Architectural space has some triggers for unique experiences and one of them is its atmosphere. The atmosphere has an unstable structure so that it is difficult to define clearly. We are capable of immediate appreciation, such as being inside or outside. Thus, the threshold between bodily experiences and mental emergence becomes a blurred one, like a haze. It is sensed in bodily presence by human beings. The boundaries, such as subject and object, are transgressed through the atmosphere. The subject appears (...) as a body and its movement in this discussion. Recognition of the existence of the body in space plays a significant role throughout the architectural design process. Theatrical dance or dance theatre (Tanztheater) practices provide new horizons for understanding the presence of the body in the space. Pina Bausch, as a choreographer, is one of the pioneers of this genre. The aim of the study is to point out the relations of body, space and atmosphere in Pina movie (2011). This study identifies choreographies with different aspects as follows: (1) In the atmospheric aspect; subject, object and their role in the atmosphere of choreographies by Pina Bausch were observed. (2) In the fictional space aspect; various spaces were examined in the sense of body-object-atmosphere interaction. (3) In the bodily aspect; space which is produced by the body and vice versa in dance theatre was investigated in the volumetric reflections of the body. This research contributes to bridging performative arts and architecture as understanding the space. It can be a guide for an architectural design studio to understand the role of the body through dance theatre. (shrink)

The vision and yearning of any Theater Administrator involves basically the tripartite objective of guaranteeing satisfaction, having a full house and maximizing profits. But due to the nature of theater as predominantly a collaborative art and the variances in temperament, aspiration and vocation of the various artistic endeavors, conflict often arise which militates against the attainment of the above objective by the theatre administrator. This work examines some conflict in the play production (the theater production) and prescribes certain measures, (...) which the theater administrator can adopt in order to surmount them. (shrink)

Using William Shakespeare’s Hamlet and the play-within-the play, The Murder of Gonzago, as a case study, this essay argues that theatrical utterances constitute a special case of language usage not previously elucidated: the utterance of a statement with propositional content in theatre functions as an event. In short, the propositional content of a particular p (e.g. p1, p2, p3 …), whether or not it is true, is only understood—and understood to be true—if p1 is uttered in a particular time, (...) place, and situation (i.e. during a theatrical event); otherwise, the propositional content in those theatrical utterances can either be false or contingently true. (shrink)

ABSTRACT GIRMAW ASHEBIR SINSHAW: A comparative analysis of theatre art curriculum for undergraduate in Indonesia and Ethiopia. Thesis. Yogyakarta: Graduate school, Yogyakarta State University, 2018. This research aimed at described: their communality in the theater art curriculum for undergraduate in both of Ethiopia and Indonesia the main objectives are: (1) Exploring the difference between the theatre art curriculum for undergraduate in of Ethiopia and Indonesia. (2) Discovering the similarities between the curriculum of undergraduate theatre art program of (...) Ethiopia and Indonesia. A descriptive qualitative research method was used for its research. It used simple random sampling method to collect data from theatre art curriculum for undergraduate program documents of Ethiopian and Indonesia. The data were gathered by using two different techniques of data collection consisting of document study and open-ended interviews. Document study is the main data collecting technique and interview was used to support the primary technique. During the document study method the data were gathered in library and privately from the different lecturers and scholars that the relative document such like; books, magazines, journals and research papers. The data consist of two types of curriculum documents which are from Ethiopia and Indonesian theatre art curricula for undergraduate program. These data was compared to examine the similarities and difference in terms of the number of semesters, course, size of contents and the graduate profiles. The results of the research show that the theatre art curriculum for undergraduate in Indonesia different from that of Ethiopia. The structures of course arrangement, time management, the course content size, a number of courses and credits are a big deference between these two curricula. Several Indonesian course contents and names are similar to those in Ethiopia but the size of which are different. The courses offered in Ethiopia curriculum are all in the form of course work, while, in Indonesia students do the course work for seven semesters and the last semester is for research. Indonesia has an elective course which is 14 credit hours, and in Ethiopia there is no elective course. With regards to course matters and evaluation methodology, the two countries theatre art curriculums share similarities in terms of the structure, the content and subjective areas of the program. This research can provide the benefit for multiple stakeholders for revising, preparing, evaluating and as a reference for the next studies in the relevant field. (shrink)

This article seeks to contribute to the debate on how political representation can promote democracy by analysing the Chamber in the Square, which is a component of legislative theatre. A set of techniques devised to democratise representative governments, legislative theatre was created by Augusto Boal when he was elected a political representative in 1993. After briefly reviewing Nadia Urbinati’s understanding of democratic representation as a diarchy of will and judgement, I partially endorse Hélène Landemore’s criticism and contend that (...) if representation is to be democratic, citizens’ exchange of opinions in the public sphere should be invested with the power not only to judge, but also to decide political affairs. By opening up a space where the represented can judge, decide, and contest the general terms of the bills representatives present in the assembly, the Chamber in the Square harnesses political representation to democracy. (shrink)

