El juego como herramienta potencializadora en habilidades sociales de los niños/as portadores del VIH/sida, del hogar verónica de la fundación Eudes de la ciudad de Bogotá

El trabajo que se presenta a continuación, muestra el juego como herramienta potencializadora en las habilidades sociales de los niños/as y adolescentes portadores del VIH/SIDA, del hogar Verónica de la fundación Eudes de la ciudad de Bogotá. En él se encontrara, una revisión bibliográfica sobre los tres grandes temas a tratar en el proyecto que son: las Habilidades Sociales, El Juego y el VIH / SIDA. Para esta revisión de literatura, se tuvo en cuenta documentos importantes como el desarrollado por la autora Monjas Casares, Mª Inés, con el desarrollo de un programa de enseñanza de habilidades de interacción social que ella efectuó, para el Juego se tomo el documento de Jean Piaget y su clasificación de Juego, y en el VIH/ SIDA, los documentos publicados por ONUSIDA. autores.

El teatro social.

Resumen en inglés y catalán. Monográfico con el título: Los lenguajes artísticos, clave de desarrollo

Técnicas de intervención para el desarrollo del lenguaje y la comunicación : Delfinterapia, Metamórfica, Risoterapia y Musicoterapia.

Dar a conocer nuevas técnicas de intervención para el desarrollo del lenguaje y la comunicación en niños con necesidades educativas especiales. El primer capítulo, dedicado a la Delfinterapia, incluye una parte teórica analítico-descriptiva y una parte empírica dedicada a un estudio de caso. Además, se explica una técnica de relajación conocida como Metamórfica, que sirve de apoyo a la Delfinterapia. El segundo capítulo se ocupa de la Risoterapia y la Terapia de Clown. Se presentan sus fundamentos teóricos y su influencia en el campo de la salud. Por último, en el tercer capítulo, dedicado a la Musicoterapia, se ofrece información teórica y unas pautas de actuación que pueden servir de base para un proyecto pedagógico-logopédico con alumnos autistas y deficientes mentales. La bibliografía consultada son actas de congresos y mesas redondas, artículos y libros. La investigación, cualitativa e interdisciplinar, utiliza métodos activos, participativos, lúdicos e innovadores. Este trabajo abre nuevas vías de investigación, tanto en el campo educativo-terapéutico, como en el educativo general, psiquiátrico, psicopedagógico, logopédico, geriátrico, social-marginal y preventivo.

Virginia Imaz : el humor tiene la capacidad de ir donde no llega un discurso serio.

Entrevista sobre el papel educativo de los clown y los valores educativos del teatro.

Flash de Clowns.

http://www.clown.org, a través de esta web se pueden conocer las actividades de la ONG de las artes Payasos Sin Fronteras y encontrar informaciones de interés. Incluye un reportaje nuevo cada mes y aportaciones de los visitantes en forma de correo electrónico.

The Walker treasury of first stories : 30 picture book favourites.

Colección de treinta historias y poemas de amor para los niños pequeños, entre los que se encuentran: 'Miss Polly', 'Clown', 'The Big Big Sea', 'The Elephant Tree'.

Orden de 22 de diciembre de 1950 por la que se resuelve el Concurso Nacional de Pintura correspondiente al año actual.

Se resuelve la concesión del primer premio y premio accésit del Concurso Nacional de Pintura del año 1950 a las obras tituladas 'San Martín ofrece su manto al pobre', de D. Victoriano Pardo Galindo y a 'El clown', de D. Francisco Arias, respectivamente. Estos premios correrán a cargo de los presupuestos del Ministerio de Educación Nacional.

Por media vida deslumbrados (Dossier: Narradores ecuatorianos de la década de 1950)

En este trabajo se plantea que acaso con mayor intensidad que en Huasipungo (1934) y El Chulla Romero y Flores (1958), es en tres obras poco estudiadas de Jorge Icaza donde puede apreciarse con claridad –tal que deslumbra– su propuesta estética: en la pieza de teatro Flagelo (1936), la novela Media vida deslumbrados (1942) y el cuento «El nuevo San Jorge» (1952). Sin apartarse de la denuncia social, Icaza cierra con Flagelo su propuesta dramática, constituyen una suerte de manifiesto literario, por las repercusiones estéticas que alcanzan a la narrativa del autor. En Media vida deslumbrados se puede apreciar un equilibrio efectivo entre las propuestas del autor y su afán de denuncia social. «El nuevo San Jorge», según el autor de este ensayo, sería la obra que alberga lo más radical, en cuanto propuesta estética, de toda la obra icaciana, destaca los elementos neo-barrocos de la misma, con insistencia en los juegos de máscaras, las intermitencias entre las luces y las sombras, y en el múltiple y a la vez unívoco rostro de quien detenta el poder –algunos de estos elementos comunes a las dos obras comentadas, y a El Chulla Romero y Flores.

