Vivimos la Navidad

Monogr??fico con el t??tulo: ?????Tareas?, un reto que afrontar???

Filosofia l??dica sobre el temps i els diners

Resumen basado en el de la publicaci??n

UdGExpress

Recull de notícies de la comunitat universitària

Série: musée fabrique, musée communautaire (fragments)

Nous présentons, à présent, un texte à cheval sur les concepts sur lesquels reposent les différentes formes de musées actuels et la terminologie qui en découle dans sa partie des définitions. Intitulé “la révolution muséale passe par l’exposition (Mayrand, 2007), le texte introduit de nouvelles combinaisons de mots afin de catégoriser les grandes tendances tant à gauche, qu’à droite, qu’au centre. Comme l’indique l’appellation que nous lui attribuons, cette catégorie de musées répondant aux critères de changements les plus radicaux dans le fonctionnement du musée, deviennent des unites (chaînes) de production au même titre que l’entreprise commerciale ou industrielle. Elle rejoint le Festival, la Foire, le Cirque. Elle emprunte à l’industrie sa terminologie: Vente, consommateur, client, satisfaction, rentabilité, recherche–développement, attraction, exportabilité, et tant d’autres. Le commanditaire ou partenaire financier y joue un role de premier plan. Autrefois, on allait au musée (la sortie familiale du Dimanche). A présent on va voir l’exposition X, annoncée à grands renforts de publicité (transports publics, panneaux routiers). Cette exposition “vedette” accompagnée d’expositions satellites quand ce n’est pas le bâtiment lui-même offert à voir (Bilbao), peut être considérée de deux façons, soit de l’intérieur, soit de l’extérieur (le parcours mental et physique du visiteur-client).

El documental en la era de la complejidad

Del 14 al 16 de mayo de 2013, la Universidad Andina Simón Bolívar, en coordinación con la Corporación Cinememoria, llevó a cabo el Coloquio Internacional de Cine Documental. El evento, realizado en el contexto de la décima segunda edición del Festival Encuentros del Otro Cine (EDOC), tuvo como finalidad establecer un espacio de discusión académica sobre el cine documental que acompañe a los procesos de expansión de la producción y consumo que este género ha tenido en la última década en el país. El evento buscó dar a conocer los debates teóricos contemporáneos sobre el cine documental, así como también estimular la investigación y producción teórica sobre el documental ecuatoriano. Este libro constituye una memoria de los debates planteados en el Coloquio; recoge las conferencias y ponencias, excepto algunas que no pudieron ser presentadas por razones de fuerza mayor, excluye la actividad de los talleres que por la naturaleza de su formato no calzaban adecuadamente dentro del esquema de esta publicación. La publicación de estos materiales, debidamente evaluados, revisados y editados, constituye una forma de continuar el debate y el diálogo.

Flatpack revolution

The project consists of a trilogy of films and a live performance. The Future trilogy takes IKEA riot of 2005 as the starting point for a speculative history of a fictional future, culminating in a choreographed re-enactment of the original event. Shot on 16mm and 8mm film, the series explores the possibility of collective action emerging from the capitalist relations inherent in the consumer riot. The live performance No Haus Like Bau, staged at the HAU 1 theatre in Berlin for the 5th Berlin Biennale, continues this research into re-enactment and post-1989 politics by dramatizing the rise and fall of the soviet union as a neo-Constructivist mime using a stage set made of flatpack furniture. Using the aesthetics of Modernism and the avant garde, from Constructivist and Futurist constumes to biomechanics and Bauhaus theatre theory, the project transposes early twentieth century utopian ideology to a present day setting where mass uprisings are motivated by cheap commodities. These explorations of consumerism and revolution have been widely exhibited internationally and supported by Film London, Arts Council England, Collective Gallery and the Berlin Biennale. The Future Trilogy formed the basis of a solo exhibition at the Te Tuhi Art Centre in Auckland, New Zealand and was screened as part of the Signal and Noise media art festival in Vancouver, as well as other exhibitions and screenings including “Roll it to Me” at Collective Gallery, Edinburgh, and Apocatopia, Castlefield Gallery, Manchester.

Moves 10 - Framing Motion

International Festival of Movement on Screen

Everything and nothing project

An EPRSC ‘Partnerships for Public Engagement’ scheme 2010. FEC 122,545.56/UoR 10K everything and nothing is a performance and workshop which engages the public creatively with mathematical concepts: the Poincare conjecture, the shape of the universe, topology, and the nature of infinity are explored through an original, thought provoking piece of music theatre. Jorge Luis Borges' short story 'The Library of Babel' and the aviator Amelia Earhart’s attempt to circumnavigate the globe combine to communicate to audience key mathematical concepts of Poincare’s conjecture. The project builds on a 2008 EPSRC early development project (EP/G001650/1) and is led by an interdisciplinary team the19thstep consisting of composer Dorothy Ker, sculptor Kate Allen and mathematician Marcus du Sautoy. everything and nothing has been devised by Dorothy Ker and Kate Allen, is performed by percussionist Chris Brannick, mezzo soprano Lucy Stevens and sound designer Kelcey Swain. The UK tour targets arts-going audiences, from the Green Man Festival to the British Science Festival. Each performance is accompanied with a workshop led by Topologist Katie Steckles. Alongside the performances and workshops is a website, http://www.everythingandnothingproject.com/ The Public engagement evaluation and monitoring for the project are carried out by evaluator Bea Jefferson. The project is significant in its timely relation to contemporary mathematics and arts-science themes delivering an extensive programme of public engagement.