This dissertation is an attempt to find a single framework for understanding two seemingly conflicting aspects of Nabokov's Russian novels---the metaphysical and the existential. The metaphysical aspect is analyzed according to Leibniz's "Monadology," with its key concepts of the monad, pre-established harmony, the optimization of the universe, and sufficient reason. The existential aspect is examined according to Sartre's theory of the gaze from "Being and Nothingness"; its main notions are being-for-another, radical individuation and intersubjective struggle. Concern with the level of (...) being is assumed to be the most basic and unifying element of the Nabokovian worldview. It is shown that Nabokov conceives individual being as value, and that he understands self-authorship as self-ownership. The value of individual being is threatened by intersubjective contact: the other, via the gaze, can undermine its property status, and eventually alienate it. All particular plots are derived from these underlying premises. The key Nabokovian themes of blindness, non-transparency, loss, memory and art are demonstrated to refer back to the root concepts of the gaze and self-protection. ;The dissertation develops two original conceptual tools: a theory of unreliable focalization and a theory of paranoid experience ;Close readings of Nabokov's texts have resulted in several philological findings. Structural and textual parallels have been discovered between "Mashen'ka" and Shakespeare's "Hamlet," as well as between "Priglashenie na kazn'" and Descartes' "Meditations." It has also been shown that the protagonist's story in "Zashchita Luzhina" is repeated four times and not two. (shrink)

Since the middle of the 20“ century, various governments, organizations and stakeholders have suggested ways of realizing a desirable change, which is an index of development. The quest for this pursuit had led to the evolution of concepts and theories examples of which are; modernization, dependency, sustainable, participatory, and post development among others. The reality of this pursuit still proves to be unresolved for many developing nations as a result of the constraints of some of these theories especially those that (...) conceive development according to the standard of the developed western states of the world. The way in which governments and development planners set out objectives of development without finding out the people’s needs from them or involving them is however bewildering. Development planners assume to know the needs of nations and individuals. Inadvertently, this approach to development does not bring about sustainability in the life of the project, nor does it have a lasting effect The lacunae as argued in this paper have to do with the issue of people’s participation and adequate strategies to incorporate them. It thus suggests that the use of popular arts is effective in addressing issues of development. The genre of this popular art in question is referred to as Theatre for Development (TFD). (shrink)

To succeed, every organization including theatre necessarily requires human and material resources. The material resources cannot on their own function. It is the human capital within the organization that utilizes and drives the materials in a certain direction in order to achieve predetermined objectives. This places the human capital in a pivotal role and justifies the attention often paid to personnel matters in organizations. Personnel themselves have to be managed. One potent avenue for adequately managing human resources towards the (...) realization of predetermined goals and objectives is good and effective communication. This paper examines the options open to the Theatre Administrator (the head of theatre organizations)) in order to foster coherence and adequately harmonize theatre personnel towards achieving the goals of guaranteeing satisfaction, having a full house and maximizing profits. (shrink)

It is observed that most development modalities employed over the years for achieving community development in Africa have not leaved up to expectation in terms of involving the majority of people in the quest for national transformation and development; rather, these modalities tend to complicate the very problems they are set out to solve. The situation is mostly like this because the adopted development strategies have not taken adequate cognizance the essence of effective communication methods and the importance of people’s (...) perspectives and peculiarities in these processes. Mostly, the so-called outsiders and experts in development matters who are physically and socially separated from the people think for them and about their development. This situation is inimical to genuine and sustainable development. It is important therefore to note that development can only be meaningful and sustainable when it is people generated; involving people’s real needs and their participation in the process of achieving them. It is at this point therefore that community theatre can come handy as it has the potentials to bring people together to discuss issues that disempowered them and participatorily proffer solutions to the negatives. Community theatre can be explored to work with rural and urban people; mostly the rural dwellers who are mostly disempowered. In view of this therefore, this paper posits that community theatre is a method of participatory communication towards achieving social change. (shrink)

Beyond the eras a dialogue seems to have been established between Bruegel the Elder (1525-1569) and Antonin Artaud (1896-1948). The poet’s wonder at the « painting of the North », both realistic and emblematic, reveals his deepest ideal as an artist : painting, a « magical » operation, deploys a power of expression based on signs and no longer on words, which the theatre is also called upon to seize. The juxtaposition of Bruegel’s Triumph of Death and a famous (...) drawing by Artaud, Le Théâtre de la cruauté [The Theatre of Cruelty], highlights the striking convergences between the two artists. Through their pictorial works, both of them renew over the centuries the funerary and mythical symbolism of death, inherited from the macabre scenes of medieval paintings, but also from ancient times. Studying the references to theatrical iconography in Bruegel’s painting, where carnival and crudity of death reinforce each other, allows us to deepen the meaning of these resonances. For the two artists, form and poetic momentum meet so that representation, as a structure common to painting and theatre, fixes a moment of the world, while animating that moment to infinity, thanks to signs conceived as « true hieroglyphs » (Artaud), a problem that Michel Foucault associated with the strongest truth that the experience of madness carries. (shrink)

