Giorgio Strehler's Faust Project: Signification and Reception Strategies

1993 ◽  
Vol 9 (35) ◽  
pp. 211-224
Author(s):  
Christopher Balme
Keyword(s):  
New Zealand ◽  
Work Processes ◽  
Post Colonial ◽  
Alexander Von Humboldt ◽  
Theatre Studies ◽  
Giorgio Strehler ◽  
Theatre Theory ◽  
The University ◽  
The City

In the ten years between 1982, when Giorgio Strehler announced his intention to stage both parts of Goethe's Faust over six evenings, and the eventual two-evening performance amidst a ‘Faust Festival’ in 1992, the Faust project underwent a series of modifications and manifestations, in parallel with the struggle to create the Teatro Grande in Milan as a new house for the Piccolo. The progress and realization of the project are here charted by Christopher Balme, who not only describes the work processes involved, but how these became enmeshed both in the politics of Strehler's relations with the city of Milan, and with his own identification, as actor of Faust as well as director of the project, with the role of the hubristic artist, in quest of a climax to a controversial career. Christopher Balme is a lecturer in theatre studies at the University of Munich's Instituttür Theaterwissenschaft. He has published on modern German theatre, theatre theory, and post-colonial drama and theatre. He has previously held posts at the University of Würzburg, and was Alexander von Humboldt Research Fellow in Theatre Studies at Munich University. He has also been a Visiting Lecturer at the Department of Theatre and Film at Victoria University in New Zealand.

The Theatrical Memory of Space: from Piscator and Brecht to Belgrade

2005 ◽  
Vol 21 (4) ◽  
pp. 358-366 ◽  
Author(s):  
Silvija Jestrovic
Keyword(s):  
Postdoctoral Fellow ◽  
Avant Garde ◽  
Cultural Spaces ◽  
Theatre Studies ◽  
The University ◽  
The City

In this article, Silvija Jestrovic introduces the notion of spatial inter-performativity to discuss theatre's relationship to actual political and cultural spaces. Focusing on the Berlin of the 1920s in performances of Brecht and Piscator, then on a street procession of the Générik Vapeur troupe that took place in Belgrade in 1994, she examines how theatrical and political spaces refer to and transform one another. Silvija Jestrovic was a SSHRC postdoctoral fellow at York University in Toronto, and has recently taken up an appointment in the School of Theatre Studies at the University of Warwick. She is currently working on a book-length project entitled Avant-Garde and the City.

scholarly journals Le pietre di Ca’ Foscari: Ruskin e il Palazzo

2018 ◽  
Author(s):  
Jeanne Clegg ◽  
Emma Sdegno
Keyword(s):  
Grand Canal ◽  
History Of ◽  
New Ideas ◽  
The Grand Canal ◽  
The University ◽  
The City

Our contribution concerns a phase in the history of the building that gives the University its name. When Ruskin came to Venice in 1845 he was horrified by the decayed state of the palaces on the Grand Canal, and by the drastic restorations in progress. In recording their features in measurements, drawings and daguerreotypes, Ca’ Foscari took priority, and his studies of its traceries constitute a unique witness. This work also helped generate new ideas on the role of shadow in architectural aesthetic, and on the characteristics of Gothic, which were to bear fruit in The Seven Lamps and The Stones of Venice. In his late guide to the city, St Mark’s Rest, Ruskin addressed «the few travellers who still care for her monuments» and offered the Venetian Republic’s laws regulating commerce as a model for modern England. Whether or not he knew of the founding of a commercial studies institute at Ca’ Foscari in 1868, he would certainly have hoped that it would teach principles of fair and just trading, as well as of respectful tourism.

Arrival and Formation

2020 ◽  
pp. 15-31
Author(s):  
Robert Garner ◽  
Yewande Okuleye
Keyword(s):  
Applied Ethics ◽  
Married Couples ◽  
Oxford Group ◽  
The University ◽  
The City

This chapter serves three main functions. First, it identifies the ten core members of the Oxford Group, and documents their backgrounds and the circumstances of their arrival in the city of Oxford. The Oxford Group consisted of three married couples: Roslind and Stanley Godlovitch, Peter and Renata Singer, and Richard and Mary Keshen. Next were the three singletons who shared a house in Oxford: John Harris, David Wood, and Michael Peters. Finally, and slightly more at the periphery—partly because of his age and partly because he was not an Oxford student (or married to one)—there was Richard Ryder. Second, it describes the formation of the Oxford Group and the key role played by the gatekeepers. Here, a dynamic role was played by the Godlovitches and by Brigid Brophy who did most to bring the group together Finally, the role of what Farrell describes as the “magnet place,” in our case Oxford—and the university in particular—is dissected. The importance of access to a major seat of learning that had a unparalled reputation in the field of philosophy and which was at the forefront of the development of a new field of applied ethics is documented.