Start where you are: Graphic ordering influences improvisational dance

This article is an analysis and reflection on the role of lists and diagrams in Start where you are, a multimedia improvisational piece performed as part of square zero independent dance festival: the second edition/la deuxième édition. This interdisciplinary festival was organised by collective (gulp) dance projects and took place in Ottawa, Canada, in August 2005. Start where you are was the result of a collaboration between the authors: two dance artists (Andrew and MacKinnon, the principals of (gulp)) and a visual communication designer (Gillieson). A sound artist and a lighting technician also participated in the work. This is a post-performance retrospective meant to analyze more closely the experience that meshed the evidentiary weight of words and graphics with the ephemerality and subjectivity of movement-based live performance. It contextualizes some of the work of collective (gulp) within a larger tradition of improvisation in modern dance. It also looks at how choice-making processes are central to improvisation, how they relate to Start, and how linguistic material can intersect with and support improvisational performance. Lastly, it examines some characteristics of lists and diagrams, unique forms of visual language that are potentially rich sources of material for improvisation.

Prêt-à-Médiatiser by House of POLLYFIBRE

Prêt-à-Médiatiser by House of POLLYFIBRE is a film made from diverse footage of a performance. The live event takes the fashion show catwalk as a site for exploration, with a focus on the dialogue between liveness and mediatisation. The audience and press are invited to document the event and the subsequent film is made using footage collated from the crew, the audience and the official press. RAPID PULSE International Performance Festival presents international, national, and local artists who were invited or selected from an international call for proposals. The curatorial committee consisted of Julie Laffin, Steven Bridges, Giana Gambino, And Joseph Ravens. The festival includes live gallery performances, public performances, a video series, social events, artist talks and panel discussions.

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

‘Getting known’: Beckett, Ireland and the creative industries

In the context of national and global trends of producing Beckett’s work, this essay will investigate recent productions of Beckett’s drama which originate in Ireland and tour internationally, examining how these relate to the concept of national identity and its marketability, as well the conceptual and material spaces provided by large-scale festival events. In the last few months, Pan Pan has toured its production of All that Fall from Dublin to the Beckett festival in Enniskillen to New York’s BAM. The Gate Theatre, always a powerhouse of Beckett productions, continues its revival of Barry McGovern’s adaptation of Watt; after the Edinburgh festival, the show will play London’s Barbican in March 2013. While originating in Ireland, these productions – those of the Gate in particular – have an international, as well as domestic, appeal. Examining these and forthcoming Gate productions, I query to what extent a theatre company’s cultural origins and international profile may create a perceived sense of authenticity or definitiveness among critical discourses at ‘home’ and abroad, and how such markers of identity are utilized by the marketing strategies which surround these productions. This article will interrogate the potential convergence of the globalized branding of both Beckett’s work and Irish identity, drawing on the writings of Bourdieu to elucidate how identity may be converted into economic and cultural capital, as well as examining the role that the festival event plays in this process.

'Four of Them' by Gabriela Zapolska. Translated and directed by Teresa Murjas.

'Four of Them' by Gabriela Zapolska. Translated and directed by Teresa Murjas. Performed at University of Reading (6 - 9 December 2006, 5 public performances) Polish Theatre (POSK), London (15 - 17 February 2007, 4 public performances) Łódź International Theatre Festival (17 - 18 April 2007)

Samuel Beckett, the Gate Theatre Dublin, and the contemporary Irish independent theater sector: fragments of performance history

From 1991, when the Dublin Gate Theatre launched their Samuel Beckett Festival featuring nineteen of Beckett’s stage plays, to more recent years, the Gate dominated Irish productions of Beckett’s theater. The Gate Beckett Festival was remounted in 1996 at the Lincoln Center, New York, and at the Barbican Centre, London, in 1999, and individual or grouped productions have toured regularly since then in Ireland and internationally. However, since the Irish premiere of Waiting of Godot at the Pike Theatre in 1955, in addition to several Beckett plays mounted by the National Theatre, many independent Irish theater companies, such as Focus Theatre, Druid Theatre, and more recently Pan Pan Theatre, Blue Raincoat Theatre, The Corn Exchange, and Company SJ (under director Sarah Jane Scaife), have produced Beckett’s drama. While acknowledging earlier Irish productions, this essay will consider the role of the Dublin Gate Beckett Festival and the Beckett Centenary celebrations in Dublin in 2006 in greatly enhancing the marketability of Beckett’s work, and will discuss the proliferation of productions of Beckett’s stage plays (as opposed to stage adaptations of the prose work, which is a topic for another essay) in the independent theater sector in the Republic of Ireland since 2006. In addition to giving an overview of these recent productions, the essay will consider some issues at stake in creating or constructing performance histories