The prankster’s passion: Using theatrical terms to unpack players motivations in popular social performance

Amongst social players, the prank, as a social performance form, holds a lot of potential to impact on personal, relational and social status within a group or between one group and another group. More than simply showing off, a prank in the strictest definition of the term, is a social performance in which one player, a prankster, deploys mischief, trickery or deceit, to cause a moment of anxiety, fear or anger about a happening for another spectator-become-collaborating-player, a prankee – to enhance social bonds, entertain, or comment on a social, cultural or political phenomenon. During a prank, the prankster’s ability to be creative, clever or culturally astute, and the prankee’s ability to be duped, be a good sport, play along, or even play/pay the prankster back, both become fodder for other spectators and society to scrutinize. In Australia, pranking traditions are popular with many social groups, from the community-building pranks of footballers, bucks parties and ‘drop bear’ tales told to tourists, to the more controversial pranks of radio shock jocks, activists and artists. In this paper, I consider whether theatrical terms – theoretical terms from the stage such as actor, acting, objective, arc, performance, audience and emotion, such as those offered by Joseph Roach – are useful in understanding the passion some social players show for pranksterism. Are theatrical terms such as Roach’s as useful as analysts of social self-performance such as Erving Goffman suggest they are? Do they assist in understanding the personal actions, reactions and emotions of prankster and prankee? Do they assist in understanding the power relations between prankster and prankee? Do they assist in understanding the relation between the prank – be it an everyday prank amongst families, friends and coworkers, an entertainment program prank of the sort seen on Prank Patrol, Punked or Scare Tactics, or an activist pranks perpetrated by a guerrilla artist, ‘jammers’ or ‘hackers’ intent on turning dominant social systems back on themselves – the social players, and the public sphere in which the prank takes place? I reflect on how reading pranks as performances, by players, for highly participatory audiences, helps understand why they are so prevalent, and so recurrent across times, cultures and contexts, and also so controversial when not performed well enough – or when performed too well – prompting outrage from the prankster, prankee or society as passionate as any debate about a performance by players in a theatre.

El Motezuma de Vivaldi

This article explores aesthetic and historical aspects of Antonio Vivaldi's (1678- 1741) Motezuma (1733), in three acts, to celebrate this opera revival after the score's discovery and its first premiere at De Doelen theatre, Rotterdam (2005). Particular attention is paid to cultural aspects, regarding the European interpretation of the Conquest of Mexico.

Elämää suuremmat sankarittaret : Suomalaisen teatterin elämäkerralliset taiteilijahahmot vuosina 2000 - 2010

In the first decade of the 21st century, national notables were a significant theme in the Finnish theatre. The lives of artists, in particular, inspired the performances that combined historical and fictional elements. In this study, I focus on the characters of female artists in 18 Finnish plays or performances from the first decade of the 21st century. The study pertains to the field of performance analysis. I approach the characters from three points of view. Firstly, I examine them through the action of performances at the thematic level. Secondly, I concentrate on the forms of relationships between the audience and the half-historical character. Thirdly, I examine the representations of characters and their relationships to the audience using myth as a tool. I approach characters from the frame of feminist phenomenological theatre study but also combine the points of view of other traditions. As a model, I adapt the approach of the theatre researcher Bert O. States, which concentrates on the relation between a play s text and an actor, and between an actor and the public. Furthermore, I use the analysing tools of performance art in an examination of performances counted among the contemporary performance genre. The biographical plays about these artists are concentrated in the domestic sphere and take part in the conversation about the position of women in both the community and private life. They represent the heroines work, love, temptations and hardships. The artists do not carry out heroic acts, being more like everyday heroines whose lives and art were shared with the audience in an aphoristic atmosphere. In the examined performances, criticism of the heterosexual matrix was mainly conservative and the myths of female and male artists differed from each other: the woman artist was presented as a super heroine whose strength often meant sacrifices; the male artist was a weaker figure primarily pursuing his individualistic objectives. The performances proved to be a kind of documentary theatre, a hybrid of truth and fiction. Nonetheless, the constructions of subject and identity mainly represented the characters of the mythical stories and only secondarily gave a faithful rendition of the artists lives. Although these performances were addressed to the general and heterogeneous public, their audience proved to be a strictly predefined group, for which the national myths and the experience of a collective identity emerged as an important theme. The heroine characters offered the audience "safe" idols who ensured the solidity of the community. These performances contained common, shared values and gave the audience an opportunity to feel empathy and to be charmed by the confessions of well-known national characters.