Studies of the professional travelling theatre in Nigeria have always focused on theatre troupes owned by men, thereby giving the impression that there were no troupes owned by women. The main objective of this paper is to identify factors responsible for the exclusion of women from Nigerian theatre studies, especially the female troupe leaders such as Adunni Oluwole, Funmilayo Ranco, and Mojishola Martins. This will be done through a comparative evaluation of their theatre works with that (...) of their male counterparts with a view to establishing gender issues in the modus operandi of men and women theatre. The study reveals a dichotomy in men and women’s theatre and how women challenged those dichotomies with different levels of success. Though the focus of this paper is on female travelling theatre leaders, other categories of women who worked in the theatre of that period will also be covered. The study of the various roles and status of these women demonstrates what it means to live and work as a theatre practitioner in a man’s world. The paper ultimately challenges the exclusion of these women from theatre studies in Nigeria. (shrink)

In the theatre, one individual, the artistic director, is saddled with the responsibility of tapping, sieving and blending the skills, talents and vocation of all the other artists into a complete artistic, visual and auditory whole. This is an enormous task which requires ingenuity, creativity and hard-work. All the effort, time, energy and money spent in this endeavour will come to nought if at the end, there is no audience to appreciate the work of all the artists who laboured (...) towards the production. Therefore, the whole idea behind any theatre activity is the presentation to an audience of a unified theatrical effect which has the capacity of arousing them both emotionally and intellectually . It has been observed that the place of the audience in the entire theatre structure and in the making of any theatre cannot be ignored particularly, as the theatre’s major and only target is the audience . The above trend may provoke one into asking what an audience is or what constitutes an audience whom the various artists work for. (shrink)

The objective of theatre establishments as business concerns remains predominantly to cover costs and make profits. Of all the avenues generation, gate-takings remain readily available and have been used by theatres for centuries now. But due to fraudulent activities, theatre establishments can be short-changed. Consequently, revenues can be lost and the establishments unable to meet their obligations; taxes, honoraria, rents, wages etc. it is therefore imperative to adopt measures that would strengthen gate-takings as revenue machinery, devoid of fraudulent (...) practices. This work examines theatre as a business and prescribes measures that can be adopted to safe-guard gate-takings, as part of internal financial control in theatre establishments. (shrink)

This paper examines the controversies of femininity and masculinity. It obviously takes the side of situating gender reality and rationality within patriarchal structure and argues that its misinterpretation starting from origin of creation has culminated into building up a distinctive dichotomy between males and females. As a fair way out, the paper balances the schools of thoughts, despite its resonating string attached to women. These strings are visible in the cases of key informants presented for the study which conclude that (...) the deployment of a methodological approach like Theatre for Development (TfD) could well be a strong ground upon which voices can jointly explored, advocated, negotiated and engendered the intervention needed for the (re)humanisation of the “other”. (shrink)

My endeavor in this paper is to examine the ways in which exactly the general structure of perception is modified in the case of the reception of theatre performances. First, perception in general is examined and it is argued that a basic characteristic of perception is that it is sometimes interdependent with action. After the analysis of perception in general, I turn to the special case of the perception of a theatre performance (or, theatre-perception, for short) and (...) examine the role of the perception of the possibility of action in the case of watching a performance. I try to point out that theatre-perception cannot be sufficiently analyzed without taking into consideration the action-oriented character of perception. If we perceive a gun on stage we perceive it as the possibility of an action, that is, as affording certain actions. (shrink)

In the last twenty eight years DreamBoat Children’s theatre has gained prominence in South-South Nigeria. Its operations have become more professional and have received more attention within the school system. But this was not so in the beginning. The study set out to find out what factors led to this development. Qualitative method was used to gather data from children, teachers and practitioners as well as observation of many DreamBoat’s children’s theatre productions across two states of Cross River (...) and Akwa Ibom. Data was gathered from over 500 children and two hundred teachers in four towns. The principal question the study sought to answer was: How can the DreamBoat children’s theatre performances help the child perceive patterns, relations feelings and produce an inner meaning? Or how do children experience theatre aesthetically? The research findings revealed that the type of stories enacted were the principal framework of transmitting meanings to young persons, the play is the heart of production and another aesthetics medium is the style of production. This is the icing on the cake it adds colours, sparkle and glamour. Conclusively as Children’s theatre producers work to stir the souls of young people by bringing them universal themes, feeding their imagination and giving beauty and fantasy enshrined in theatre which embodies all arts, then and only then will valuable contributions be made to the growth of creative individuals who will hold the baton for generations yet unborn. (shrink)

The Theatre for Development idea is essentially aimed at reinstating the function of the theatre as a creative tool for self-expression and articulation and as an empowering process through which people could develop a critical awareness of the environment. Accordingly, the guiding principle of TfD and what sets it apart from conventional western oriented theatre is its ability to liberate voices and engender people‟s participation thus propelling them to act upon their reality. It is this capacity to (...) engender people to action that makes TfD a veritable development tool. Arguably, TfD as a development tool enables participatory communication which is at the heart of development as affirmed by Victor Hugo R. Banda‟s observation that theatre is a “conversation shared with society something that transforms them” (2006). (shrink)

