TDR news最新文献

{"title":"Theatre in the 21st Century","authors":"Richard Schechner","doi":"10.2307/1146620","DOIUrl":"https://doi.org/10.2307/1146620","url":null,"abstract":"","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"114 1","pages":"5-7"},"PeriodicalIF":0.0,"publicationDate":"1997-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77640046","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}

{"title":"Evidence-based medicine systematic reviews: Cochrane Collaboration Infectious Diseases Group.","authors":"","doi":"","DOIUrl":"","url":null,"abstract":"","PeriodicalId":85611,"journal":{"name":"TDR news","volume":" 52","pages":"1"},"PeriodicalIF":0.0,"publicationDate":"1997-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"22020357","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}

{"title":"Healthy women counselling guide: update.","authors":"","doi":"","DOIUrl":"","url":null,"abstract":"","PeriodicalId":85611,"journal":{"name":"TDR news","volume":" 52","pages":"3"},"PeriodicalIF":0.0,"publicationDate":"1997-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"22020836","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}

{"title":"Gender issues in the elimination of leprosy in India.","authors":"","doi":"","DOIUrl":"","url":null,"abstract":"","PeriodicalId":85611,"journal":{"name":"TDR news","volume":" 52","pages":"4"},"PeriodicalIF":0.0,"publicationDate":"1997-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"22020837","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}

{"title":"In sickness or in health: TDR's partners. 4. The Liverpool School of Tropical Medicine.","authors":"","doi":"","DOIUrl":"","url":null,"abstract":"","PeriodicalId":85611,"journal":{"name":"TDR news","volume":" 52","pages":"6-7"},"PeriodicalIF":0.0,"publicationDate":"1997-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"22020838","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}

{"title":"An Amulet Made of Memory: The Significance of Exercises in the Actor's Dramaturgy","authors":"Eugenio Barba","doi":"10.2307/1146664","DOIUrl":"https://doi.org/10.2307/1146664","url":null,"abstract":"","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"10 1","pages":"127"},"PeriodicalIF":0.0,"publicationDate":"1997-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75144674","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}

{"title":"Readers' Forum: Federal Funding for the Arts?","authors":"James M. Brandon","doi":"10.2307/1146657","DOIUrl":"https://doi.org/10.2307/1146657","url":null,"abstract":"How are we to fund the arts if not through the NEA? Is there a need for a funding organization on the national level? Where should the money come from? These are core questions that have been repeated over the past few years as the debate concerning federal funding of the arts has reached a fever pitch with the Republican takeover of Congress. Just last week, Republican leaders once again spoke of \"zeroing-out\" the organization within the context of the new budget agreement. My political affiliation as a conservative Republican with libertarian leanings perhaps qualifies me as unique among the readers of TDR. I have frequently been torn between my love of the arts and my loathing of government bureaucracy and have often skirted the fence concerning the issue of the NEA. Working \"within\" the Right's political boundaries, it is nice to be able to e-mail Ohio Senator Mike Dewine with the information that I actually voted for him in the last election and plan on doing so again, so long as he votes to continue funding for the embattled agency. In the end, however, I believe the NEA is doomed if it continues to depend upon government funding for its existence.","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"60 1","pages":"11"},"PeriodicalIF":0.0,"publicationDate":"1997-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77236307","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}

{"title":"Jan Fabre: Belgian Theatre Magician","authors":"Arnd Wesemann, Marta Ulvaeus","doi":"10.2307/1146660","DOIUrl":"https://doi.org/10.2307/1146660","url":null,"abstract":"The critics called out: Beware of charlatans, magicians, and gurus in the theatres! Beware of the critics, came the resounding echo, the critics who left the theatre of the Flemish artist and director Jan Fabre in protest and spilled their venomous ink in the press. But the opinions expressed were sharply divided. More than a few enthusiasts, driven by curiosity, remained in the theatre and intoned his praises. The radical disapproval of some was matched by the admiration of others, who would soon come to believe that, in the midst of short-lived theatre fads, Jan Fabre, born in 1958 in Antwerp, would belong among the leading directors in European theatre. That was 1984. The theatre that was being discussed seemed more brutal and persevering than ever before--a theatre that was fundamentally not theatre, worse yet, was a betrayal of theatre itself. This trumpet blast heralded the beginning of not only Fabre's international career, but also the international reputation of the new Flemish theatre. The role of \"commanding Flemish theatre avantgardist\" fell to Fabre, but at the same time choreographer Anne Teresa De Keersmaeker as well as director Jan Lauwers and his teacher, director Jan Decorte, were renovating northern Belgian stagecraft, moving away from the conventions of European civic theatre. At the Venice Biennale in June 1984, the audience in Teatro Carlo Goldoni saw for the first time Fabre's now legendary production of The Power of Theatrical Madness (De macht der theaterlijke dwaasheden). A piece--if one could call it that-in which everything was done \"wrong\" that could possibly be done \"wrong\" in the theatre. The spectators were allowed to come and go as they pleased. Out in the foyer, the bar remained open for four hours. Inside, a slender, blond young woman who had been bumped from the stage into the orchestra pit, tried for 20 minutes to climb back onto the stage. Whenever the increasingly enraged, crying, screaming, and cursing Els Deceukelier seemed about to succeed, actor Paul Verwoort would shove her off again, insultingly screaming a password at her: eighteen hundred seventysix (1876). It was no game, rather it seemed mercilessly, deadly serious. A loudly ranting horde of barefoot men and women ran in place. The sweat of these trained endurance runners sprayed into the front rows, and their panting filled the theatre with the level of intensity one might expect in a sports sta-","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"84 1","pages":"41"},"PeriodicalIF":0.0,"publicationDate":"1997-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90275116","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}

