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The Bailiff Jernej (2018): Documentary Representation of Poverty and Social Shame The Bailiff Jernej(2018):贫困与社会耻辱的纪实再现

Amfiteater Pub Date : 2022-06-30 DOI: 10.51937/amfiteater-2022-1/212-214

Zala Dobovšek

{"title":"The Bailiff Jernej (2018): Documentary \u0000Representation of Poverty and Social \u0000Shame","authors":"Zala Dobovšek","doi":"10.51937/amfiteater-2022-1/212-214","DOIUrl":"https://doi.org/10.51937/amfiteater-2022-1/212-214","url":null,"abstract":"The paper analyses the introduction of the themes of poverty, social exclusion, classism \u0000and class shame into the field of contemporary Slovenian drama in the form of a case \u0000study. The documentary theatre production The Bailiff Jernej and His Rights (Hlapec \u0000Jernej in njegova pravica), directed by Žiga Divjak, was created in 2018 as one of the \u0000many events marking the 100th anniversary of the death of Ivan Cankar, the author of the work of the same title upon which Divjak based the performance. Divjak’s documentary reinterpretation of Cankar’s short story The Bailiff Yerney and His Rights performs an engaged gesture of empowerment of the invisible and underpaid working forces, who are thus given a voice in the public sphere. Divjak draws central thematic motifs such as precarious work, workers’ rights, subordination and poverty from Cankar’s “social tale” and, through the gesture of documentary research, transposes them to the present time, thus affirming the idea of the deep-rooted existence of the proletariat, even if, with a time lag, it appears today in a different form and with altered effects. The attribute is precisely the “play”, which could also be described as a “dramatic text” since the dramatic is inscribed into it not in terms of form and dramaturgical elements but as the essence and effect of documentary narratives.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45293100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Nose-wise: Smell Studies Come of Age 鼻子方面:嗅觉研究成熟了

Amfiteater Pub Date : 2021-12-07 DOI: 10.51937/amfiteater-2021-2/34

D. Howes

引用次数: 0

Uprizarjanje dotika in vonja: liminalnostčutov 动作触觉和嗅觉：极限感官

Amfiteater Pub Date : 2021-12-05 DOI: 10.51937/amfiteater-2021-2/50-52

Tomaž Toporišič

引用次数: 0

Med 151 aisthēsis in colere: senzoričnost,vsakdanja improvizacija in etnografskaresničnost 151 aisthısis和colere之间：感官、日常即兴创作和民族志现实

Amfiteater Pub Date : 2021-12-05 DOI: 10.51937/amfiteater-2021-2/134-153

R. Muršič

{"title":"Med 151 aisthēsis in colere: senzoričnost,\u0000vsakdanja improvizacija in etnografska\u0000resničnost","authors":"R. Muršič","doi":"10.51937/amfiteater-2021-2/134-153","DOIUrl":"https://doi.org/10.51937/amfiteater-2021-2/134-153","url":null,"abstract":"Individualna izkušnja vsakdanjega mestnega življenja je v bistvu vsakdanja improvizacija, med drugimi, meščanov. V urbanih okoljih se družbeno strukturirane formacije vsakdanjega življenja srečujejo s povsem individualno situirano izkušnjo v neštetih spontano ustvarjenih in oblikovanih sklopih vsakdanjega življenja. Vizualna percepcija prostora, zvočna orientacija v določenem prostoru ter vohalno in taktilno doživljanje okolja so temeljna estetska dejanja pri kultiviranju skupne urbane resničnosti. Komunikacija z drugimi ljudmi običajno vključuje zvoke govora, taktilno komunikacijo ter izmenjavo vonjav in vonjev. Toda človeška komunikacija vključuje sodelovanje, dejavnosti in različne prakse, torej človeška telesa pa tudi občutke, čustva in afekte. To je izhodišče antropološkega znanja, ki izhaja iz neposredne izkušnje življenja drugih ljudi na terenu. Človeški glas in različni zvoki, glasba ter ples so bistveni deli vsake etnografske izkušnje. Vsakdanje življenje in vsak človeški obstoj v svojem neprekinjenem delovanju vključuje stalno taktilno zaznavanje in okušanje hrane, vode in drugih pijač. Ob spoprijemanju s kompleksnostjo vsakodnevne urbane improvizacije bom za opredelitev prostora človekove interakcije uporabil dva starogrška izraza: aisthēsis, torej čutno zaznavanje, in kompleksne pomene latinskega glagola colere, iz katerega izhaja izraz kultura (tj. kultivirati, negovati, naseljevati, častiti in zaščititi). Triangulacijo vsakdanje improvizacije skozi čutno jedro vsakdanjega življenja je mogoče doseči z uporabo dveh drugih starogrških izrazov, praxis in poiesis. Temeljno empirično gradivo pri obravnavi vsakdanje improvizacije v urbanem okolju so zbrane pripovedi čutnega zaznavanja in posameznih življenj s senzobiografskih sprehodov po Ljubljani, Turkuju in Brightonu.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41837088","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Art of Immersion with Smell andSensorial Theatre Language 嗅觉沉浸艺术与感官戏剧语言

