Search Results

fantaisie des acteurs, l’action se passe à la fois sur la scène, dans les loges et dans le parterre […]. Elle continue même à la fin du spectacle.“ 4 Die Dadaisten haben Theatererfahrung wie Hugo Ball oder stehen wie Tzara in Kontakt zu Marinetti und den Futuristen und konzipieren ihre Dada-Soireen nach

In: Christoph Schlingensief und die Avantgarde

Kapitalismus die Tore zu öffnen, der des Kreativitätsdispositivs bedarf, um eine individuelle Selbstverwirklichung zu versprechen, die vor allem von Design, Mode, Werbung und der Eventkultur instrumentalisiert werden kann und die Guy Debord schon 1967 mit der Société du spectacle angekündigt hat. 17 Mit dem

In: Christoph Schlingensief und die Avantgarde

numerous random shootings across the United States and global terrorist attacks by followers of extremist religious ideology that surpass any destructive act the avant garde ever dreamt of. In 2016, the alarming spectacle of the incoming US president announcing during a campaign rally that “[He] could

In: Christoph Schlingensief und die Avantgarde

– which seek to reproduce the circle’s functional characteristics on a large scale, for the way it easily orients hundreds or thousands of spectators toward a central object of attention. 1. Myai-waing (circular spectacle) in rural northern Burma (from The Illustrated London News , April 1880). The

In: The Five Continents of Theatre

involved (see Mikos 327; Schatz, “New Hollywood” 33). 5 Spectacle and the Narrative One of the most controversial aspects in the discussion of contemporary blockbusters as postmodern is the spectacle, because it is always judged in relation to a film’s narrative. The spectacle is a scene aimed at producing

In: Postmodern Pirates

came the ever greater importance attributed to spectacles, as shown by their increasing number: this calendar indicates 177, half the days in a year. The spectacle-games that drew the most crowds were the ludi circenses , the horse races and gladiatorial combats, but the most common were the ludi

In: The Five Continents of Theatre

. PÉCUCHET – But just the other night I saw young people coming out of a theatre with great enthusiasm. The spectacle was undoubtedly worth the trouble. If you had only seen those beaming faces, those eyes both sparkling and pensive. BOUVARD – I admit, young people sometimes are an exception. Their

In: The Five Continents of Theatre

symbolically, the birth of Poland as an independent nation – the actors sang in ecstasy as they disappeared into the crematorium, carrying the corpse of a detainee as though he were Christ the Savior. The spectacle had special resonance for the audience in the town of Opole, since Auschwitz was only one

In: The Five Continents of Theatre

teacher. Today there is an infinite number of theatre schools who prepare the young to enter the bazaar of the different forms of spectacle. There are huge numbers of self-taught actors who visit unknown teachers or famous gurus, stay for a few weeks and then move on to a new teacher. Real preparation is

In: The Five Continents of Theatre

his essay on the postmodern and post-classical cinema of the 1990s identifies intertextuality, spectacle and aesthetics, self-referentiality, and a deconstruction of narrative conventions, as typical of postmodern films. Remarkably, Thomas Schatz’s set of aesthetic rules governing the franchise

In: Postmodern Pirates