Warwick 1B- Glocal Presentation

Warwick 2a - Dissemination

Warwick 1a - Ephemerality on an Autumn Evening

Warwick 1a - Ephemerality on an Autumn Evening

Creation_B2 Presentation

Keyword:Creation

Performance and video work:http://vimeo.com/29824662

Framing the city _ B1 Presentation

Keyword: Frame

Video work: Framing the city
Link: http://vimeo.com/29810560 

Fragments of the city

ABSENT BODY and DELAYED AUDIENCE

It began with pots and ended in art. A wealthy woman boiling coins. An artist drinking the liquid gold she supplies. A name etched in virtue and good acts. A brush dipped in pastels, oils, and prostitution. Between and betwixt. The total cost: 35,300 euro. 
 

SURFACE

Every night the red light comes on. The room is never empty. There is a chair in the room. And a bed. Pair of legs, pair of knees and a few words written on the screen. I have never seen his face.  Every night the red light comes on. The room is never empty. There is a chair in the room. And a bed. Pair of legs, pair of knees and few more words written on the screen. 
I love to watch him sleep.

THE PLAY

Do you understand the essence of the city in which you live?  

It all appears over night. And disappear in the same quick and unexpected way : A shooting gallery, rows of counters and a huge mass of people.  

This is not by any means a dilettante’s playground. Its inexhaustible energy and vitality. I went there to find something for you. And after a long search I found this inexhaustible theme.

THE AGE OF TIME

Come here. We will find a better place for us. 
Not there. Move a bit to the left. No, no, right. A bit forward. Stop! 
Yes, that’s it. Now stand. 
We’ll wait for a while and we’ll get where we are.

EPHEMERAILTY

in silence..on an Autumn morning...

ANALYTICAL APPROACH

"I want one bio-mechanically engineered ice cream  with the raspberry in the middle and hybrid cream on the sides. "

"Me, I want the one with the raspberries on the top!

…mmmm…how do u call this…it looks a bit like a cheese cake …the raspberries on the top please ehhhh, molim…

"Hvala"

"I really like being in Belgrade I just feel so multicultural and global and so multilingual and stuff…Kind of like glocal and liminal at the same time."

"Yeah that’s totally multifaceted…"

"Ohhh look at this chandelier…ohh so royal"

"Lets go up and down"

"It’s so good they have Zara here and Monsoon…but no H&M well it’s ok I guess…I may find something in the second hand market…"

"But they say it’s  full of gypsies…"

OUT OF THE WINDOW THROUGH WHICH I LOOK

I am the participant of unique architectural encounter. 

MEMORY of Papić

The ugliest plate in the world is hanging on his wall. I remember the story he told me.. I can hear the sound of his voice. His desire for what lies beyond the boarder is just as great as his love for his own neighborhood and the streets where he grew up. 

“Identity”  

“Culture” 

“Remembrance” 

His words are filling up the room. I remember the sound of his voice. Now it’s just an echo, hidden within these walls. 

THE BODY of Papić

His lived experience, his embodied action is a twice behaved behavior. His theoretical theatricality restored my behavior. It's time for me to go home.

MIMESIS

 

 

Good Night...

Warwick 1a will be presenting a piece inspired by ephemerality. The YouTube link to this video clip will be available tomorrow morning for everyone to watch. In the mean time, dream sweet ephemeral dreams...

Warwick 1a

B1 & B2

Belgrade groups are having technical difficulties with uploading... We hope we'll be there shortly.

Warwick 2b Presentation

We chose to make a presentation on ‘scenario’ as we thought that this term is worth discussing more from various points of view. When we did the mind map, we took the term in its first meaning as in films, and developed branches some of which are physical location, position, and embodiment- all equally necessary and applicable elements to other meanings of the term, including the type that we are going to focus on here: scenario in everyday life.

We have scenarios in daily life at interpersonal level as well as in broader contexts such as at the governmental and intergovernmental level. Governments sometimes make use of stories and use them in order to justify any of their enactments and policies, such as an invasion, a defeat, and a change in the constitution. In this sense, we question whether human beings are witnessing the same scenario throughout the history. Does history consist of repetitions which are indeed scenarios of the powerful?

Warwick 1B Presentation Prompt

“Culture is not simply a static set of shared beliefs and customs inherited by people of the same ethnic descent. Culture rather references contested practices and processes, modes of behavior and consciousness through which communities are defined and differentiated” (Elan, 95). 

