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Articles 1 - 16 of 16
Full-Text Articles in Performance Studies
Scenes From The Contemporary Barcelona Stage: La Fura Dels Baus's Aspiration To The Authentic, Sharon G. Feldman
Scenes From The Contemporary Barcelona Stage: La Fura Dels Baus's Aspiration To The Authentic, Sharon G. Feldman
Latin American, Latino and Iberian Studies Faculty Publications
In October 1983, just south of Barcelona at the annual Sitges Theatre Festival, beneath the railroad tracks in the claustrophobic space of a subterranean pedestrian passageway, La Fura dels Baus erupted into public view with an embryonic version of their first major spectacle, entitled Accions ("Actions"). The performance was conceived along the same aesthetic lines that continue to shape even the most recent work of this Catalan company. Accions consisted of a series of transgressive and, at times, startling exercicis pràctics ("practical exercises") intended to elicit an impulsive, visceral response from audience members. In their program notes, La Fura defined …
The Cutting Edge, November/December 1998, Vol. 9 Issue 5, The Society Of American Fight Directors
The Cutting Edge, November/December 1998, Vol. 9 Issue 5, The Society Of American Fight Directors
The Cutting Edge
No abstract provided.
Homage To Catalan Theater: Introduction, Sharon G. Feldman
Homage To Catalan Theater: Introduction, Sharon G. Feldman
Latin American, Latino and Iberian Studies Faculty Publications
The Catalan stage is presently experiencing one of the most exciting, dynamic, and extraordinary periods in its modern history. Following decades of contentiousness, there is finally a harmonious rapport between the visually oriented theater of images and the textually oriented theater of the word, between the theater of collective creation and that in which the role of the author is essential. On the whole, the theater of contemporary Catalonia is characterized, not by the provincialism often ascribed to regional minority cultures, but rather by its cosmopolitan, international, and even transnational proclivities. Barcelona, the cultural and political hub of this region, …
The Cutting Edge, August/September 1998, Vol. 9 Issue 4, The Society Of American Fight Directors
The Cutting Edge, August/September 1998, Vol. 9 Issue 4, The Society Of American Fight Directors
The Cutting Edge
No abstract provided.
The Fight Master, Spring/Summer 1998, Vol. 21 Issue 1, The Society Of American Fight Directors
The Fight Master, Spring/Summer 1998, Vol. 21 Issue 1, The Society Of American Fight Directors
Fight Master Magazine
No abstract provided.
The Cutting Edge, April/May 1998, Vol. 9 Issue 2, The Society Of American Fight Directors
The Cutting Edge, April/May 1998, Vol. 9 Issue 2, The Society Of American Fight Directors
The Cutting Edge
No abstract provided.
The Cabaret Of Dead Souls: Harvesting Russian History, Agnieszka Taborska, Jake Mahaffy, Szymon Bojko, Gella Alhassid, So-Hee Cheong, Matthew Cottam, Dawn Danby, Lorreine Fedor, Andrew Gardner, Carl Henschel, Michael Hoard, Kevin Lang, Eric Leichner, Michael Libby, April Lin, Pia Restina, Markus Reyes, James Sanders, Nicholas Scappaticci, Brett Shagen, Michael Shih, Aika Tong, Araby Williams
The Cabaret Of Dead Souls: Harvesting Russian History, Agnieszka Taborska, Jake Mahaffy, Szymon Bojko, Gella Alhassid, So-Hee Cheong, Matthew Cottam, Dawn Danby, Lorreine Fedor, Andrew Gardner, Carl Henschel, Michael Hoard, Kevin Lang, Eric Leichner, Michael Libby, April Lin, Pia Restina, Markus Reyes, James Sanders, Nicholas Scappaticci, Brett Shagen, Michael Shih, Aika Tong, Araby Williams
Programs
Program for the eleventh annual RISD Cabaret held in the Cellar at the top of the Waterman Building. Graphic design: Mia Moran, Matt Murphy, James Wynn and Katia Popova.View the Performance Recording.
The Cutting Edge, February/March 1998, Vol. 9 Issue 1, The Society Of American Fight Directors
The Cutting Edge, February/March 1998, Vol. 9 Issue 1, The Society Of American Fight Directors
The Cutting Edge
No abstract provided.
