Intercultural Performance and Dialogue. From Richard Schechner Performance Studies Onwards

Attraverso un excursus storico, teorico e metodologico, questa tesi di dottorato analizza la nascita, gli sviluppi e l’attuale dimensione costitutivo-identitaria dei Performance Studies, un ambito di ricerca accademica che, nato negli Stati Uniti alla fine degli anni Settanta, ha sempre palesato una natura restia nei confronti di qualunque tentativo definitorio. Se i Performance Studies concepiscono la performance sia come oggetto d’analisi sia come lente metodologica, e se, come evidenziato da Richard Schechner, praticamente tutto può essere “elevato a performance” e quindi indagato secondo le categorie analitiche di questa disciplina, ecco allora che, con uno slittamento transitivo e “meta-metodologico”, questa ricerca dottorale ha scelto come proprio oggetto di studio i Performance Studies stessi, osservandoli “as performance” e avvalendosi degli strumenti metodologici suggeriti dal suo stesso oggetto d’analisi. Questo lavoro indaga come l’oggetto di studio dei Performance Studies sia, seguendo la teoria schechneriana, il “behaved behavior”, e dunque come di conseguenza, il repertorio, prima ancora che l’archivio, possa essere considerato il fedele custode delle “pratiche incorporate”. Soffermandosi su esempi di “reenactment” performativo come quelli messi in atto da Marina Abramović e Clifford Owens, così come sui tentativi condotti dalla sezione dell’Intangible Cultural Heritage dell’UNESCO, suggerisce validi esempi di “archiviazione” della performance. L’elaborato prende poi in esame casi che esemplificano la proficua identificazione tra “studiare performance” e “fare performance”, sottolinea il ruolo cruciale e imprenscindibile determinato dal lavoro di ricerca sul campo inteso come “osservazione partecipante”, ed evidenzia il costante coinvolgimento sociale e politico assunto dai Performance Studies. Questa dissertazione affronta e supporta l’efficacia dei Performance Studies nel proporsi come uno strumento innovativo in grado di analizzare un mondo sempre più performativo nelle sue dinamiche. La loro natura tanto interdisciplinare quanto interculturale sembra farne una lente adeguata attraverso cui promuovere livelli diversi di performance dialogica tra culture localmente distinte ma globalmente assimilabili.

Who should do NOTES? Initial endoscopic performance of laparoscopic surgeons compared to gastroenterologists and untrained individuals

INTRODUCTION: Natural orifice transluminal endoscopic surgery (NOTES) is a multidisciplinary surgical technique. If conventional endoscopic instrumentation can be easily mastered, surgeons with laparoscopic experience could head NOTES interventions. MATERIALS AND METHODS: Thirty individuals were tested for endoscopic dexterity. Group 1 included seven gastroenterologists, group 2 included 12 laparoscopically experienced surgeons lacking endoscopic experience, and group 3 included 11 interns who had no hands-on endoscopic or surgical experience. Each individual repeated an easy (T1), medium (T2), and difficult (T3) task ten times with endoscopic equipment on a NOTES skills-box. RESULTS: Group 3 had significantly poorer performances for all three tasks compared to the other groups. No significant differences were seen between groups 1 and 2 for T1 and T2. The initial T3 performance of group 1 was better than that of group 2, but their performance after repetition was not statistically different. Groups 2 and 3 improved significantly with repetition, and group 2 eventually performed as well as group 1. CONCLUSIONS: The data indicate that laparoscopic surgeons quickly learned to handle the endoscopic equipment. This suggests that a lack of endoscopic experience does not handicap laparoscopic surgeons when performing endoscopic tasks. Based on their knowledge of anatomy and the complication management acquired during surgical education, surgeons are well equipped to take the lead in interdisciplinary NOTES collaborations.

Strange Relations. Cultural Translation of Noh Theatre in Ezra Pound’s Dance Poems and W. B. Yeats’s At the Hawk’s Well

Drawing on the reception of Noh drama by Ezra Pound and William Butler Yeats, the article analyses both the literary and cultural ‘translations’ of this form of Japanese theatre in their works, focusing on Yeats’s play At the Hawk’s Well (1917). I conceptualize ‘cultural translation’ as the staging of relations that mark a residual cultural difference. Referred to as ‘foreignizing’ in translation theory, this method enables what Erika Fischer-Lichte has termed a ‘liminal experience’ for the audience –– an effect Yeats intended for the performance of his play. It evokes situations in which opposites collapse and new ways of acting or new combinations of symbols can be tried out. Yeats’s play will be used to sketch how an analysis of relations could serve as a general model for the study of cultural transfer as cultural translation in general. Keywords: cultural translation, translation theory, performance, William Butler Yeats, Itō Michio, Ezra Pound, At the Hawk’s Well