 

Amsterdam 2 - Who When What Why

WHO WHEN WHAT WHY:

Diana, as we are children growing up in small towns in Indonesia, Croatia, Brazil and Germany, we share two hemispheres. Going global, based in local representations.

Scenarios of our times: mapping our minds out. Posting our brains out.

There are too many voices in the room. Whose voice is it anyway? Vital acts of transfer. Transmission as a part of the paradigms of meaning-making. Meaning no harm to the episteme of performance.

Missing deadlines. Resisting definitions. In constant threat of oversimplification. In battle with appropriation. Lost identities in the realm of creation. Trapped in cultural imagination. Yeast-erday once more. While making choices:

Ephemerality slides in between conclusion.

Amsterdam 1- Censorship and the City!

Warwick 2b annotation on "Mapping Landscapes for Performance as Research" (by Riley&Hunter)

The reading we were assigned is an introduction to an edited book, therefore it mainly defines the basic terms in performance studies and discusses the differences between them, such as PaR (practice as research) and PAR (performance as research). The authors argue that these two terms overlap in many areas and yet their differences are significant. First of all, PAR is a US-originated term just like the field itself whereas PaR is used in the UK and other countries which are becoming significant contributors to the field in recent years.

Moreover, Riley and Hunter draw our attention to the fact that there is not a consensus in the terminology in contributing countries: diverse terms might be used in various countries or even if the terms used are identical, they differ in meaning and scope. Emphasizing the complexity even at the level of basic terms, the authors mainly point out the necessity for a conversation between different geographies (particularly a dialogue between the US and the rest) in performance studies.

The ambiguity results from the fact that the performance studies is a relatively new discipline. Nevertheless, this new discipline is inspiring enough to lead a paradigm shift which can be considered as a part of an epistemological revolution. That is, considering creative activity (performance) as a source of knowledge has changed how we look at knowledge today.

B1 annotation on Oncurating.org (by G.E. Morland and H.B. Amudson) and Performance Studies: An Introduction (by R. Schechner)

ONCURATING.org Issue 04/10 (interviews conducted by G.E. Morland and H.B. Amudson)

This issue of ONCURATING.org, entitled The Political Potential of Curatorial Practice, is a collection of interviews with four curators based in Turin, London, Berlin and New York. The underlying theme of each of the interviews is politics and curation as the role of curator moves from the marginal to the central. The significance of this change has political potential in that it has become the one type of media that contributes to both public discourses and public domain. The task of the curator now overpasses the exhibit space and reframes cultural practice through community engagement. This period of transition has left the role of the curator as somewhat undefined. Keeping that in mind, these interviews serve us as an incentive to engage with, and possibly shape, what will emerge as the new curatorial role. 

Performance studies: an introduction (by Richard Schechner)

In Richard Schechner’s Performance Studies: An Introduction, Schechner argues that all framed, highlighted, and displayed actions are performances. In support of his argument, he supplies eight kinds of performances: in everyday life- cooking, socializing, just living; in the arts; in sports and other popular entertainments; in business; in technology; in sex; in ritual- sacred and secular; and in play.  Schechner further supports his text with input from other experts in the field; including Barbara Kirschenblatt-Gimblett, Peggy Phelan, and Erving Goffman. As a practice, Schechner stresses that Performance Studies does not incorporate any canonical texts or practices in an attempt to avoid limitations or fixed definitions in the field. However, the field does draw from texts and practices related to cultural studies, sociology, anthropology, queer studies, Post-Colonial studies, etc. While the lack of specificity is freeing, it can be also be limiting in that there are no constant points of references in the dynamic field.

MAIPR 2011: Warwick 1B response to B1 Glocal mindmap

MAIPR 2011: Warwick 1B response to B1 Glocal mindmap: The mindmap response by B1 to our keyword, ‘Glocal’, brought our attention to the possible transactions that takes place in cultural inter...

Annotation on An Introduction of Theatre Histories (P.B. Zarilli)

Departing from the description of performance and theatre in oral cultures, moving on to the print-culture (1500-1990) till the current globalised cyber-cultures, Zarilli provides an overview of the performance making developped up until now. We consider that creation of language and consequently performance evolved through three eras. The language formation in nomadic cultures from the tribal organization to chiefdoms and finally states, the impact of λόγος (in its double sense) in the western culture and the technological inventions that formed the print culture parallelled to the institutionalization of theatre and the appearance of the first permanent theatre space (Serlio). The emphasis of structure, both in elaborated written texts and perormances (neoclassical rules on verisimilitude, adaptation of the classics) raised issues of authorship and established a materiality that dominated through several eras up to the end of modernity where it found its peak with the invention of photography and film and the use of image as the ultimate means for the depiction of reality. This epistemological climax influenced also performances while methods and systems formed to reach this "materiality" (Stanislavsky, Antoine). Print- culture formed an audience of primarily readers where Art and Life were distiguished. In the age of communication technologies, cyber- culture and globalisation such boundaries are violated to the point they don't even exist. The deconstruction of language and the multi-focal representation in the media cultures influences performance making and reception (body as a performance instrument, rejection of usual performance venues).