Amfiteater Pub Date : 2021-12-05 DOI: 10.51937/amfiteater-2021-2/100-119

Igor Areh, Barbara Pia Jenič

{"title":"The Art of Immersion with Smell and\u0000Sensorial Theatre Language","authors":"Igor Areh, Barbara Pia Jenič","doi":"10.51937/amfiteater-2021-2/100-119","DOIUrl":"https://doi.org/10.51937/amfiteater-2021-2/100-119","url":null,"abstract":"In recent decades, the trend or the need for an experience of the effect of immersion into theatre events, other branches of art, tourism, everyday business and private life has become quite evident. We are used to audio-visual communication, which, from the Renaissance onwards, became the dominant channel for delivering messages, while other senses became less important. Until the middle of the 20th century, the role of smell in theatre practices was neglected, and more important senses took over the place of communication and staging. Rarely it was used as a direct prop, but always very carefully, because, according to many experts, it cannot be controlled like sound and light. However, we have forgotten that the smell, especially in combination with the sound, can have a strong emotional impact on a spectator. Like the other senses, the scent recreates the context of memories and can evoke an intense reliving of emotions and events. It can also provoke an evaluation or re-evaluation of the past, thereby affecting the perception of the present. Reality is perceived through the adaptation of sensory information, which is shaped and interpreted under the influence of past experiences. Experiences create expectations, and expectations create our subjective reality considering everyday life and theatrical performance. This relationship is especially noticeable in sensorial theatre. In the last decade, an effort has been made to bring scents and other tools of sensorial theatre back to the stage, just as – according to foreign sources – they were an important part of events in antiquity. In this way, the stage can be enriched with an additional dimension of communication and expression. The paper presents various methods and experiments on the use of scent and other tools of sensorial theatre, evaluating their phenomenology and effectiveness from the perspective of the performing arts and psychological science.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46831607","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Wound and Travel – Sophocles’s 193 Philoctetesand Homer’s Odyssey in Inflammation duverbe vivre (Inflammation of the Verb ToLive) by Wajdi Mouawad 创伤与旅行——索福克勒斯的193首《菲洛克提斯》和瓦伊迪·穆阿瓦德的《生活的炎症》中的荷马奥德赛

Amfiteater Pub Date : 2021-12-05 DOI: 10.51937/amfiteater-2021-2/192-195

Petra Pogorevc

{"title":"Wound and Travel – Sophocles’s 193 Philoctetes\u0000and Homer’s Odyssey in Inflammation du\u0000verbe vivre (Inflammation of the Verb To\u0000Live) by Wajdi Mouawad","authors":"Petra Pogorevc","doi":"10.51937/amfiteater-2021-2/192-195","DOIUrl":"https://doi.org/10.51937/amfiteater-2021-2/192-195","url":null,"abstract":"In her article, the author analyses an example of a text and its staging brought about by the sudden death of a member of the playwright’s creative team. In his solo performance Inflammation du verbe vivre (Inflammation of the Verb To Live), created at the Paris Théâtre National de la Colline in 2015, Canadian-Lebanese playwright, director and actor Wajdi Mouawad interwove the ancient Greek literary and mythological heritage with a personal confession about the loss of his friend and professional colleague Robert Davreu, upgrading it with a socially critical depiction of the situation in today’s Greece. The performance was made as the penultimate part of a staging cycle of Sophocles’s seven preserved tragedies under the common title Le dernièr jour de sa vie (The Last Day of his Life). Mouawad had intended to direct the cycle in new translations by Davreu. Mouawad thus connected the process of mourning the death, which stopped the project, with the documentation of the writing process of the text that he later also directed and performed in the form of a peculiar theatre elegy. He fused the character of Philoctetes with the character of Odysseus; not the Odysseus from Sophocles’s tragedy who plots to steal Philoctetes’s bow, but the one from Homer who seeks his way home to Ithaca for ten years after the conquer of Troy and visits Tiresias’s shade in the underworld.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46652912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The World of Odour in the SlovenianPerforming Arts 斯洛文尼亚表演艺术中的气味世界