Compilation of measurements from two interdisciplinary STAR-shaped surveys in the North Sea: The ZISCH - Dataset

The measurements were obtained during two North Sea wide STAR-shaped cruises during summer 1986 and winter 1987, which were performed to investigate the circulation induced transport and biologically induced pollutant transfer within the interdisciplinary research in the project "ZISCH - Zirkulation und Schadstoffumsatz in der Nordsee / Circulation and Contaminant Fluxes in the North Sea (1984-1989)". The inventory presents parameters measured on hydrodynamics, nutrient dynamics, ecosystem dynamics and pollutant dynamics in the pelagic and benthic realm. The research program had the objective of quantifying fluxes of major budgets, especially contaminants in the North Sea. In spring 1986, following the phytoplankton spring bloom, and in late winter 1987, at minimum primary production activity, the North Sea ecosystem was investigated on a station net covering the whole North Sea. The station net was shaped like a star. Sampling started in the centre, followed by the northwest section and moving counter clockwise around the North Sea following the residual currents. By this strategy, a time series was measured in the central North Sea and more synoptic data sets were obtained in the individual sections. Generally advection processes have to be considered when comparing the data from different stations. The entire sampling period lasted for more than six weeks in each cruise. Thus, a time-lag should be considered especially when comparing the data from the eastern and the western part of the central and northern North Sea, where samples were taken at the beginning and at the end of the campaign. The ZISCH investigations represented a qualitatively and quantitatively new approach to North Sea research in several respects. (1) The first simultaneous blanket coverage of all important biological, chemical and physical parameters in the entire North Sea ecosystem; (2) the first simultaneous measurements of major contaminants (metals and organohaline compounds) in the different ecosystem compartments; (3) simultaneous determinations of atmospheric inputs of momentum, energy and matter as important ecosystem boundary conditions; (4) performance of the complex measurement program during two seasons, namely the spring plankton bloom and the subsequent winter period of minimal biological activity; and (5) support of data analysis and interpretation by oceanographic and meteorological numerical models on the same scales.

An Interdisciplinary Practical for Multimedia Engineering Students

Interdisciplinary projects in the industry typically require collaboration between professionals from various fields. However, this relationship is not generally addressed in the training offered by university programs, which often ignore this interdisciplinary approach. This paper offers an example of interdisciplinary interaction through joint laboratory activities in the curricula of two very different degree programs, i.e., Multimedia Engineering and Teacher Training in Primary Education. The programs' students formed an interdisciplinary team of multimedia engineers and trainee teachers to develop a Web product for children's cognitive development. The complexity of the task required students to engage in close and strong interdisciplinary cooperation and communication; in turn, they benefited from the synergy offered by collaborative work. The results of this paper, presented from the perspective of the multimedia engineering students, demonstrate a significant increase in their academic performance compared to the control group. This paper shows that university studies can incorporate an interdisciplinary perspective to engineering education without the need to introduce a specific course on the topic, thus avoiding further demands on the curriculum schedule.

Moving and dancing towards decolonisation in education: An example from an Indigenous Australian performance classroom

This paper explores the special type of thinking, moving and dancing place which is opened up for decolonisaton when students engage in an embodied pedagogical practice in Indigenous education. The author examines what decolonisation means in this context by describing the ways in which the curriculum, the students and teacher, and more generally the discipline of ethnomusicology itself, undergo a process to question, critique, and move aside the pedagogical script of colonialism in order to allow Indigenous ways of understanding music and dance to be presented, privileged and empowered. Key questions are: What is the relationship between embodiment and disembodiment and decolonisation and colonisation? In what ways is embodiment more than, or other than, the presence of moving bodies? In what ways is performativity an aspect of power/knowledge/subject formations? How can it be theorised? What could the pedagogical scripts of decolonisation look like?

Relationships between quality of experience and participation in diverse performance settingshttp://espace.library.uq.edu.au/workflow/edit_metadata.php?id=382160&wfs_id=778

The flow concept describes a model of enjoyment that has relevance for understanding participation and experience across a wide range of activities (Csikszentmihalyi, 1997). The basic premise of the flow concept is that when challenges and skills are simultaneously balanced and extending the individual, a state of total absorption can occur. Research by Jackson and colleagues has examined the utility of the flow concept to understanding participation and performance in sport settings. Recently, Jackson and Eklund have examined flow in a range of performance settings: sport, exercise, dance, creative and performing arts, and music. In this paper, we present descriptive and construct validity data on how participants in these activities experienced flow, as assessed by the recently revised flow scales: The Dispositional Flow Scale-2 (DFS-2) and Flow State Scale-2 (FSS-2) (Jackson & Eklund, 2002). The fmdings will be discussed in relation to the utility of the flow concept to understanding participation across performance settings.