The audience occupies a very vita! and significant position within the ambience of the arts in general and theatre in particular. It remains one of the outstanding prerequisites for a complete efficacious and potent theatre experience. Its absence renders the entire activity a no event. Thus its standing within artistic and theatrical parameters is that of uniqueness and indispensability. Effiong Johnson posits that "Not considering the audience in the scheme of the performance is unpardonably a blind stupor which (...) can lead to one predictable outcome: regret!" (215). There can never be a theatre experience or event without the audience. It is considered to be the better half of the event. Their presence, cheers and signs of appreciation encourage performers to break a leg and put up a superlative performance. Nwamuo notes further that audiences beat the drums which spur performers to a frenzy (Inaugural Lecture, 15). William Byrnes adds that no matter how lofty the aesthetic aims of an organization, especially arts outfits, without the regular support of an audience, patrons or members, enough money will not come in to keep the enterprise alive (255). Audiences have existed in the theatre over centuries and have continued to exert influence in different spheres, especially the performance. Dennis Sporregivesusan insight into this by pointing out that: The audience of the 19th century played a significant part in determining what took the stage. Royal patronage was gone and box office receipts were needed to pay the bills,... The Industrial Revolution had created larger urban populations and expanded public education to a degree.... To appeal to this diverse audience, theatre managers had to program for the popular as well as the sophisticated taste if they wanted to make money (409). (shrink)

nature as well as an inevitable, and useful academic exercise. However, there exist controversies in the use of statistical techniques in the conduct and writing of research in theatre scholarship. Some theatre scholars frown at its usage while others see it as a veritable tool in conducting investigation to solve identifiable problems in theatre and its allied fields. In the midst of these controversies, this study seeks to address the imbalances by examining the appropriateness in the use (...) of statistical techniques in the contemporary theatre scholarship. To this end, the online survey research method and the questionnaire instrument were applied in gathering and analyzing data towards arriving at a dependable conclusion. The findings show that majority of theatre scholars approved the continuous use of statistical research techniques in theatre scholarship despite its challenges. Thereafter, the study concludes that there is need for theatre scholars to be innovative and experienced in statistical techniques in conducting and writing research and defend it in written and oral forms when the need arises. (shrink)

It is the editorial for the first issue of the second volume of the journal Theology and Philosophy of Education. The journal’s logo is described and interpreted here in the context of the journal’s aim. All the texts of the offered issue are briefly introduced here.

Biswas's book is a panoramic treatment of contemporary world theatre. The book under review will help both the neophyte, as also a scholar to negotiate ancient dramaturgy and more recent theatre. Biswas's eye for details is also remarked in this review. The review shows how Biswas, as it were, has written a manifesto of protest in this book.

Perioperative staff are frequently exposed to surgical smoke or plume created by using heat-generating devices like diathermy and lasers. This is a concern due to mounting evidence that this exposure can be harmful with no safe level of exposure yet identified. First, I briefly summarise the problem posed by surgical smoke exposure and highlight that many healthcare organisations are not sufficiently satisfying their legal and ethical responsibilities to protect their staff from potential harm. Second, I explore the ethical case for (...) compulsory smoke evacuation systems using the principlist framework and its four ethical principles – autonomy, beneficence, nonmaleficence, and justice. I then consider some objections and argue that surgical smoke evacuation systems – when indicated – should be made compulsory. (shrink)

The giant strides to be taken in becoming an academic do not just entail acquiring knowledge through formal education but demand further steps to master, philosophize and profess knowledge. Apart from the credentials to show that quality conditions were fulfilled in a higher education, volumes of well researched publications in peer review academic journals are vital. In Nigeria, when this form of learning came through colonial education women were not as privileged as men to acquire it immediately. So, men become (...) educated first, hence were the first set of academics. Subsequently, women joined this league of educated men in the academic world. The utilization of this knowledge by both men and women in academic community encroached on culture, its administration and expression. In this instance, issues in various endeavours, including academics are expressed through culture of criticism and criticism of culture. This study examines women’s academic world and their efforts in criticizing Nigerian culture with a focus on Mabel Evwierhoma’s involvement using theatre scholarship. The theory of Cultural Studies as it relates to cultural criticism specifically feminist criticism will be adopted to explore cultural feminist thoughts of Nigerian women in the academics with Evwierhoma’s input as a focus. The study finds that since the inception of feminism in Nigeria, women have deployed its scholarship, to criticise culture. Women in the theatre have used every available tool including creative writing, critical writing, research, pedagogy and philosophy to highlight cultural values that favour women. Evwierhoma has made a robust impact in this regard. (shrink)

This article aims to describe about the techniques of make understanding for the space of audience or target group in the satire drama in the stage. The researcher would watch the theater in YouTube and in the stage and also read the script which written by Bereket Belayneh in the type of satire drama, its function in terms of political and social issues. In the addition to the above mentioned these script and play must show the use of satire for (...) political and social criticism for the audience clearly with easy understanding. The other thing that plays show transmitted of the message to the higher officials in the comic entertaining way to the audience of the satire drama. Besides techniques, purpose and different features of satire has investigated from the relevant references. Its researcher mainly has shown the technique of making understand for the audience that have been watched the satire theater on the stage. Bereket Belayneh and Girum Zenebe Eyayu fenges Ethiopian Satire Theater focusing on political satire to find the satire and comic elements used in the humor in order to ridicule the political evils and suggest solutions with in artistically color. The primary sources of this article are Bereket Belayneh and Girum zenebe Eyayu fenges Ethiopian Satire Theater. It’s have used as methodology a qualitative descriptive analysis and have use the document study which is that in library, research digital media sites and the relative relevant materials. (shrink)

