Espectáculo e espectador: que fronteiras?

O Teatro O Bando é uma companhia de teatro portuguesa com quarenta anos de existência, reconhecida pelas suas criações em espaços não convencionais e pelo seu carácter transgressor como modo de participação cívica e comunitária. O presente relatório é resultado do estágio curricular integrado no mestrado de Artes Cénicas, que ocorreu durante um período de três meses e meio, de Outubro de 2013 a Janeiro de 2014, nessa companhia. Trata-se de uma reflexão teórica focada na relação entre o espectáculo e o espectador, e apoia-se fundamentalmente na observação participativa e na experiência de trabalho proporcionada nesse período. O espectador sempre foi visto como uma figura passiva dentro da teoria teatral e é tentativa de compreender de que formas as companhias actuais realçam ou não sua emancipação que me motivou à realização deste trabalho. A partir do acompanhamento de diversas actividades e, principalmente, da programação de espectáculos em vigor na companhia – Vale de Barris: Lugar de Espectáculo – procura-se, então, neste ensaio, perceber de que forma ou formas é possível aproximar o público e o teatro, acreditando nessa aproximação como algo capaz de fomentar um paradigma de participação no teatro.

The Newsletter of the International Federation for Research in Women's History: Presentation to Its Conference in Sofia, 8 August 2007

Presented as part of the twentieth anniversary celebrations of the International Federation for Research in Women's History in Sofia in August 2007, this paper examines the association's newsletter to explore what it reveals about the expansion of the academic infrastructure for women's history from 1987 to 2007. It looks at the rapid advancement of the subject in the 1980s and early 1990s and its slower growth in the following decade. It also explores briefly the problems that the establishment of Women's Studies Centres presented for women's history.

Mundane Mobilities in ‘Post-Socialist’ Sofia: Making Urban Borders Visible

This article reflects on an on-going research project which aims to expand the understanding of the production and transformation of urban borders in the Eastern European cities of the ex ‘communist bloc’, starting from the case of Sofia. It explores the proposition that there has been a prolific process of wall making in this city associated with ‘vanishing public spaces’, ‘rescaling of enclosure’, and ‘corrosion of the collective urban realm’ (Hirt, 2012). The paper seeks to understand the social and political effects of this process by delving into the sensorial, emotional and embodied experiences associated with the mundane mobilities of urban residents. Using participants’ self-directed photography and videos from ‘walk-along’ interviews it explores the ways in which borders are made visible and are produced, challenged or resisted through mobility, and delves into the associated senses of deepening social and spatial differentiation in the city.

Listening to the World Through New Ears:Reinvention of the soundtrack in the works of Lucrecia Martel and Sofia Coppola

This paper explores the production and post-production techniques and tensions in designing sound for film. Considering the films of Lucrecia Martel and Sofia Coppola, amongst others, Greene and Yang will discuss how the soundtrack takes on a primary role in these films and becomes a medium for symbolism, reflection, characterisation, as well as storytelling. There will be a close examination of the processes involved in creating character-orientated soundscapes. These processes are sensitive to the effects sound has on an audience. Exploring how these filmmakers (with their sound teams) utilise the listening experience, including attention to point of audition and sound perception, this paper will critically unpick how such creative decisions are arrived at during various stages of the production process. Outlining the use of diegetic and non-diegetic sound and the potential musicality of sound effect design, issues of reverberation, noise and intent are discussed to highlight the sonic framing of these creative teams. Greene will approach these soundtracks from a production/post-production perspective, while Yang will explore the composer’s/designer’s ear.

Comet C/2012 S1 (ISON): Observations of the Dust Grains from SOFIA and of the Atomic Gas from NSO Dunn and McMath-Pierce Solar Telescopes (Invited)