B1 Response to Amsterdam 1 FRAME mindmap

B1 decided to mind map the mind map they’ve received from Amsterdam using words in a form of a text instead of a scheme. So, in a way we are deconstructing your mind map.

We grouped your words into 3 segments:

PLAY

ANALYTICAL APPROACH

ARCHITECTURE / SETTING / THE BODY

PLAY

One of the terms you used as a branch of “frame” is “play” in a theatrical sense. 

A theater play is definitely an action that is framed, presented, highlighted and displayed-a performance. However, framed actions incorporate a whole field of human activity (C. Simpson Stern and B. Henderson, Texts and contexts, 1993) which weren’t mentioned in the mind map even though that is one of the primary notions of performance studies. E.g. Ngugi Wa Thiong’o (Enactments of power, 1993) depicts the prison yard as ”a stage where everything, including movement, is directed and choreographed by the state. The mise-en-scene, the play of light and shadows, the timing and regulation of actions- even of eating and sleeping and defecating- are directed by armed stage hands they call prison warders.”

Performances of everyday life- human social interactions- are rule-bound and lawful because they operate according to known scenarios (manners, body language, politeness). The words and actions that constitute the score have familiar associations; they represent a consistent behavior, a grammar of action. Every performance is framed by context, convention, usage and tradition (R. Schehner, Performance studies: an introduction, 2002).

Also, in the mind map the term “play” is branching to “techniques”, “plot”, “time” and “place”. Those are some of the keywords for traditional theater making, but we assume much more to theater than that. As R. Barucha says, “theater is neither a text nor a commodity but an activity that needs to be in ceaseless contact with the realities of the world and the inner necessities of our lives” (Performance and the politics of culture, 1990), we propose that theater is concerned with the breaking of frames and the overlapping of spaces and energies.  

ANALYTICAL APPROACH   

A frame is a filter through which one sees the world. While history, politics, culture, and society are all frames, I would argue that each of these is developed in childhood, and that analysis leads to their re-framing, or deconstruction. In our youth, before acquiring the ability to think critically and analytically, we view the world as we are, as we know it, or as it has been relayed. For example, my filters are white, middle-class, American, female, Catholic, college-educated, etc. 

On some occasions, frames can be contradictory. In the case of W.E.B. DuBois, 

“One ever feels this two-ness,- an American, a Negro; two souls, two thoughts, two unreconciled strivings, two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder”

 -W.E.B. DuBois

From Critical Theory and Performance

Edited by Janelle G. Reinelt and Josepf R. Roach, Pg. 139

This "two-ness", the friction between one frame and another, can be the cause of both personal and social turmoil. The American frame, promoting freedom and equality, and the Negro frame, which during Mr. DuBois' lifetime meant half-rights and segregation, cancel one another out. However, this friction also provides room for self-reflection and analysis, ultimately leading to a re-framing of filters. In the case of Diana Taylor, her American frame was tested when she left Mexico for the United States. 

“As a child growing up in a small mining town in the north of Mexico, I learned that the Americas were one, that we shared a hemisphere. Many years later, when I arrived in the United States to do my doctorate, I heard that “America” meant the United States[…] I never accepted this steady attempt at deterritorialization. I claim my identity as an "American" in the hemispheric sense.”

-Diana Taylor,

The Archive and the Repertoire: Performing Cultural Memory in the Americas

Pg. xiii

This experience forced Taylor to (re)consider her "American-ness"; to question what she had previously learned, and more importantly, to question what was being prescribed to her in this new land. 

In the arts, the audience is regularly encouraged to consider, or analyze, the origins and nature of their individual frames. 

“The arts are important producers of our ideology. By ideology, Stuart Hall means ‘the mental framework- the languages, the concepts, categories, imagery of thought, and the systems of representation- which different classes and social groups deploy in order to make sense of, define, figure out and render intelligible the way society works’.