The central idea upon which plays of Micheal Frayn are established is that a text or event is reborn and reconstructed every time it is recited or recalled. He sublimated history, physics, and various dramatic techniques into splendid drama to reflect upon the dilemmas thrown to the human in today’s world of indeterminacy. It will be explored how Frayn has plied the ‘uncertainty principle’ to drama with a distance from Becket and Brecht by analyzing three plays. Furthermore, his expressed perspective (...) on the Brechtian notion of the ‘alienation effect’ is discussed. The plays chosen for this article are Noises Off (1982), Audience (1991), and Copenhagen (1998). (shrink)

A critical exposition, in Spanish, of Erving Goffman's theories on the semiotic organization of social reality and on the structure of subjectivity and subjective experience (two sides of the same coin) through a detailed analysis of the conclusion to Frame Analysis (1974). Goffman's insights into the interactional nature of subjectivity are related to other theorists' conceptions of the role of reflexivity in perception, consciousness and the structuring of semiotic artifacts (language, narrative, art).

At all times, the purpose of development is to build structures that will enhance the economy. This is because there is a need to improve the living conditions of the people. The ability of the people to live meaningfully and satisfactorily is central to the idea of development. Illustrating this overriding concern, Nat Colleta insists that development is a process of a socio-economic change in the quality and level of human existence aimed at raising the standard of living and quality (...) of life( 1982). However, this has been dominated by structures tailored to the needs of the Western capitalist system, thus making it susceptible to manipulation and marginalization by not allowing for collective will of all relevant stakeholders. From this perspective, it does not meet the people’s ability to participate in shaping their own lives; it is the case that development practice should encourage the involvement of people in the most egalitarian manner. Therefore, a model that boosts the ability of stakeholders to participate in the deliberation of matters that affect them and to veto issues that they think are not relevant to their needs would be the ideal. This would ensure that voice is given to women and youths as well. Conceptualized in this way, people should be able to bring out what they want, generate their ideas about what to do, how to do it, and what is required to engender the needed successes and benefit from the physical improvement. In cases where the reverse is the case, as in the case of unfavorable situations and unexpected outcomes, people should be able to manage the implications and learn from them. It is, therefore, only a model of development that applies a “bottom up” approach that can engender this purpose. This approach must take cognizance of women participation in development, culture and its value component, relational and integrative principles which are achievable through the application of enabling methodologies among other things. The emphasis on those listed principles is the focus of this paper. (shrink)

In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...) doing philosophy. This strange and elusive book introduces the difficult and counter-intuitive notion of repetition. Repetition is a category of performativity that aims to activate the subjectivity of the reader. This performative effect is achieved by confronting the reader with an “unresolved”existential problem that is not yet drawn into clarity but is staged in all its confusions and contradictions. Kierkegaard’s pseudonym Constantius relies here on a performative writing strategy that is animated by a dialectic of advance and withdrawal. In the last and third step, I will analyze Constantius’s own reflection on the performative dimension of his text. Constantius has left several clues behind, each of which suggests that he deliberately developed a performative writing strategy. (shrink)

In the performing arts, including music, theater, dance and so on, theoretical issues both about artworks and about performances of them must be dealt with, so that their theoretical analysis is inherently more complex and troublesome than that of nonperforming arts such as painting or film, in which primarily only artworks need to be discussed. Thus it is especially desirable in the case of the performing arts to look for defensible broad theoretical simplifications or generalizations that could serve to unify (...) and potentially comprehensively explain these difficult cases. (shrink)

The theater principle personifies the universe and all natural as a live performance theater run by an unknown showrunner and indifferent audience members. The principle references evolution as a means of comparison and goes in depth describing exactly how natural occurrences bring out the reality of this principle. And the fortunate circumstances of being a conscious being.

The present research (total N = 2,057) tested whether people’s folk conception of consciousness aligns with the notion of a “Cartesian Theater” (Dennett, 1991). More precisely, we tested the hypotheses that people believe that consciousness happens in a single, confined area (vs. multiple dispersed areas) in the human brain, and that it (partly) happens after the brain finished analyzing all available information. Further, we investigated how these beliefs arerelated to participants’ neuroscientific knowledge as well as their reliance on intuition, and (...) which rationale they use to explain their responses. Using a computer-administered drawing task, we found that participants located consciousness, but not unrelated neurological processes (Studies 1a & 1b) or unconscious thinking (Study 2) in a single, confined area in the prefrontal cortex, and that they considered most of the brain not involved in consciousness. Participants mostly relied on their intuitions when responding, and they were not affected by prior knowledge about the brain. Additionally, they considered the conscious experience of sensory stimuli to happen in a spatially more confined area than the corresponding computational analysis of these stimuli (Study 3). Furthermore, participants’ explicit beliefs about spatial and temporal localization of consciousness (i.e., consciousness happening after the computational analysis of sensory information is completed) are independent, yet positively correlated beliefs (Study 4). Using a more elaborate measure for temporal localization of conscious experience, our final study confirmed that people believe consciousness to partly happen even after information processing is done (Study 5). (shrink)