Inkluderande teaterverksamhet. Nya möjligheter för socialt arbete

I denna pro gradu-avhandling granskas teaterns möjligheter att främja social inklusion. Genom att analysera vad drama och teater kan ge ungdomar och hur social inklusion bland unga i ett samfund kan främjas, belyses även frågan om hur socialt arbete och teater ömsesidigt kan berika varandra. Avhandlingen är en fallstudie av Half Moon Young People’s Theatre, en barn- och ungdomsteater i Tower Hamlets i östra London. Teatern arbetar med barn och unga med ett särskilt fokus på att engagera grupper som ofta marginaliserats, exempelvis på grund av sin kulturella bakgrund eller till följd av funktionshinder. I denna studie är fokus på Half Moons projekt riktade till tonåringar: Careers in Theatre, Speak Up och ungdomsteatergrupperna Lunar och Solar. Studien är kvalitativ och studiens empiriska data har främst samlats in genom deltagande observation, intervjuer och granskning av dokument. Det empiriska materialet visar på Half Moons aktiva arbete för mångfald och för att göra verksamheten och deltagandet tillgängligt för alla barn och unga. Teatern blir en mötesplats genom vilken ungdomarna kan lära sig acceptera och uppskatta mångfalden i samfundet. Teaterarbetet bidrar till en ökad känsla för samfundet och till tolerans och förståelse för andra. Det är en glädjefylld, trygg och meningsfull fritidsverksamhet där nya vänskapskontakter kan knytas och många färdigheter övas inför framtiden. Teaterarbetet ger deltagarna bekräftelse vilket bidrar till att självförtroendet växer. Personalens engagemang och osjälviska arbete för inklusion genomsyrar verksamheten. Möjligheten att ge alla en ny chans och ett jämlikt bemötande är centralt i teaterns arbete. Forskningsresultaten pekar på teaterns potential inom socialt arbete och för att främja inklusion. Teaterns möjligheter att öka klientens delaktighet och utveckla förhållandet mellan socialarbetare och klient visar på betydelsen av etablera dylik verksamhet inom socialt arbete. Att inte låta sig begränsas, utan förutsättningslöst samarbeta över sektorer ökar chanserna att finna nya kreativa idéer och verksamhetsformer.

Sport, body and power: Reassessing the myth of President Kekkonen

Former President of Finland Urho Kekkonen was not only a powerful politician but also a well-known sportsman and keep-fit enthusiast. The president’s sports hobbies were covered and celebrated in the media and thus became an integral part of his public persona. This paper looks at Kekkonen’s athletic and able-bodied image and its significance for his power from the perspective of gender. In his exercise activities, Kekkonen was able to display his bodily prowess and demonstrate his version of masculinity, which emphasized both physical and mental strength. The union of mind and muscle in turn buttressed his political ascendancy. Kekkonen’s athletic body served as a cornerstone of his dominance over his country and, simultaneously, as a shield protecting Finland from both internal and external threats. Furthermore, Kekkonen’s sports performances were essential elements in the myth that was created around the president during his term and which was carefully conserved after his fall from power. Drawing upon scholarship on men and masculinities, this paper reassesses the still-effective mythical image of Kekkonen as an invincible superman. The article reveals the performative nature of his athletic activities and shows that in part, his pre-eminence in them was nothing more than theatre enacted by him and his entourage. Thus, Kekkonen’s superior and super-masculine image was actually surprisingly vulnerable and dependent on the success of the performance. The president’s ageing, in particular, demonstrates the fragility of his displays of prowess, strength and masculinity, and shows how fragile the entanglement of body and power can be.

