para o português feitas para a cena, isto é, para a montagem de suas peças. Antes de discutir as traduções, traçamos um panorama da vida e da obra dos autores e retomamos as características principais de suas peças (FARRELL, 2013; 2014; RAME; FO, 2009); além disso, retomamos algumas discussões sobre a crítica da tradução em geral (BERMAN, 1995), sobre a tradução de teatro (PAVIS, 2008a e 2008b) e, mais especificamente, sobre a tradução da obra teatral de Rame e Fo (DUMONT-LEWI, 2012; 2016; 2020), propondo o conceito de dramaturgia da tradução, para o qual são fundamentais as reflexões de Dort (1986) e Danan (2010) acerca dos significados mais recentes de dramaturgia, que ampliam as acepções do termo. Não há uma avaliação necessariamente positiva ou negativa inerente à ideia de dramaturgia da tradução, que consiste na sobreposição do projeto dramatúrgico – conjunto de escolhas estéticas, ideológicas e relacionais que antecipam a encenação – dos tradutores àquele do autor. Em seguida, analisamos as peças disponíveis no acervo da Sociedade Brasileira de Autores Teatrais (SBAT) e apresentamos dados, inclusive acerca da recepção crítica, sobre suas primeiras montagens. Na análise, observamos duas questões em particular, correspondentes aos dois desafios principais de quem insere no polissistema cultural brasileiro as peças de Rame e Fo, ligadas às particularidades sócio-histórico-culturais da Itália: a tradução, em português, do conteúdo político e do conteúdo humorístico de seu teatro. De forma geral, consideramos que predominam casos de tradução de dramaturgia – ou seja, de recriação, em outro polissistema cultural, do projeto dramatúrgico dos autores. É na tradução de textos cujo tema central é a condição da mulher – Brincando em cima daquilo (1984) e Casal aberto... ma non troppo (1984) – que predomina a dramaturgia da tradução, assim como no filme Não vamos pagar nada (2020). Além do acervo da SBAT, foram fontes fundamentais para esta pesquisa a Biblioteca Jenny Klabin Segall, a Hemeroteca Digital da Biblioteca Nacional, o acervo do jornal Folha de São Paulo e o Archivio Franca Rame-Dario Fo.CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superio
- …