Honorarios [adaptaciones y refundiciones en De la Cuadra y Aguilera-Malta] (Dossier: Cuatro narradores del 30, relecturas en su centenario)

Se contrasta Honorarios, obra dramática de Aguilera-Malta, y «Honorarios», el cuento de José de la Cuadra que la inspiró. El diálogo entre los dos autores fue explícito en diversos textos, así como en sus respectivos mundos literarios: nombres de personajes, motivos, leyendas, mitos, formas, ideología y demandas, actitudes e intereses. De la Cuadra dialogó a su vez con otros creadores. «Honorarios», e.g., recrea y reinterpreta la figura del mítico fetiche Moloch, según lo representan Metrópolis, del cineasta Fritz Lang, y Salambó, de Gustave Flaubert, la narración aludida es también una refundición en torno al tema del poder omnipresente y cruel, que requiere insaciablemente de víctimas propiciatorias. De igual manera, en su proceso creativo y de búsqueda expresiva, Aguilera-Malta acostumbró remozar y reformular temas en diferentes géneros literarios –como el de la lucha del ser humano frente a las fuerzas hostiles de la naturaleza y la sociedad, interpretado en La isla virgen, El tigre y Jaguar–. En Honorarios, Aguilera-Malta se concentró en hallar la manera de transferir la trama del relato «Honorarios» al género dramático. El resultado es una eficaz refundición, en términos de la perspectiva histórico-política y de reflexiones sobre la función de la literatura.

The Henslowe-Allyen Digitisation Project

2000 digital photographs of manuscript pages in the single most inportant theatrical archive in the age of Shakespeare, as well as 15 digital essays by world-leading scholars

Can objects perform?: agency and thingliness in contemporary sculpture and installation

In his 1967 essay, “Art and Objecthood”, Michael Fried bemoaned the theatricality of minimalist sculpture, which replaced the presentness of compositional sculpture with the staging of an experience for the viewer as performer. His argument has since been inverted by artists and art writers invested in the idea of sculptures as props forming part of an artistic experience economy. This discourse has accompanied the rise of relational aesthetics as a dominant paradigm for contemporary art. More recently, however, there has been a turn away from relationality to ‘object-oriented’ art, where objects are seen to stage their own theatrical experiences, performing themselves without requiring the activation of a viewer’s body. We trace parallels between the philosophy of Bruno Latour and the “Speculative Materialism” group and this emerging trend in sculpture. In ascribing agency to objects, Latour proposes a radical shift from philosophy’s traditional investigation of the relationship between the mind and the world. Drawn to the idea that matter can be creative, artists have embraced his thinking. However, we argue that this has lead to a generalized, universalizing humanism that disables political action. Moreover, it undermines the potential for anti-humanist critique latent in object-oriented philosophy.

Epic Sea Battle at Night: a Revolutionary Play with the Economic Thinking of Milton Friedman

The play Epic Sea Battle at Night was originally staged in 1967, to commemorate two of China’s People’s Liberation Army’s military triumphs over the Taiwanese navy two years previously. Produced at the height of the Chinese Cultural Revolution, the play is an example of the exploitation of the arts as an ideological instrument, celebrating military heroism and political conviction. Stills from the play were included in, China Pictorial 11, an English language propaganda pamphlet that was distributed to Western Imperialists in order to educate them in Maoist policy. Today, these images are clear representations of ideology. More than forty years after the Cultural Revolution, the ideology under which we live, neo-liberal late-capitalism, deliberately shirks from such blatant displays of propaganda. We have supposedly the freedom to believe whatever we like in a post-ideological age, and yet core beliefs about meritocracy, individualism and competitiveness frequently go unchallenged. By juxtaposing the visual language of ideology with the text of the capitalist manifesto, the re-enactment of a scene from Epic Sea Battle at Night harnesses the aesthetics of the past so as to allow us to reconsider the alleged neutrality of the present. The design of the stage, the positioning of the actors, costumes and props of the current production closely resembled those documented in China Pictorial 11, yet the actors’ monologues belong to a completely different context. No less heroic and utopian in tone than the speech given by the political instructor of gunboat 874 in the original play, the capitalist manifesto was an attempt to give a concrete language to the shapeless ideology of the present, and to force the invisible currents that govern life today, in China as in the West, to the surface. Neither a lecture on neo-liberal economics, nor a theatrical performance of a narrative, the piece appropriated the format of the propaganda play to re-evaluate the relationship between art and politics now.