A Saturated Time: Three Festivals in Poland, 2007

2008 ◽  
Vol 24 (4) ◽  
pp. 307-321
Author(s):  
Murray Edmond
Keyword(s):  
New Zealand ◽  
Associate Professor ◽  
Contemporary Theatre ◽  
Avant Garde ◽  
Aotearoa New Zealand ◽  
Theatre Company ◽  
Street Performance ◽  
The University ◽  
Special Time

What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their aims, success, and role in what Barthes called the ‘special time’ which festivals have occupied since the Ancient Greeks dedicated such an occasion to Dionysus. Murray Edmond is Associate Professor of Drama at the University of Auckland, New Zealand. His recent publications include Noh Business (Berkeley: Atelos Press, 2005), a study, via essay, diary, and five short plays, of the influence of Noh theatre on the Western avant-garde, and articles in Contemporary Theatre Review (2006), Australasian Drama Studies (April 2007), and Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (2007). He works professionally as a dramaturge, notably for Indian Ink Theatre Company, and has also published ten volumes of poetry, of which the most recent is Fool Moon (Auckland: Auckland University Press, 2004).

Struggling with the Past: Women's Theatre in Search of a History

1989 ◽  
Vol 5 (18) ◽  
pp. 107-112 ◽  
Author(s):  
Susan Bassnett
Keyword(s):  
Cultural Change ◽  
Historical Context ◽  
Feminist Criticism ◽  
Elizabeth I ◽  
The Past ◽  
Feminist Study ◽  
Introductory Article ◽  
Theatre Studies ◽  
The University

Theatre scholarship is only just beginning to respond to the insights and emphases suggested by feminist criticism. In this introductory article to what we intend to be a strong and continuing thread in NTQ, Susan Bassnett outlines the resulting problems, and explores the historical context and conditions in terms of one central issue – the role of women as performers (and non-performers) in the sixteenth and seventeenth centuries. She also examines some of the wider implications for theatre studies, affected as these also are by new historicist approaches to the study of cultural change. Susan Bassnett teaches in the Graduate School of Comparative Literary Theory in the University of Warwick, and has been a regular contributor to New Theatre Quarterly and other journals, notably in the field of Italian theatre. Her most recent books include a feminist study of Elizabeth I, and (in collaboration with John Stokes and Michael Booth) Bernhardt. Terry, Duse: the Actress in Her Time.

scholarly journals Extension and pedagogical practice in architecture

ESTOA ◽  
2019 ◽  
pp. 147-156
Author(s):  
Pedro Martínez Osorio ◽  
Eder García Sánchez
Keyword(s):  
Social Innovation ◽  
Local Development ◽  
Participatory Approach ◽  
Pedagogical Practices ◽  
Pedagogical Practice ◽  
Municipal Administration ◽  
Recent Trends ◽  
The University ◽  
The City

The pedagogical practices developed in articulation with the extension office called "architectural consulting" attached to the architecture program of Caribbean University Corporation in Sincelejo, Colombia, are presented in order to reflect on the exercises developed in the light of one of the functions inherent in the university in the 21st century: innovation, specifically speaking of recent trends in social sustainability and its relationship with pedagogical practice in architecture. The adopted methodology, with a participatory approach, was developed in 4 phases: problem identification, work criteria, conceptualization, and implementation. Examples of the participatory works developed by students of the architecture program are shown, which generate alternatives for local development in the city, in places where the municipal administration and its planning structures do not reach to arrive in an effective way. Changes are identified in the role of pedagogical practices focused on social innovation and the new functions they assume, students, teachers and communities involved in the critical construction of the new citizenship.

scholarly journals Service innovation in case of electromobility

2017 ◽  
Vol 10 (2) ◽  
pp. 187
Author(s):  
Feriha Özdemir
Keyword(s):  
Urban Areas ◽  
Business Models ◽  
Dominant Role ◽  
Service Innovation ◽  
City Council ◽  
Emotional Perception ◽  
Cultural Systems ◽  
The University ◽  
The City

Studies show that electromobility will emerge in urban areas. As urban mobility solutions are changing, electromobility is intended with a big potential of sustainable innovation. Nevertheless, changing the mobility culture depends on certain requirements. According to Urri, the automobile development lies in breaking the dominant role of cars which results in a development deadlock. In order to change the mobility culture, the mental approach to mobility options and the infrastructural conditions need to be considered as two central factors. Future mobility isn´t about less mobility, but rather a different way of being mobile and using different types of mobility solutions. This paper presents a research project that is based on the systemic-relational approach. It seeks to develop and introduce the conditions of electromobility in an urban area without a well-frequented local public transport by a networked innovation cooperation in four development areas. The central goal of this work is the integrated development of service innovation of technical and non-technical manner based on the network of project partners, the city council and the university. A change towards electromobility means changing infrastructure, market actors and business models. It signifies a change of social-cultural systems regarding mobility habits, practices and values. One of our main results show that the emotional perception by using experiences of electromobility has a positive effect on its social acceptability which raises the “flow factor” of electromobility.

scholarly journals The university, the city and the clown: A theological essay on solidarity, mutuality and prophecy

2015 ◽  
Vol 71 (3) ◽  
Author(s):  
Stephan De Beer
Keyword(s):  
Public University ◽  
The Other ◽  
The Public ◽  
The One ◽  
The University ◽  
The Relationship ◽  
The City ◽  
Liberation Theologian

This essay is informed by five different but interrelated conversations all focusing on the relationship between the city and the university. Suggesting the clown as metaphor, I explore the particular role of the activist scholar, and in particular the liberation theologian that is based at the public university, in his or her engagement with the city. Considering the shackles of the city of capital and its twin, the neoliberal university, on the one hand, and the city of vulnerability on the other, I then propose three clown-like postures of solidarity, mutuality and prophecy to resist the shackles of culture and to imagine and embody daring alternatives.

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