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Inquiring into the polyphony of creativity Nirav Christophe uses the writing process within performing arts as his case study. In contemporary performing arts the position of the text has changed dramatically. Drawing from Hans-Thies Lehmann’s book Postdramatic Theatre (2006) one can say that postdramatic theatre is not dominated by scripts, but characterised by a multitude of theatrical signs. Text, in other words the actual script, needs no longer be the point of departure for a performance. The point of departure may be a movement, a piece of music, a film or even an existing non-fiction text. Postdramatic theatre is therefore characterised by a mixture of disciplines and genres. A lot of theatre scholars nowadays refer to the theatre-text as a polyvocal or polyphonic artefact. Along with that the creative process of the theatre makers is developing constantly towards the co-creation of hybrid artefacts.
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Inquiring into the polyphony of creativity Nirav Christophe uses the writing process within performing arts as his case study. In contemporary performing arts the position of the text has changed dramatically. Drawing from Hans-Thies Lehmann’s book Postdramatic Theatre (2006) one can say that postdramatic theatre is not dominated by scripts, but characterised by a multitude of theatrical signs. Text, in other words the actual script, needs no longer be the point of departure for a performance. The point of departure may be a movement, a piece of music, a film or even an existing non-fiction text. Postdramatic theatre is therefore characterised by a mixture of disciplines and genres. A lot of theatre scholars nowadays refer to the theatre-text as a polyvocal or polyphonic artefact. Along with that the creative process of the theatre makers is developing constantly towards the co-creation of hybrid artefacts.
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Inquiring into the polyphony of creativity Nirav Christophe uses the writing process within performing arts as his case study. In contemporary performing arts the position of the text has changed dramatically. Drawing from Hans-Thies Lehmann’s book Postdramatic Theatre (2006) one can say that postdramatic theatre is not dominated by scripts, but characterised by a multitude of theatrical signs. Text, in other words the actual script, needs no longer be the point of departure for a performance. The point of departure may be a movement, a piece of music, a film or even an existing non-fiction text. Postdramatic theatre is therefore characterised by a mixture of disciplines and genres. A lot of theatre scholars nowadays refer to the theatre-text as a polyvocal or polyphonic artefact. Along with that the creative process of the theatre makers is developing constantly towards the co-creation of hybrid artefacts.
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Inquiring into the polyphony of creativity Nirav Christophe uses the writing process within performing arts as his case study. In contemporary performing arts the position of the text has changed dramatically. Drawing from Hans-Thies Lehmann’s book Postdramatic Theatre (2006) one can say that postdramatic theatre is not dominated by scripts, but characterised by a multitude of theatrical signs. Text, in other words the actual script, needs no longer be the point of departure for a performance. The point of departure may be a movement, a piece of music, a film or even an existing non-fiction text. Postdramatic theatre is therefore characterised by a mixture of disciplines and genres. A lot of theatre scholars nowadays refer to the theatre-text as a polyvocal or polyphonic artefact. Along with that the creative process of the theatre makers is developing constantly towards the co-creation of hybrid artefacts.
Titel (et)
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Inquiring into the polyphony of creativity Nirav Christophe uses the writing process within performing arts as his case study. In contemporary performing arts the position of the text has changed dramatically. Drawing from Hans-Thies Lehmann’s book Postdramatic Theatre (2006) one can say that postdramatic theatre is not dominated by scripts, but characterised by a multitude of theatrical signs. Text, in other words the actual script, needs no longer be the point of departure for a performance. The point of departure may be a movement, a piece of music, a film or even an existing non-fiction text. Postdramatic theatre is therefore characterised by a mixture of disciplines and genres. A lot of theatre scholars nowadays refer to the theatre-text as a polyvocal or polyphonic artefact. Along with that the creative process of the theatre makers is developing constantly towards the co-creation of hybrid artefacts.
Titel (fr)
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Inquiring into the polyphony of creativity Nirav Christophe uses the writing process within performing arts as his case study. In contemporary performing arts the position of the text has changed dramatically. Drawing from Hans-Thies Lehmann’s book Postdramatic Theatre (2006) one can say that postdramatic theatre is not dominated by scripts, but characterised by a multitude of theatrical signs. Text, in other words the actual script, needs no longer be the point of departure for a performance. The point of departure may be a movement, a piece of music, a film or even an existing non-fiction text. Postdramatic theatre is therefore characterised by a mixture of disciplines and genres. A lot of theatre scholars nowadays refer to the theatre-text as a polyvocal or polyphonic artefact. Along with that the creative process of the theatre makers is developing constantly towards the co-creation of hybrid artefacts.
Titel (nl)
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Inquiring into the polyphony of creativity Nirav Christophe uses the writing process within performing arts as his case study. In contemporary performing arts the position of the text has changed dramatically. Drawing from Hans-Thies Lehmann’s book Postdramatic Theatre (2006) one can say that postdramatic theatre is not dominated by scripts, but characterised by a multitude of theatrical signs. Text, in other words the actual script, needs no longer be the point of departure for a performance. The point of departure may be a movement, a piece of music, a film or even an existing non-fiction text. Postdramatic theatre is therefore characterised by a mixture of disciplines and genres. A lot of theatre scholars nowadays refer to the theatre-text as a polyvocal or polyphonic artefact. Along with that the creative process of the theatre makers is developing constantly towards the co-creation of hybrid artefacts.