Iran, Anthony Shay
Iran, Anthony Shay
Pomona Faculty Publications and Research
As the locale for one of the oldest continuing cultural, linguistic, and ethnic entities, Iran provides archaeological evidence for dance portrayed on Mesopotamean pottery dated to 5000 BCE (Zoka', 1978). Evidence for continuing choreographic activity is documented in the historical writings of foreigners, from biblical times to ancient Greece to the Persian and Ottoman empires. Iconographic artworks showing dance also exist, such as silver objects from the Sasanian period (224-650 CE) and Persian miniatures from the twelfth century. Iran is, and most likely has always been, a place of immense ethnic and linguistic diversity, a continental crossroad open to influences …
Afghanistan, Anthony Shay
Afghanistan, Anthony Shay
Pomona Faculty Publications and Research
A very conservative Islamic country, Afghanistan lies on the eastern edge of the Middle East, to the west of Pakistan and India. Afghanistan is at the confluence of Iranian, Central Asian, and Indian cultural currents, and most groups within Afghanistan have ethnic ties across the borders. Indian elements are the least felt, but the rhythmic footwork of some solo dancing is highly reminiscent of classical Indian traditions. A variety of ethnic and linguistic groups, each with its own choreographic tradition, reflects Afghanistan's enormous cultural diversity. Its dance traditions, however, are scarcely documented. As in most Islamic countries, dancers are paid …
The Cutting Edge, June/Jule 1998, Vol. 9 Issue 3, The Society Of American Fight Directors
The Cutting Edge, June/Jule 1998, Vol. 9 Issue 3, The Society Of American Fight Directors
The Cutting Edge
No abstract provided.
Danse Du Ventre, Anthony Shay
Danse Du Ventre, Anthony Shay
Pomona Faculty Publications and Research
Danse du ventre (also called belly dance or danse orientale) most probably derived its name from one or both of two sources: (1) a corruption of the Arabic raqs al-baladi, meaning "dance from the countryside," and (2) a reference to the highly developed movement articulations of the torso and abdomen, which are the most characteristic movement practices of this widespread dance genre. Arabs outside Egypt often call it raqs al-sharq ("Oriental dance") or raqs al-misri ("Egyptian dance"), underscoring the widespread notion that this dance tradition originated in ancient Egypt. No historical documentation exists for the origins of …
Arabian Peninsula, Anthony Shay
Arabian Peninsula, Anthony Shay
Pomona Faculty Publications and Research
The regional dances of the vast but sparsely populated peninsula that includes Saudi Arabia, the Gulf states and emirates, and Yemen are--due to political, religious, economic, and other reasons of access--among the least studied. Historically, the gulf region is one of the most ancient marketplaces, with traders from India, Mesopotamia, Africa, and the Arabian hinterland meeting here for centuries. Influences from all these groups may be discerned in the dancing.
Kurdish Dance, Anthony Shay
Kurdish Dance, Anthony Shay
Pomona Faculty Publications and Research
The Kurds are a nomadic people whose homeland (Kurdistan) and population (of some 10 million) are now divided among mountainous rural regions of Syria, Turkey, Iran, Iraq, and Armenia; small numbers live in Israel and the Republic of Georgia, (and a separatist movement is headquartered in Paris, France). They speak an Iranian (a Persian) language, and some believe them to be the descendants of the ancient Medes. Without a state of their own, the Kurds place great importance on such cultural forms and identity markers as dancing.
Lebanon, Anthony Shay
Lebanon, Anthony Shay
Pomona Faculty Publications and Research
In many respects, Lebanon is unique among the Arab states of the Middle East, and this uniqueness is reflected in its dance traditions, particularly in the number of professional performances given. Lebanon is a country more urban than rural, although most residents of Beirut, its capital, have some village relations or associations. Because the nation is small, no village is more than a few miles from Beirut or from such urban centers as Sidon or Tripoli. Lebanon's population is highly educated, and nomads (bedouins) account for only a miniscule percentage. The country's many religious groups and sects--mainly Christian and Islamic--seem …
The Fight Master, Fall/Winter 1998, Vol. 21 Issue 2, The Society Of American Fight Directors
The Fight Master, Fall/Winter 1998, Vol. 21 Issue 2, The Society Of American Fight Directors
Fight Master Magazine
No abstract provided.