-Joost Smiers

Arts Under Pressure: Promoting Cultural Diversity in the Age of Globalization

Pg. 11

This consideration, whether conscious or unconscious, creates a shift in pre-established frames. Perhaps not in every frame, and perhaps not in ways that are immediately evident to the individual; but, in some way, the frame has moved from "what was known" to "what is now known", or "what now makes sense".

ARCHITECTURE/SETTING/THE BODY

The task of architecture is to strengthen our sense of the real, not to create settings of mere fabrication and fantasy. The essential mental task of the art of building is mediation and integration. Architecture articulates the experiences of being-in-the-world and it strengthens the sense of reality and self. It frames and structures experiences and projects a specific horizon of perception and meaning. In addition to inhabiting us in space, architecture also relates us to time; it articulates limitless natural space and gives endless time a human measure. Architecture helps us to overcome "the terror of time", to use an expression of Karsten Harries, the philosopher.

Architecture, according to Steven Hall, should be understood as a series of partial experiences rather than a whole. Therefore, the challenge of architecture lies in its effort to engage both inner and outer perception, perception of the human body. So, in a way architecture is an experiential phenomenon. Experience on the other hand leads to intimacy.

Architecture concretizes "how the world touches us" as Merleau-Ponty writes of the paintings of Paul Cézann. Merleau-Ponty explains the world-body relation with another poetic metaphor: "Our own body is in the world as the heart is in the organism: it keeps the visible spectacle constantly alive, it breathes life into it and sustains it inwardly, and with it it forms a system. (Maurice Merleau Ponty, Phenomenology of Perception, Routledge, London, 1992,203)

Architecture defines horizons of perception, feeling and meaning; our perceptions and experiences of the world are significantly altered by architecture.

Architecture is usually understood as a visual syntax, but it can also be conceived through a sequence of human situations and encounters. Authentic architectural experiences derive from real or ideated bodily confrontations rather than visually observed entities. Authentic architectural experiences have more the essence of a verb than a noun. The visual image of a door is not an architectural image, for instance, whereas entering and exiting through a door are architectural experiences. Similarly, the window frame is not an architectural unit, whereas looking out through the window or daylight coming through it, are authentic architectural encounters.

Juhani Pallasmaa consider architecture to be profound architecture only if it enables us to see the majesty of a mountain, the persistence and patience of a tree, and the smile on the face of a stranger. He goes further when he says: „Architecture also directs our awareness to our own sense of self and being. It makes us experience ourselves as complete embodied and spiritual beings integrated with the flesh of the world.“

This is at the end great function of all art.

To talk about architecture one has to consider all aspects of this discipline. Architecture cannot be narrowed down only to a certain type of the building or certain elements, fragments out of which it is made. Materials, textures, surfaces, openings, atmosphere, memory of a space..all of this has to be considered.

When you think about the materials and surfaces you have to go beyond the first layer, you have to peel them like an onion to get to core, to its value. Materials and surfaces  have a language of their own. They tell you a story behind the story, they serve the same purpose like the wrinkles on the skin. Stone speaks of its distant geological origins, its durability and inherent symbolism of permanence. Wood speaks of its two existences and time scales; its first life as a growing tree and the second as a human artefact made by the caring hand of a carpenter. A frame of your kitchen window can tell you all kind of stories if you are a good listener. Listen with your mind and not with your ears. Look with your fingers and touch with your eyes. All sensory experiences are related to the tactility, especially when it comes to architecture. In order to really understand it, to experience it you have no other way but to touch it. To be in it. Experience of space is crucial to our perception of the world that surrounds us.

As we look at these buildings, our eye touches, and before we even see it we are able to feel it, to touch an object and judge its weight, temperature and surface texture. All our organs and senses “think” in the sense of identifying, making choices and processing the information, so in way buildings are the extensions of our bodies, identities and minds.

The frame is the experience of exchange and in art and architecture a peculiar exchange takes place: “I give my emotions and associations to the work of art or space and they lend me their aura that emancipates my perceptions and thoughts”. Considering this statement given by Juhani Pallasmaa, architecture and film have a lot in common, unlike theater. The main distinction between these art forms are the subjects who are having this unique dialogue. While theater deals with present bodies, bodies of the performer and the audience, who are occupying same space at the same time architecture and film deal with different kind of bodies: the absent body – the auteur and  the delayed audience – me/you. This is the new formed relationship where intimacy becomes an echo down space and time. The intimacy is sometimes crushing and sometimes relieving and sometimes exhilarating and sometimes exhausting. And it always involves at least two human bodies: performer and spectator, the one who is watching and the one who is being watched. However, if you are an actor on a stage this relationship changes, suddenly you are becoming a spectator while the audience shifts to performers. Frame through which you are looking is still the same, but the point of view has changed and with it the perception of the one who is looking has changed too. It is a chain reaction and if we are talking about the film, as art form, the best example would be two Danish films, one short experimental and one feature: The Perfect Human (1967) by Jørgen Leth and 5 Obstructions (2003) by Lars von Trier and Jørgen Leth. 5 Obstructions is a project that emerged from The Perfect Human and as von Trier’s response to his mentor, a form of a delayed dialogue and an arts therapy.  