Vehicle externalists hold that the physical substrate of mental states can sometimes extend beyond the brain into the body and environment. In a particular variation on vehicle externalism, Susan Hurley (1998) and Alva Noë (2004) have argued that perceptual states, states with phenomenal qualities, are among the mental states that can sometimes spread beyond the brain. Their vehicle externalism about perceptual states will be the main topic of this article. In particular, I will address three strong objections to their vehicle (...) externalism, objections by Ned Block (2005), Jesse Prinz (2006), and Fred Adams & Ken Aizawa (2008). Though in some ways these objections appear disparate, I will argue that all of them depend on a crucial presupposition, one which Hurley, Noë, and their sympathizers should reject. This presupposition is that perceptual character is fixed by an instantaneous snapshot of neural states, a view that Hurley dubbed ‘temporal atomism.’ To put the presupposition in more familiar terms, all three objections are implicitly committed to something like Dennett’s Cartesian Theater (1991). -/- In the first part of the article, I will discuss Hurley and Noë’s views, and include reasons why their views entail the rejection of the Cartesian Theater. In the next part of the article I will introduce the three objections and show how they presuppose something like a Cartesian Theater. I will also show that, if the Cartesian Theater is rejected, the objections all vanish. In the final part of the article I address the charge that Noë and Hurley confuse causation with constitution. This charge reveals a lack of appreciation for the way in which dynamical explanation motivates Hurley’s externalism. (shrink)

According to a traditional Cartesian epistemology of perception, perception does not provide one with direct knowledge of the external world. Instead, your immediate perceptual evidence is limited to facts about your own visual experience, from which conclusions about the external world must be inferred. Cartesianism faces well-known skeptical challenges. But this chapter argues that any anti-Cartesian view strong enough to avoid these challenges must license a way of updating one’s beliefs in response to anticipated experiences that seems diachronically irrational. To (...) avoid this result, the anti-Cartesian must either license an unacceptable epistemic chauvinism, or else claim that merely reflecting on one’s experiences defeats perceptual justification. This leaves us with a puzzle: Although Cartesianism faces problems, avoiding them brings a new set of problems. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...) about cinema and modernism, where film at least provides us a symbol of relief from concerns about medium specificity. In the second part of the essay I argue that something close to Cavell's and Fried's thoughts (about using the figure of theater to remind us of cinema's specificity, but also of cinema in its character as a symbol of relief from medium-specific concerns) takes on a certain urgency in questions about what cinema is in the digital age, manifested in representations of theater in the digitally photographed "Shakespeariadas" series by the contemporary Argentine filmmaker Matías Piñeiro. (shrink)

Für Simone de Beauvoir ist der Existentialismus die einzige Philosophie, die der Aufgabe gewachsen ist, eine ethische Verhaltensweise, die sich auch unmittelbar in die Praxis umsetzen lässt, zu entwerfen. Die Werke, in denen Beauvoir eine existentialistische Ethik formuliert und deren Umsetzbarkeit veranschaulicht, sind allen voran ihr Essay Für eine Moral der Doppelsinnigkeit und ihr Theaterstück Die unnützen Mäuler. Mit der dramaturgischen Darstellung einer Grenzsituation ist es der Philosophin und Schriftstellerin gelungen, eine Synthese von Werten umrisshaft zu erläutern, aus denen sich (...) praktische Handlungshinweise, ohne die Notwendigkeit eines universellen Wertesystems vorzusehen, ableiten lassen. Einer kurzen Einführung, die auf die Umstände bzw. auf die historischen Hintergründe, die Simone de Beauvoir Beauvoir dazu bewogen haben, als engagierte Intellektuelle dezidiert zu sozialen und politischen Fragen Stellung zu beziehen, wird eine prägnante Analyse von Beauvoirs Ethikentwurf folgen. Da vorliegender Beitrag für die Aktualität von Beauvoirs Die unnützen Mäuler plädiert, werden parallele Verhaltensmuster der Vergangenheit und der Gegenwart ans Licht geführt werden, um praktische Möglichkeiten aufzuzeigen, wie es heute gelingen kann, sich für eine ethisch vertretbare Lebensweise zu entscheiden. Wohlgemerkt handelt es sich dabei – ganz in Beauvoirs Sinne – um einen Versuch bzw. um einen Entwurf. (shrink)

With DLT’s success in driving the development of cryptocurrency (such as Bitcoin), the technology bridged to a myriad of knowledge-based applications, most notably in the areas of commerce, industry and government . In the language of technology sector insiders, these areas were ‘disrupted’ by Blockchain. Some higher education analysts, technology industry insiders and futurists have claimed that Blockchain technology will inevitably disrupt higher education in a similarly dramatic fashion. The aim of this commentary is to introduce a healthy dose of (...) realism into the hype-filled atmosphere of the Blockchain-for-higher-education narrative. A postdigital approach is taken because it treats digital and non-digital technologies as having equal material and cultural standing as candidates to transform higher education. (shrink)

