Název: Building a temporal theatre community in the production of ATLAS – LJUBLJANA
Zdrojový dokument: Theatralia. 2017, roč. 20, č. 2, s. 96-108
Rozsah
96-108
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2017-2-5
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/137262
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
Autor analyzuje slovinskou inscenaci ATLAS od portugalských režisérů a performerů Any Borralho a Joãa Galante a ukazuje proces transformace, kterým diváci představení procházeli. Autor popisuje, jak byla jejich těla v průběhu představení přeměněna na autobiografická těla prostřednictvím sdílení společného času a prostoru v prostředí vzájemné důvěry a pocitu bezpečí navozeného v dočasné performanční komunitě. Své záběry autor formuluje na základě rozhovorů s několika účastníky představení a svých vlastních pozorování provedených v průběhu představení inscenace ATLAS – LJUBLJANA.
The author analyses the Slovenian production of ATLAS, staged by Ana Borralho and João Galante, who are both performers and theatre directors from Potugal. The author shows that the participants went through a process of transforming their bodies into autobiographical bodies and this transformation was performed by 'exchanging' time and space through which interpersonal confidence and safety was achieved within a temporal performing community. These findings are based on interviews the author conducted with several participants and his own observations made during his participation in ATLAS – LJUBLJANA.
Reference
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[5] CONROY, Collette. 2010. Theatre & the Body. London/New York: Palgrave Macmillan, 2010.
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[2] BLAU, Herbert. 1990. The Audience. Baltimore: Johns Hopkins University Press, 1990.
[3] BOAL, Augusto. 1979. Theatre of the Oppressed. London: Pluto Press, 1979.
[4] CASPER, Monica J., and Lisa Jean MOORE. 2009. Missing Bodies: The Politics of Visibility. New York: New York University Press, 2009.
[5] CONROY, Collette. 2010. Theatre & the Body. London/New York: Palgrave Macmillan, 2010.
[6] MEEHAN, Emma. 2013. The Autobiographical Body: Somatic Practice and Object Relations. In Sandra Reeve (ed.). Body and Performance. Devon: Triarchy Press, 2013: 37–51.
[7] NICHOLSON, Helen. 2005. Applied Drama: The Gift of Theatre. New York: Palgrave Macmillan, 2005.
[8] SHAUGHNESSY, Nicola. 2012. Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice. London: Palgrave Macmillan, 2012.
[9] SHEPHERD, Simon. 2006. Theatre, Body and Pleasure. London/New York: Routledge, 2006.
[10] SHEVTSOVA, Maria. 1989. The Sociology of the Theatre, Part One: Problems and Perspectives. New Theatre Quarterly 5 (1989): 1: 23–35. | DOI 10.1017/S0266464X00015311
[11] TURNER, Bryan S. 2008. The Body and Society: Explorations in Social Theory. London: SAGE, 2008.
[12] ZERUBAVEL, Eviatar. 1991. The Fine Line: Making Distinction in Everyday Life. The University of Chicago Press, 1991.