Titel (pl)
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Inquiring into the polyphony of creativity Nirav Christophe uses the writing process within performing arts as his case study. In contemporary performing arts the position of the text has changed dramatically. Drawing from Hans-Thies Lehmann’s book Postdramatic Theatre (2006) one can say that postdramatic theatre is not dominated by scripts, but characterised by a multitude of theatrical signs. Text, in other words the actual script, needs no longer be the point of departure for a performance. The point of departure may be a movement, a piece of music, a film or even an existing non-fiction text. Postdramatic theatre is therefore characterised by a mixture of disciplines and genres. A lot of theatre scholars nowadays refer to the theatre-text as a polyvocal or polyphonic artefact. Along with that the creative process of the theatre makers is developing constantly towards the co-creation of hybrid artefacts.
Titel (ru)
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Inleiding (ru)
Inquiring into the polyphony of creativity Nirav Christophe uses the writing process within performing arts as his case study. In contemporary performing arts the position of the text has changed dramatically. Drawing from Hans-Thies Lehmann’s book Postdramatic Theatre (2006) one can say that postdramatic theatre is not dominated by scripts, but characterised by a multitude of theatrical signs. Text, in other words the actual script, needs no longer be the point of departure for a performance. The point of departure may be a movement, a piece of music, a film or even an existing non-fiction text. Postdramatic theatre is therefore characterised by a mixture of disciplines and genres. A lot of theatre scholars nowadays refer to the theatre-text as a polyvocal or polyphonic artefact. Along with that the creative process of the theatre makers is developing constantly towards the co-creation of hybrid artefacts.
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Inquiring into the polyphony of creativity Nirav Christophe uses the writing process within performing arts as his case study. In contemporary performing arts the position of the text has changed dramatically. Drawing from Hans-Thies Lehmann’s book Postdramatic Theatre (2006) one can say that postdramatic theatre is not dominated by scripts, but characterised by a multitude of theatrical signs. Text, in other words the actual script, needs no longer be the point of departure for a performance. The point of departure may be a movement, a piece of music, a film or even an existing non-fiction text. Postdramatic theatre is therefore characterised by a mixture of disciplines and genres. A lot of theatre scholars nowadays refer to the theatre-text as a polyvocal or polyphonic artefact. Along with that the creative process of the theatre makers is developing constantly towards the co-creation of hybrid artefacts.
Titel (zh)
Subtitel (zh)
Inleiding (zh)
Inquiring into the polyphony of creativity Nirav Christophe uses the writing process within performing arts as his case study. In contemporary performing arts the position of the text has changed dramatically. Drawing from Hans-Thies Lehmann’s book Postdramatic Theatre (2006) one can say that postdramatic theatre is not dominated by scripts, but characterised by a multitude of theatrical signs. Text, in other words the actual script, needs no longer be the point of departure for a performance. The point of departure may be a movement, a piece of music, a film or even an existing non-fiction text. Postdramatic theatre is therefore characterised by a mixture of disciplines and genres. A lot of theatre scholars nowadays refer to the theatre-text as a polyvocal or polyphonic artefact. Along with that the creative process of the theatre makers is developing constantly towards the co-creation of hybrid artefacts.
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<p>In Mikhail Bakhtin’s scheme the “doubleness” of the hybrid is composed not through the integration of differences but via a series of dialogical counterpoints, each set against the other, allowing the language to be both the same and different. This clearly constitutes a turning point in the debates on hybridity.” <br />When the contemporary theatre-text is hybrid and polyphonic, how can we translate those outcomes into different voices active within the writing process of the present-day playwright, and can those voices be transformed into more general creative strategies?<br />There is a moment where Bakhtin describes the writing process in a polyphonic way, very suitable for a definition of the contemporary artist, always co-creating with other disciplines, always transforming the different voices of the art product into different voices in the creative process: “Where others saw a single thought, he (Dostoevsky) was able to find and feel out two thoughts, a bifurcation; where others saw a single quality, he discovered in it the presence of a second and contradictory quality. Everything that seemed simple became, in his world, complex and multi-structured. In every voice he could hear two contending voices, in every expression a crack, and the readiness to go over immediately to another contradictory expression; in every gesture he detected confidence and lack of confidence simultaneously; he perceived the profound ambiguity, even multiple ambiguity, of every phenomenon.” <br />In higher art education there is a longing for a new pedagogy for performing arts students that fits the creative process of the co-creation of hybrid artefacts. Nirav Christophe designed such a pedagogy based on the Writing Process Model of Flower & Hayes (1981) combined with the Bakhtinian concept of polyphony and dialogism.</p> <p>1-Nikos Papastergiadis, ‘Restless Hybrids’, in: Rasheed Araeen, Sean Cubitt & Ziauddin Sardar (Hg.), The third Text Reader on Art, Culture and Theory, London / New York, 2002, p.170vv., cited in Yvonne Spielmann, Hybridkultur, Berlin 2010 p.105<br /> 2-Bakhtin Problems of Dostoevsky’s Poetics Minneapolis 1984 (1963), p.30</p>
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