QUAD: quality assessment of documents

We propose a set of metrics that evaluate the uniformity, sharpness, continuity, noise, stroke width variance,pulse width ratio, transient pixels density, entropy and variance of components to quantify the quality of a document image. The measures are intended to be used in any optical character recognition (OCR) engine to a priori estimate the expected performance of the OCR. The suggested measures have been evaluated on many document images, which have different scripts. The quality of a document image is manually annotated by users to create a ground truth. The idea is to correlate the values of the measures with the user annotated data. If the measure calculated matches the annotated description,then the metric is accepted; else it is rejected. In the set of metrics proposed, some of them are accepted and the rest are rejected. We have defined metrics that are easily estimatable. The metrics proposed in this paper are based on the feedback of homely grown OCR engines for Indic (Tamil and Kannada) languages. The metrics are independent of the scripts, and depend only on the quality and age of the paper and the printing. Experiments and results for each proposed metric are discussed. Actual recognition of the printed text is not performed to evaluate the proposed metrics. Sometimes, a document image containing broken characters results in good document image as per the evaluated metrics, which is part of the unsolved challenges. The proposed measures work on gray scale document images and fail to provide reliable information on binarized document image.

Low embodied energy cement stabilised rammed earth building-A case study

Rammed earth is a monolithic construction and the construction process involves compaction of processed soil in progressive layers in a rigid formwork. Durable and thinner load bearing walls can be built using stabilised rammed earth. Use of inorganic additives such as cement for rammed earth walls has been in practice since the last 5-6 decades and cement stabilised rammed earth (CSRE) buildings can be seen across the world. The paper deals with the construction aspects, structural design and embodied energy analysis of a three storey load bearing school building complex. The CSRE school complex consists of 15 classrooms, an open air theatre and a service block. The complex has a built-up area of 1691.3 m(2) and was constructed employing manual construction techniques. This case study shows low embodied energy of 1.15 GJ/m(2) for the CSRE building as against 3-4 GJ/m(2) for conventional burnt clay brick load bearing masonry buildings. (C) 2013 Elsevier B.V. All rights reserved.

Mixing ventilation can reduce energy costs

The article provides information on a study on the potential of mixing ventilation in reducing energy costs in buildings such as theaters and schools. The study found that neither Manchester’s Contact Theatre and the Garrick Theatre in Lichfield in England is operating according to the displacement-ventilation principle upon which they were designed. Hybrid mixing ventilation has an important impact on both the ventilation rate and the thermal comfort of the theatres.

Espectáculos cortesanos en la América española del siglo XVII : las fiestas como caso para el análisis de la relación entre la Corte y la Corte virreinal

La Corte madrileña de los Austrias, al igual que el resto de las monarquías europeas del siglo XVII, generó una variada gama de fiestas públicas y privadas, como por ejemplo teatro musical, mascaradas y procesiones callejeras en las que desfilaban carros alegóricos con danzantes y músicos. Estos espectáculos no eran un mero entretenimiento sino que estaban destinados a resaltar las virtudes del monarca y a hacer conscientes a los espectadores del lugar que les cabía ocupar en esa sociedad recurriendo para ello a un complejo discurso simbólico. Las Cortes virreinales de América trasladaron a sus territorios estas prácticas que valían, fundamentalmente, para hacer presente la figura del rey y mantener viva la lealtad a la corona. Analizamos dos ejemplos de fiesta, una mascarada celebrada en Pausa (Perú) y un intermedio dramáticomusical en Sucre, que nos revelan la forma de pensamiento, las conductas y la organización de la sociedad cortesana virreinal.