The topic of setting, scenography and scene design in general is so wide and open so we will not get in to that at this point. However, we will give another good example from the field of film art, Beyond the Clouds (1994), film by magnificent Michelangelo Antonioni, where at the very end, the protagonist, a photographer (played by John Malkovich), makes a significant comment on the multiple and mysterious essence of the image: "But we know that behind every image revealed, there is another image more faithful to reality, and in back of that image there is another, and yet another behind the last one, and so on, up to the true image of the absolute mysterious reality that no-one will ever see."

Why is this significant?

Today two types of architecture could be distinguished: an architecture of image and architecture of essence. The first one offers the mere images of form while the second one is considerably richer, when experienced as embodied manner, providing us with narratives of culture, history, tradition and human existence, life in general. The first leaves us as spectators; the second one makes us participants with full ethical responsibility.

We live in mental worlds, in which the experienced, remembered and imagined, as well as the past, present and future are inseparably intermixed and to narrow architecture in its relation to the keyword FRAME to the limited field such as theater architecture, setting, stage etc.  is not  what was expected of this word. Architecture is a protagonist, a collaborator of life. It’s a narrative...the keeper of memory.  And let’s not forget, every space has its story and every story happens in specific space. Space is a protagonist rather than a mere projection.

 

example: The Perfect Human (fragment)
http://youtu.be/_N5oJn-joj0

 

B2 responce to Amsterdam2 mindmap on Creation

The creator's identity is formed by culture. The notion of a sharing culture between creator and spectator shouldn't be taken for grunted in today's age of reproduction, frequent interactions within globalised societies and diversity in contemporary Metropoles' population. This is a procedure of exchange, an interchangeable experience, both a dialectic process and a space of conflict. We found that your reference on identity in the presence of the creator is really significant but isn't the creator also a carrier of culture previously and gradually formed by its role as a spectator? And what about the identity of the product of creation? Isn't it by its turn a factor in culture making process?

This debate involves a lot of exchange and interaction. It's an ongoing process that is apparently depicted on Zarilli's text. He is regularly stating the significance of the audience's demand in perfromance evolution, for example, how audience's expectations for spectacular bodies after the inroduction of photography and its materialist reality before the Great War ifluenced immensely the popular culture from 1850 until 1914.

W2A Annotation - J. Reinelt & J. Roach, Critical Theory and Performance

The authors introduce approaches to the examination and critique of performance. Each of the 3 following chapters deals with a specific area of critical theory; detailing the way in which they draw from knowledge across the social sciences and humanities, as well as offering an overview their origins and development of the practice.

Introduction to Postcolonial Studies - pp. 67-70

This area of critical theory investigates the impact of western imperialism and the cultural politics of relations between the coloniser and the colonised. With reference to the theories of cultural scholars such as Franz Fanon, Edward Said and Gayatri Spivak, the chapter assesses the problematic nature of interpellation in the creation of identities along racial and ethnic lines. In addition, the notion of ‘cultural tourism’ as a contemporary practise in the re-enactment of colonial histories and experiences is raised with regards to the tensions that it creates.

Introduction to Critical Race Theory - pp. 135-140

This section begins by tracing the origins of the term ‘race’ back to its roots in anthropological and anatomical classification. From these origins, the introduction progresses onto the notion of ‘hybridity’ as a disruption to this colonial interpellation and as a source of hyphenated identities. In relation to Benedict Anderson’s Imagined Communities, the introduction develops upon the notion of race as a social construction, leading into the problematic term of the ‘native’ and how its historical association is undermined by this social construction.

Introduction to Gender and Sexualities - pp. 311-316

Through a summary of the prominent areas of gender politics, this section explains how feminist and queers theories – in addition to the more recent “male studies” – came to be discussed and analysed together under the contemporary gender studies framework. Reference is made to Judith Butler’s theory that gender is a performative act and is not dependant on biological constitution.