This article aims to describe about the analytical axiology of the political background in ye Tewodros raey historical theatre of Ethiopia. The theatre is the most important of the new generation to teach the Emperor Tewodros II challenges and also great visions of new civilized Ethiopia united. The theatre name also in English vision of Tewodros in Amharic are known ye Tewodros raey. As aspect of axiology have been evaluated the value of vision of Theodros to the (...) audience and the advantages. From the theater an axiology aspect of the political background vision of Theodros that the advantages are to more informative about patriotism, social awareness, concentration, imagination, communication skill, fun, problem solving/conflict resolution, trust, memory, aesthetics appreciation, cooperation/collaboration, empathy and tolerance. These papers have been used document study system as well as have used the qualitative research method to more describe as a theatre reviewing the aspect of axiology philosophical aspects. (shrink)

Sarah Kane's theatre is one of the most at the same time disturbing and profound representation of the collapses of the human soul. Nevertheless her theatre doesn't only stage the horrors of the pain, but it could be an epistemologically useful tool to decrypt the actual human condition: in this paper my goal is to extend her playworks in a pregnantly ontological and existential instance.

This paper concerns the conditions under which realism is an artistic merit in perceptual narratives, and its consequences for the practice of non-traditional casting. Perceptual narratives are narrative representations that perceptually represent at least some of their contents, and include works of film, television, theatre and opera. On certain construals of the conditions under which realism is an artistic merit in such works, non-traditional casting, however morally merited, is often artistically flawed. I defend an alternative view of the conditions (...) under which realism is an artistic merit in perceptual narratives. I identify the two forms of realism at issue in debates about the artistic merits of non-traditional casting, and identify the artistic norms that determine the conditions under which each constitutes an artistic merit. I argue that, independently of the relation between moral merits and artistic merits, non-traditional casting violates these norms less often than is sometimes assumed. Moreover, in certain circumstances, non-traditional casting affects realism in artistically meritorious ways. I conclude by considering the implications of my view for the practice of whitewashing. (shrink)

The connection between Kabuki theatre and Japanese woodblock prints of the Edo period (1603–1868), especially in their portraits of actors called yakusha‑e, offers an exceptional opportunity to analyse perceptions of the sex of the actor: as the hero of the drama, as well as the character performed on the stage. Both phenomena flourished in the Edo period and had a crucial impact on the visual art of the time, inspiring pictures of the Floating World (Jap. Ukiyo‑e). The images on (...) Ukiyo‑e woodblock prints serve as a pretext for approaching the matter of whether to portray an actor as a performer (a man) or as the character performed by him (which could also be a woman, as in the case of the onnagata actor). The author focuses on the actors’ identification with their own sex (only men appeared on the Kabuki stage) and on cases of breaking the convention between the real actor and his stage emploi. In the first part, the paper discusses the historical background of Kabuki theatre, which was invented by a woman (Izumo‑no Okuni) and then after a few government edicts, was allowed to be performed on the stage only by adult men. Since the Kabuki tradition has successfully continued until today, apart from surveys of theatrical archives, the author supports her arguments by also referring to contemporary phenomena, especially the Kabuki performances she has watched in Japan (in such theatres as: Kabuki‑za, Minami‑za, the National Theatre in Tokyo, and Zenshin‑za), and through interviews with actors and people of the theatre. In parallel, Ukiyo‑e images of the Edo period are studied, with core research from the National Museum in Kraków, Poland, and its collection of Japanese woodblock prints (including over 4600 original works from the Edo Period), and with special attention paid to the yakusha‑e portrait by Utagawa Kuniyoshi. (shrink)

The domination of the Christian faith during the middle ages created a new vista for theatre, drama and music to flourish. The Bible which is a documented proves, ideals and authenticity of the Christian faith has not only served as a spiritual dictionary of the Christian faith, theologians and historians but a critical source for musicologists, playwrights and directors. This study is a critical analysis of dramatic and musical dimensions in the parables of the God Samaritan and the Richman (...) and Lazarus. In doing this analysis, the study utilizes the literary and content analysis methods of qualitative approach of research. The major findings in this research is that the parables of Jesus Christ as documented in the Bible are critical sources that are highly theatrical, musical and dramatic in content and form, its dramatic and musical dimensions are highly pedagogical, entertaining and very enlightening for contemporary Nigerian audience. It therefore recommends that Nigerian playwrights, musicologists and directors should document, interpret and score these parables and other stories in the Bible as play-text, musicals for easy comprehension. Directors and musicologist are also encouraged to promote evangelical theatre by dramatizing these stories in order to promote the Christian faith and champion sustainable development in Nigeria. (shrink)

At the age of 70 years, Professor Chris Nwamuo is still breaking new grounds in the Theatre, Media and Communication disciplines, not only in the University of Calabar, but also in Cross River University of Technology (CRUTECH) in Cross River State Nigeria, Abia State University in Abia State, Nigeria and many other state, national and international higher institutions of learning. He is tireless in research, clinical in project supervision, stern in the resolution of academic knots and committed to teaching (...) students both at the graduate and undergraduate levels. One would imagine that despite the ever busy schedule of this prolific scholar, including his attendance to family affairs, he still has the time to write out his findings, thoughts and perspectives in the very field that he has worked for more than three decades. One of his most recent works is his book “The Dynamics of International Communication” published in 2016. Communication is the human nutrient that grows a healthy relationship among people and nations of the world. When absent or not properly handled, communication effects result to rumor, grapevines, conflict or in internationally severe cases, war. ‘Communication’ as a term is surrounded by mysteries of comprehension but Nwamuo has attempted an unraveling throughout his years of academic surgeon in the field. Ike (2005:40) define communication as the process by which people share information, ideas and feelings using spoken and written words, body language, personal mannerism and style, the physical environment or anything that adds meaning to a message. Iyorza (2015:11) views communication as the transmission of information, idea or beliefs from the encoder to the decoder with the aim of achieving a common ground of understanding, promoting a course or reacting to given stimuli in the communication encounter. Both definitions share a common characteristic: information or ideas sharing or transmission. (shrink)