Prizes for modernity in the provinces: The Arts Council’s 1950-1951 regional playwriting competition

As part of its contribution to the 1951 Festival of Britain, the Arts Council ran what can be seen in retrospect to be an important playwriting competition. Disregarding the London stage entirely, it invited regional theatres throughout the UK to put forward nominations for new plays within their repertoire for 1950-1951. Each of the five winning plays would receive, what was then, the substantial sum of £100. Originality and innovation featured highly amongst the selection criteria, with 40 per cent of the judges’ marks being awarded for “interest of subject matter and inventiveness of treatment”. This article will assess some of the surprising outcomes of the competition and argue that it served as an important nexus point in British theatrical historiography between two key moments in post-war Britain: the first being the inauguration of the Festival of Britain in 1951, the other being the debut of John Osborne’s Look Back in Anger in May 1956. The article will also argue that the Arts Council’s play competition was significant for two other reasons. By circumventing the London stage, it provides a useful tool by which to reassess the state of new writing in regional theatre at the beginning of the 1950s and to question how far received views of parochialism and conservatism held true. The paper will also put forward a case for the competition significantly anticipating the work of George Devine at the English Stage Company, which during its early years established a reputation for itself by heavily exploiting the repertoire of new plays originally commissioned by regional theatres. This article forms part of a five year funded Arts and Humanities Research Council (AHRC) project, ‘Giving Voice to the Nation: The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945-1994’. Details of the Arts Council’s archvie, which is housed at the Victoria & Albert Museum in London can be found at http://www.vam.ac.uk/vastatic/wid/ead/acgb/acgbf.html Keywords: Arts Council of Great Britain, regional theatre, playwriting, Festival of Britain, English Stage Company (Royal Court) , Yvonne Mitchell

Terminal: a miracle play with popular music from the end of the world

Terminal: A Miracle Play with Popular Music from the End of the World is a film and live performance project exploring the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology, as a foundational myth for a future society. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, or time before government, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate an individualistic politics of pure pragmatism, negating the possibility of democratic deliberation. Terminal narrates this familiar scenario, but at the same time questions its validity. The film, shot on black and white VHS at Kurt Schwitters’ Merzbarn in Cumbria, dramatises a series of conversations between future-historical archetypes about the needs and pressures of the situation in which they find themselves at the end of the world. The performers then gather to play worshipful songs about acid rain, radiation sickness and eating the dog, using a mix of conventional, obscure and makeshift instruments In the tradition of books such as Russell Hoban’s Riddley Walker and Arthur M. Miller Jr.’s A Canticle for Liebowitz, Terminal imagines artistic expression and new folk traditions for a world to come after the apocalypse. If, as Slavoj Žižek would have it, it is easier to imagine the end of the world than to think of the end of capitalism, the project juxtaposes these two endpoints to test out how alternative scenarios might emerge from the collaborative practice of making theatre and music against a setting of social collapse.

Surviving Objects

Surviving Objects (2012) is a devised multi-media practice-as-research performance based on extensive interviews conducted with my elderly mother and recorded on a hand-held device. Our conversations concern her experiences as a child refugee following violent deportation by the Soviet Army from Eastern Poland to Siberia (1941), and her subsequent route, via Persia, to a British-run refugee camp in Northern Rhodesia, where she remained for 6 years before arriving in the UK. In order to aid my mother’s reflections, our recorded conversations focus on the objects remaining from that period in her life – my ‘inheritance’. The material presence of this handful of objects is central to the ninety-minute performance. Surviving Objects constitutes my attempt to locate a theatrical form through which to root/re-route this engagement with my mother’s marginalised voice. The end-on performance haptically navigates themes of intimacy and failing memory – navigates, indeed, my constantly shifting relationship with my mother. It searches for new cross-medial pathways along which her experience, and my experience of her, can play-out. Surviving Objects involves: 1. live performance (two silent female actors handling/presenting my mother’s objects); 2. Film (two synchronously-playing, large-scale projections exploring the objects by means of a highly-magnifying macro lens); 3. Pre-recorded sound (my mother’s voice, taken from our recorded interviews, which were conducted in Polish, with my own verbal contribution meticulously editorially excised from those conversations); 4. My translation of her stories (appearing periodically as written text that ‘overlays’ - rather than sub- or surtitles - the projected imagery).