{"title":"The Ant and the Stone: Learning Kutiyattam","authors":"W. Pfaff","doi":"10.2307/1146665","DOIUrl":"https://doi.org/10.2307/1146665","url":null,"abstract":"Within the framework of our four-year project, \"The Meeting,\" Parate Labor studied the basic techniques and elements of the old Sanskrit theatre form kutiyattam at the Ammanur Chachu Chackyar Smaraka Gurukulam in Irinjalakuda (Kerala, India) from September 1993 to April 1994. I had founded the Parate Labor in 1989 as a place for researching performance technique. The Parate Labor organizes its work into projects, each project lasting from three to four years. Our work center in Europe is at the Centre de Travail de Recherches Theatrales (CTRT) in Burgundy, France, and this is where the group also lives. The project we called The Meeting lasted from 1992 to 1995 and was held alternately one year in Europe, then one year in India. It included actors and actresses from India, Europe, and Mexico. In The Meeting, our aim was to investigate whether the methods, techniques, and instruments developed in experimental European theatre research and those from the ancient kutiyattam theatre would elaborate and compliment each other. In the first year (1992-1993) the project group had worked in Europe on the play La vida es sueno (Life Is a Dream) by Calder6n de la Barca, using instruments and techniques from an earlier project, Paratheatrical Work (1989-1991), and exploring the methods of the affective memory and of physical actions in the tradition of Stanislavski. In the second year (1993-1994) we traveled to southern India and studied the elements and techniques of kutiyattam. In the third year (1994-1995), back in Europe, we experimented with the European and Indian elements and techniques on a parallel basis.' In this article I shall concentrate on the description of our practical encounter with kutiyattam, the work we did in the second year of The Meeting project.","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"33 1","pages":"133"},"PeriodicalIF":0.0,"publicationDate":"1997-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85507444","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}

{"title":"Antonin Artaud and the Impossible Theatre: The Legacy of the Theatre of Cruelty","authors":"H. Finter, Matthew Griffin","doi":"10.2307/1146659","DOIUrl":"https://doi.org/10.2307/1146659","url":null,"abstract":"In August 1946 Antonin Artaud, having returned to Paris after nine years internment in a psychiatric hospital, wrote the preface-preambule--to his collected works, which were to be published by Gallimard.' Artaud used this occasion to speak of the beginnings of his writing, characterizing the point of departure for his unique experience with language-an experience that would later lead him to the languages of the theatre-as follows: \"As far as I was concerned, the problem was not to find out what might manage to worm its way into the strictures of written language, but into the web of my living soul\" (OC I*:8; 1961, I:18). And he outlined in further detail his search for \"words which would enable me to enter the grain of this squint-eyed flesh (I say SQUINT-EYED [Torve], but in Greek it is called tavaturi, and tavaturi means noise, etc.)\" (OC I*:8; 1961, I:18). Artaud asked how the force, tension, pressure of words-and their suppression in written language-might be made palpable in writing without being sublated in the process of reception by socially conditioned thought. That is why it was so important to him that the word also speak to the body, in the sense of making the body audible as sound or noise: tavaturi. This search led Artaud in the 192os and 1930s to the theatre and to the concept of the \"theatre of cruelty,\" which he developed most extensively in Le theitre et son double (1938). By the time Artaud wrote the preface in 1946, it had become more important than ever for him to emphasize that cruelty-cruaute--did not simply imply a commensurate representation of cruelty:","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"47 1","pages":"15"},"PeriodicalIF":0.0,"publicationDate":"1997-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90578350","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}