This paper interrogates Abdul Rasheed Abiodun Adeoye’s ‘neo-alienation’ directorial style’ as a viable directing technique on African theatre stage. The ‘neo-alienation’ style is an offshoot of Bertolt Brecht’s epic theatre that enhances the total theatre aesthetics and encourages actors’-audience’s relationship. It is a directorial style that has been tested severally on the Nigerian stage and proved worthy of exploration. Using the participant-observation and the deductive research methods, the theory shall be examined in relation to its usage in (...) the production of Adeoye’s The Smart Game- (A Neo- Alienation Script) and Wole Soyinka’s The Lion and the Jewel as directed by AbdulRasheed Abiodun Adeoye in 2002 and 2004 respectively. Thus, the study aims to archive and document the ‘neo alienation’ directing theory because of its immense aesthetics values to African plays and theatre directors. The study also showcases Adeoye as a conscientious theatre director, in whose works, other directors can learn from. The study concludes that the ‘neo-alienation’ aesthetics has been found to be a unique style full of theatrical spectacles that are capable of adding aesthetics and enhance African productions if explored. It is, therefore, recommended that Nigerian and African directors should work towards propounding at least a directorial style each which will add value to African theatre; the study also suggests that directors who have evolved their own directorial styles should endeavor to have them documented for posterity. (shrink)

This paper attempts to acquaint Polish readers with the Russian Orthodox philosopher Pavel Florensky’s (1882–1937) thinking on the category of space‑ness, which together with the categories of symbolism and light is one of the key‑words in his theory of aesthetics. The concept of space is, according to Florensky, a criterion for distinguishing art types, although for him it is only a model, which can be used to help form judgments about the world. It is also the basis of being for (...) the artwork itself. Painting and printmaking, among other arts types mentioned by Florensky (poetry, music, theatre, and architecture), have their own particularities in their organization of space. Painting and printmaking are, for Florensky, the truest art forms — art par excellence. The presentation of a threefold interpretation of the category of space‑ness, together with the description and justification of the divisions which are made in art based on these spatial categories by the philosopher is the leitmotiv of this paper. The aim of the paper is to present and discuss the opinions and arguments of the Orthodox thinker from his work Анализ пространственности (и времени) в художественно‑изобразительных произведениях, which has not yet been translated into Polish or English. (shrink)

Traditional theatre refers to the art forms which have their origins in the people’s culture and express their belief system, worldwide view, wishes and aspirations. It serves several functions within the society. Its educational value is embedded in its nature as a repository of the mores and traditions of people. Certain modes within its confines are used to explain life, the reason for events, the people’s origin and history, as well as other philosophies of life. Traditional theatre imparts (...) positive values through the exploration of crime and punishment using satires and straightforward criticism of deviant behaviours. Even when such presentations are couched in symbolic terms and the characters basically animals, the human idiosyncrasies under attack do not remain unidentifiable. The social function remains in its ability to exercise some level of control on social behaviours. No member of the community wants to lend himself to be ridiculed or lampooned. As such, they consciously curtail or exercise restraints in their actions, even when they are done in secret. Once a recalcitrant behaviour is made known; the individual involved is publicly disgraced or might even be ostracized. The entertainment value of traditional theatre is predicated on its ability to hold attention, please the senses and suspend all worries of life, even beyond the period of presentation. More so, because it often employs dance and music and the audience plays a second role as participants. The potency of traditional African and Nigerian theatre as tourist attractions lie within their entertainment value. They include festivals, music, dances rituals etc. Traditional festivals are of concern to this work. (shrink)

As one of the first readers of this fine collection of chapters in improvisation studies, I’ve been interactively constructing my experiences and interpretations of the chapters as I go along. Engaged reading – like all our characteristic activities – has a substantial improvisatory dimension. Readers are neither passively downloading data transmitted fully formed from the contributors’ minds nor making up whatever we like, projecting our own views onto a blank slate of a book. In forging and sharing here my own (...) idiosyncratic responses, I reach out to other, future readers by welcoming and inviting creative pushback, aiming to open up options, to accept and expand on the rich fare these authors offer us. (shrink)

Современность, подарившая человеку свободу от диктата традиций, лишила его возможности определять цели внутри себя. В ХХ-ХХI вв. целью «Я» стало узнавание субъекта-во-мне исключительно в ложном объекте-во-мне, что загнало личность в порочный круг погони дурно сыгранного «Я» за дурно сыгранным «Я». Возникла острая необходимость в возврате к театральности в различных областях искусства, эстетике и обыденности в противопоставление театра одного Я. Вопрос лишь в том, как превратить театральность в практику души.