Construcciones científicas del teatro: la pregunta epistemológica en los estudios teatrales

Resumen: El artículo afirma que en la Teatrología argentina de los últimos años ha crecido la conciencia y la responsabilidad de los investigadores respecto de la pregunta epistemológica. Se llama base epistemológica para el estudio teatral a la elección de las condiciones de conocimiento que determinan los marcos, las capacidades y las limitaciones teóricas, metodológicas, historiológicas, analíticas, críticas y pedagógicas de un investigador ante su objeto de estudio. La determinación de la base epistemológica depende del posicionamiento consciente del investigador respecto de su relación científica con el teatro. El artículo afirma que diferentes líneas científicas construyen concepciones del teatro diferentes. Finalmente se describe la base epistemológica de la Filosofía del Teatro, disciplina de innovación en los estudios teatrales de la Argentina.

Das paradies in der politik ein kapitel negativer kosmologie

Abstract: The idea of a “paradise in politics” is an answer to the cosmogonic- anthropogonic problem that, through their bodies, the life of human beings has been shaped politically from the very beginning: all creation is a creation of bodies and bodies are power. All creation, furthermore, means separation, it emerges through a multiplicity of things and beings only. The conventional solution for the problem, in the realm of human beings, consists in forming societies out of a multiplicity of indivuals that remains as such. The solution of a “paradise in politics”, however, envisions a “healing” of creation through a bodily transmutation by which a world of bodies emerges that is freed from the problem of bodies: separation, power. The article discusses the negative cosmology with which all tales on a paradise in politics start. It shows the essential role of phantasy in the constitution of these tales, and elucidates the principal structural elements through which visions of a paradise in politics are built. A special attention is given to the parallelism between these visions and known religious thought, as in the case of the concepts of apokatastasis or perichoresis, for instance. Methodically, the article achieves a demonstration of its subject by an extensive presentation and analysis of two case studies: Rousseau’s vision of a “terrestrial paradise” and the attempt at “bodily redemption” put on the stage in 1968-69 by the “Living Theatre” Group with its performance “Paradise Now”.

La Celestina en escenarios argentinos : observaciones comparatistas sobre las adaptaciones de Jorge Goldenberg (1993) y Daniel Suárez Marzal (2007)

Integran este número de la revista ponencias presentadas en Studia Hispanica Medievalia VIII: Actas de las IX Jornadas Internacionales de Literatura Española Medieval, 2008, y de Homenaje al Quinto Centenario de Amadis de Gaula.

Proceedings of the International Workshop responding to HIV and AIDS in the fishery sector in Africa, Lusaka, Zambia, 21-22 February 2006

The purpose of the workshop was to enable professionals and organizations working with fishing communities in response to HIV and AIDS in Africa to share experiences, appraise the efficacy of their approaches and identify actions in research and development that will further improve their impact. The workshop pursued and achieved the following objectives: 1)Review and compare research findings and approaches applied in response to HIV and AIDS in fishing communities and the wider fishery sector. 2)Identify good practice examples for wider application. 3)Identify next steps in development and research to scale up these examples. 4)Initiate a network of practitioners in Africa for capacity building, scaling-up and further development of approaches. The range of papers presented at the conference reveals the diversity of responses to HIV and AIDS in the fishery sector at all levels. The papers discussed a range of issues within this broad remit, from community level impacts of disease to policy implementation, from spatial mapping to theatre as a mode of communication. (Document contains 92 pages)

[C_Cordoba_Teatro] Documentación geométrica de los restos del Teatro Romano de Córdoba

[ES] El proyecto documenta los restos de una parte del antiguo teatro romano de Córdoba que se encuentran bajo la ampliación del museo arqueológico (MAECO) y ocupan una superficie de unos 50 x 20 metros, en el momento de la documentación era un área sobre la que se estaba construyendo el nuevo edificio. Se incluyen también otros posibles restos visibles desde el sótano de una residencia anexa.

Diferencias estéticas entre teatro y cine. Hacia una teoría de la adaptación dramática

Eguíluz, Federico; Merino, Raquel; Olsen, Vickie; Pajares, Eterio; Santamaría, José Miguel (eds.)