Amfiteater Pub Date : 2021-12-05 DOI: 10.51937/amfiteater-2021-2/92-98

Barbara Orel

{"title":"The World of Odour in the Slovenian\u0000Performing Arts","authors":"Barbara Orel","doi":"10.51937/amfiteater-2021-2/92-98","DOIUrl":"https://doi.org/10.51937/amfiteater-2021-2/92-98","url":null,"abstract":"The article provides an overview of performances on Slovenian stages that have used odour to stimulate the audience’s senses and arouse transformational effects. Representing the first research of this kind into Slovenian culture, the author demonstrates that odour was used as a means of sensory perception, especially in experimental theatre practices since the 1970s. One of the first such works was Cimetova vrata ladje norcev in druge spremembe (The Cinnamon Door of the Ship of Fools and Other Changes), a performance art piece directed by Tomaž Kralj at Glej Theatre in 1975. In the 1990s, the interest in olfactory perceptions grew among theatre-makers who successfully used odour to implement the aesthetics of the real in post-dramatic theatre and achieve the immersion of the spectator. This role of odour in theatre also continues in the 21st century. Barbara Pia Jenič began deliberately and continuously developing the poetics of scent at the Sensorium Theatre, which she founded in 2001 with Gabriel Hernandez. In her creation of sensorial events, Jenič relies on the methodologies of Enrique Vargas, with which she became acquainted as an actress and scent designer in his group Teatro de los Sentidos and creatively developed them at the Sensorium Theatre. As a scent designer, Jenič has collaborated with other Slovenian theatres, among others, on the 2015 operatorium, The Tenth Daughter (Deseta hči) by Svetlana Makarovič (based on the libretto by Milko Lazar, directed by Rocco) at the Slovenian National Theatre – Opera and Ballet Ljubljana.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48687867","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Svet vonjav v slovenskih uprizoritvenihumetnostih 斯洛文尼亚表演艺术中的气味世界

Amfiteater Pub Date : 2021-12-05 DOI: 10.51937/amfiteater-2021-2/84-90

Barbara Orel

{"title":"Svet vonjav v slovenskih uprizoritvenih\u0000umetnostih","authors":"Barbara Orel","doi":"10.51937/amfiteater-2021-2/84-90","DOIUrl":"https://doi.org/10.51937/amfiteater-2021-2/84-90","url":null,"abstract":"Članek podaja pregled uprizoritev na slovenskih odrih, v katerih so bile uporabljene vonjave kot sredstvo za stimuliranje gledalčevih čutil in vzbujanje transformacijskih učinkov. S tega vidika gledališka kultura na Slovenskem še ni bila raziskana. Avtorica pokaže, da so bile vonjave sredstvo za senzorične zaznave predvsem v eksperimentalnih gledaliških praksah že od sedemdesetih let 20. stoletja (kot enega prvih primerov izpostavi uprizoritev v režiji Tomaža Kralja Cimetova vrata ladje norcev in druge spremembe v Eksperimentalnem gledališču Glej leta 1975). Zanimanje za olfaktorne raziskave se je med gledališčniki okrepilo v devetdesetih letih 20. stoletja. Vonj je bil uporabljen kot element za uresničevanje estetike realnega v postdramskem gledališču in za vzbujanje potopitvenega učinka pri gledalcih. To vlogo imajo vonjave tudi v gledališču 21. stoletja. Poetiko vonjev je začela načrtno in kontinuirano razvijati Barbara Pia Jenič v gledališču Senzorium, ki ga je leta 2001 ustanovila skupaj z Gabrielom Hernándezom. Pri ustvarjanju senzorialnih dogodkov še danes izhaja iz metodologije Enriqueja Vargasa, s katero se je kot igralka in oblikovalka vonjev seznanila v njegovi skupini Theatro de los Sentidos, v gledališču Senzorium pa jo je avtorsko nadgrajevala. Kot oblikovalka vonjev je sodelovala tudi z drugimi slovenskimi gledališči, med drugim pri operatoriju Milka Lazarja Deseta hči (po libretu Svetlane Makarovič in v režiji Rocca) v Slovenskem narodnem gledališču Opera in balet Ljubljana leta 2015.","PeriodicalId":34446,"journal":{"name":"Amfiteater","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48780752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Gledališče čutov: nagovora 感官剧场：地址

Amfiteater Pub Date : 2021-12-05 DOI: 10.51937/amfiteater-2021-2/19-25

Enrique Vargas, Barbara Pia Jenič, Tomaž Toporišič

引用次数: 0

On the Scent Trail in and beyond Everyday Life 在日常生活和生活之外的气味之路

Amfiteater Pub Date : 2021-12-05 DOI: 10.51937/2021-2

Enrique Vargas, D. Howes, Tomaž Toporišič, Simon Hajdini, Peter de Cupere, Barbara Orel, Igor Areh, Barbara Pia Jenič, Caro Verbeek, Rajko Muršič, M. Blažić, Petra Pogorevc, Primož Jesenko

引用次数: 0