Annotation - Christopher Balme - The Cambridge Introduction to Theatre Studies - Warwick 1A

Balme broadly categorizes the known theatrical practices and briefly elaborates on each form; namely the dramatic, music, dance, and puppet and shadow theatre. Due to cross pollination of genres, he further states that “a growing number of such works require from scholars at least a working knowledge of all major theatre genres” (p.4). Balme briefly touches on the move from theatre studies to performance studies in the academic setting and the way in which “the two disciplines are merging and intermingling in many ways” (p.12). Because of the ephemeral nature of performance, he outlines the modes of analyzing these forms, to which he states, “the object of analysis is therefore, in the first instance, an aesthetic product resulting from an intentional organization of signs” (p.133). He continues by presenting the tools by which they may be analyzed, the goal of such an analysis and finally surveys the various known methods and models for the same.

Warwick 1B response to B1 Glocal mindmap

The mindmap response by B1 to our keyword, ‘Glocal’, brought our attention to the possible transactions that takes place in cultural interaction processes, with those listed being ‘space’, ‘identity’ and ‘communication’. However, we were unclear of the relationship between these terms of transaction with the ideas of ‘local’ and ‘global’ in ‘Glocal’.

To us, deciding on the term ‘Glocal’ was our response to the challenge of finding a ‘critical apparatus for understanding the complexities of cross-cultural interaction’ (Gilbert and Lo, 11). What ‘Glocal’ signified for us that we thought surpassed the other terms of ‘cross-fertilisation’, ‘Universopolis’ and ‘postcolonialism’ was a neutral platform that allowed embodied possibilities. It was also a term that was free from the historical, economic, political and cultural baggage. By creating a dialectic between the global and the local, a space which allows for the very real tensions that exist when we address plural identities emerges. This space is void of vertical status relations and is rather like an open horizontal plane where our competing cultural identities can be challenged and re-formed. An example of such a space would be:

‘Theatre, [which is] lucidly described by Yan Haiping as ‘a humanly animated site where living community and live performance are mutually engendered and the lifeworld at large is writ small with human materiality’, provides an exemplary site through which to examine the limits as well as the potential of cosmopolitan thinking. The materiality of theatre, manifest at multiple levels, offers practical ways of grounding the abstractions of theory, allowing us to relate ideals and concepts to tangible ways of living in the world.’ (Gilbert and Lo, 12)

Dissemination – W2A Responses to Mind Map

Work on reception theory/semiotics – R. Barthes

Reception of messages, signs and symbols - meaning making – relationship between signifier and signified – impact of interpretation in transmission, reception and/or understanding of sign/expression – based upon subject position

Hip-Hop Genius S. Seidel

Reproduction - sampling and remixing

Different levels of authenticity and authorship) – pastiche and intertextuality

The Archive and the Repertoire – D.Taylor

Western logocentrism (page 6)

focus on reproducing through the written word, reducing embodied expression to the written form - limits the power of the written word in interpreting and assisting in the dissemination process

Theatre and the World - R. Bharucha

Transmission within dissemination process (pages 2-6)

impact of globalisation – wider audience - impact upon identity, collective memory and heritage – turning the local experience and shifting the context in which the scenario/expression is received and reproduced – removal of history and specific context - further along dissemination process = further away of the initial experience/ expression: both geographically (physically) and symbolically (meaning) – change/loss responding to nullification of signs/ translations

Cambridge Introduction to Theatre Studies – C. Balme

Contextual changes in interpretation (pages 1-7)

Changing cultural perspectives - marginalisation of areas – lost from dissemination process/ostracised – value system - Interdisciplinary approach to theatre studies = different interpretations = different ways to pass on knowledge – academic complexity

Agenda (page 137)

conscious or subconscious – has an impact upon the dissemination process through interpretative intervention – creating a value system based upon subjectivity, ideological and cultural beliefs (Balme 137)

Performance and Cosmopolitics – H. Gilbert and J. Lo

3 types of Cosmopolitanism (pages 5-9)

Moral/ethical: loyalty to humanity as a whole - universal codes of rights and justice - universal community / polymorphic universe - universal plus difference

Political: universal rights and duties – multi-level transnational governance – UN& EU – NGOs – the legitimacy of plural loyalties – forms of belonging / sense of location

Cultural: an openness to divergent cultural influences – an inclusive stance towards cultural difference – to draw selectively on a variety of cultural meanings – “thick/thin”