Comet C/2012 S1 (ISON) is unique in that it is a dynamically new comet derived from the Oort cloud reservoir of comets with a sun-grazing orbit. Infrared (IR) and visible wavelength observing campaigns were planned on NASA's Stratospheric Observatory For Infrared Astronomy (SOFIA) and on National Solar Observatory Dunn (DST) and McMath-Pierce Solar Telescopes, respectively. We highlight our early results. SOFIA (+FORCAST [1]) mid- to far-IR images and spectroscopy (~5-35 μm) of the dust in the coma of ISON are to be obtained by the ISON-SOFIA Team during a flight window 2013 Oct 21-23 UT (r_h≈1.18 AU). Dust characteristics, identified through the 10 μm silicate emission feature and its strength [2], as well as spectral features from cometary crystalline silicates (Forsterite) at 11.05-11.2 μm, and near 16, 19, 23.5, 27.5, and 33 μm are compared with other Oort cloud comets that span the range of small and/or highly porous grains (e.g., C/1995 O1 (Hale-Bopp) [3,4,5] and C/2001 Q4 (NEAT) [6]) to large and/or compact grains (e.g., C/2007 N4 (Lulin) [7] and C/2006 P1 (McNaught) [8]). Measurement of the crystalline peaks in contrast to the broad 10 and 20 μm amorphous silicate features yields the cometary silicate crystalline mass fraction [9], which is a benchmark for radial transport in our protoplanetary disk [10]. The central wavelength positions, relative intensities, and feature asymmetries for the crystalline peaks may constrain the shapes of the crystals [11]. Only SOFIA can look for cometary organics in the 5-8 μm region. Spatially resolved measurements of atoms and simple molecules from when comet ISON is near the Sun (r_h<0.4 AU, near Nov-20--Dec-03 UT) were proposed for by the ISON-DST Team. Comet ISON is the first comet since comet Ikeya-Seki (1965f) [12,13] suitable for studying the alkalai metals Na and K and the atoms specifically attributed to dust grains including Mg, Si, Fe, as well as Ca. DST's Horizontal Grating Spectrometer (HGS) measures 4 settings: Na I, K, C2 to sample cometary organics (along with Mg I), and [O I] as a proxy for activity from water [14] (along with Si I and Fe I). State-of-the-art instruments that will also be employed include IBIS [15], which is a Fabry-Perot spectral imaging system that concurrently measures lines of Na, K, Ca II, or Fe, and ROSA (CSUN/QUB) [16], which is a rapid imager that simultaneously monitors Ca II or CN. From McMath-Pierce, the Solar-Stellar Spectrograph also will target ISON (320-900 nm, R~21,000, r_h

Sofia Gubaidulina's violin concerto Offertorium : theology and music in dialogue

L’objectif de ce mémoire est de comprendre comment une certaine vision du monde, basée sur des croyances théologiques, a contribué à la composition du concerto pour violon Offertorium de Sofia Gubaïdulina. C’est par le biais de cette œuvre qu’est explorée l’idée du dialogue musicothéologique, en proposant des façons par lesquelles la pièce musicale en question peut servir de porteuse ou d’interprète d’une pensée théologique. Afin d’appuyer cette idée, la démarche intertextuelle employée par Heidi Epstein est utilisée. Cette méthode permet de faciliter non seulement le travail interdisciplinaire, mais aussi la lecture théologique de l’œuvre musicale. Le premier chapitre explore les sources, les questions et la problématique qui entoure le dialogue musicothéologique. La conclusion tirée est que l’étude d’Offertorium nécessite une approche équilibrée. Nous entendons par cela, une approche qui prend en ligne de compte la réflexion théologique autant que la recherche musicologique tout en respectant les contributions théologiques que l’œuvre musicale peut apporter en soi. Dans le deuxième chapitre, une analyse thématique d’Offertorium a été tentée ainsi qu’une étude du discours théologique et spirituel de la compositrice. Il a été conclu que l’arrière-plan russe orthodoxe de Gubaidulina a beaucoup influencé sa vision du monde et son approche artistique. Le concerto est porteur d’idées et de symboles liturgiques ou théologiques de l’Orthodoxie dans sa structure et dans sa construction thématique. Le troisième chapitre explore les parallèles entre la pensée de Gubaidulina et les écritures de plusieurs théologiens russes orthodoxes du 20e siècle. La conclusion de ce chapitre démontre que, même s’il est improbable que la compositrice connaisse bien ces auteurs, sa compréhension théologique et spirituelle sort du climat religieux de l’Église Orthodoxe. Cette idée explique les complémentarités et les similarités entre son discours, son œuvre et les propos des théologiens discutés. Le quatrième chapitre évalue la validité d’Offertorium comme moyen d’expression théologique ainsi que de générateur de réflexion théologique. La conclusion de la recherche est qu’Offertorium peut bel et bien être un espace théologique. Ce qui veut dire que des idées théologiques peuvent être communiquées par le biais de l’expérience sonore que ce soit par la mélodie ou l’ambiance générale. Également, cela implique que la musique devient un partenaire égal, quoique différent des méthodes de réflexion traditionnelles au sein de la conversation théologique.

María Antonieta, la última reina: sinopsis fílmica y reseña literaria [Ressenya del llibre María Antonieta: la última reina, d'Antonia Fraser; Ressenya de la pel·lícula María Antonieta, de Sofia Coppola]

Sinopsi fílmica i ressenya literària d’aquestes dues obres sobre la figura de la última reina de França, amb 8 suggeriments didàctics que tenen com a fil conductor ambdues obres

Dall’intervento di mediazione culturale all’attivazione di processi di mediazione interculturale nell’ottica dell’integrazione del sistema Cacciavillani Federica e Di Bella Sofia

Questo materiale è disponibile on line. Pertanto è utile per integrare le lezioni sulla mediazione culturale

Synagogen-Einweihung in Sofia

S. Danon