Roots Reloaded. Culture, Identity and Social Development in the Digital Age

This edited volume is designed to explore different perspectives of culture, identity and social development using the impact of the digital age as a common thread, aiming at interdisciplinary audiences. Cases of communities and individuals using new technology as a tool to preserve and explore their cultural heritage alongside new media as a source for social orientation ranging from language acquisition to health-related issues will be covered. Therefore, aspects such as Art and Cultural Studies, Media and Communication, Behavioral Science, Psychology, Philosophy and innovative approaches used by creative individuals are included. From the Aboriginal tribes of Australia, to the Maoris of New Zealand, to the mystical teachings of Sufi brotherhoods, the significance of the oral and written traditions and their current relation to online activities shall be discussed in the opening article. The book continues with a closer look at obesity awareness support groups and their impact on social media, Facebook usage in language learning context, smartphone addiction and internet dependency, as well as online media reporting of controversial ethical issues. The Digital progress has already left its dominating mark as the world entered the 21st century. Without a doubt, as technology continues its ascent, society will be faced with new and altering values in an effort to catch-up with this extraordinary Digitization, adapt satisfactorily in order to utilize these strong developments in everyday life

Our Puppets, Our Selves: Puppetry\u27s Changing Paradigms

Taking up the topic of puppetry, Orenstein forges connections between Craig’s vision of the übermarionette and the rise of “New Puppetry” today. She examines the use of puppets to explore similarities and differences between the technological anxieties of modernists versus contemporary artists. In addition, she calls for a more careful and contextualized attention to Craig’s puppet theory, with a close reading of the übermarionette passage in On the Art of the Theatre. Orenstein returns to some of the most well-known and much-studied passages and theories from Craig’s early work, but considers them from the fresh vantage point of contemporary puppetry scholars and practitioners

Transformation in Chinese Theatre Work's The Legend of White Snake

This thesis examines Chinese Theatre Work's The Legend of White Snake as a case study of intercultural performance. As an overseas non-profit organization in NYC, CTW creates production aims to “transform” to intercultural performance that “bridges Eastern and Western theatrical aesthetics and forms” and also shows “aspects of the contemporary Chinese experience from slowly changing roles.” Attempting to achieve these goals, CTW created hybrid Kun opera production that featured English narration, shadow puppetry, and intercultural casting. Utilizing Schechner's theory of multiculturalism, fusion, and interculturalism with Pavis and Lo and Gilbert's model to analyzing CTW's performance, this thesis examines both “he story” and “the telling” parts and unveils an imbalance between their Chinese and American source cultures and the unexpected result of their “functional transformation.&rdquo

G. Raff, spotted in the forest

In order to visualize the internal struggle that happens when loss is experienced and grief takes hold, I blend the epic narrative of the hero's journey, puppetry, theatrical performance, and cast-paper sculptures into a multimedia body of work. My thesis exhibition, G.Raff, Spotted in the Forest, has three parts: the story itself, both written and performed, the fiber sculpture that visually supports the story, and the immersive environment that merges performance, cast-paper sculptures, textual elements, and artifacts from the performances. All of these separate components work in tandem to create a unique experience for the viewer, each providing additional context--each filling in what the other left out. In my written and performed narrative, the cyclical nature of the hero's journey and the cycle of death and rebirth in the natural world are intertwined. It is a story that involves three characters, and is focused on the transformation of the protagonist, the unlikely hero, G.Raff, who endures her grief in nature, and struggles to reconnect with herself and her surroundings. She struggles to break free of her insecurities and fears, and fails to see and truly experience what is hidden in plain sight. It is on her journey of healing through nature that she finds meaning through and beyond loss. G.Raff, Spotted in the Forest, uses a multimedia approach to create work that transports the viewer into G.Raff's world, to experience the lesson that is hidden beneath the surface. The combination of creative writing, performance, digital media and sculptural objects is used to enhance the experience of the viewer, creating an immersive environment that brings the story to life. The narrative is presented as documented theatrical performances, and uses video screens housed within cast-paper sculptures to draw the audience in, transforming them from spectator to active participant. As viewers peer into the sculptures that resemble segmented tree trunks, they are provided a lens into a life transformed by loss, and healed by nature, and are called upon to pay attention to the subtleties as G.Raff's journey unfolds. This written thesis takes the reader on a journey, and touches on a variety of topics that have influenced, or are directly related to the artwork featured in G.Raff, Spotted in the Forest. Beginning with puppetry and performance art, I discuss character development, as well as the decision to blend elements from both mediums into a theatrical performance, focused on endurance and ritual. This is followed by a section on storytelling, where I talk about allegorical literature, and how this genre greatly influenced my narrative decisions. The hero's journey, Aesop's Fables, and medieval bestiaries are discussed at length. The theme of forest bathing--connecting with nature using all of the senses--is woven into the entire thesis, as it is the crux of my artwork and of the story itself. In G.Raff, Spotted in the Forest, all of these topics merge together in an immersive exhibition that changes the way digital media is consumed; providing a space within the gallery that requires viewers to slow down, and be completely aware of their physical presence in relationship to the artwork. Puppetry, allegories, fables, and forest bathing all challenge the audience or participant to look beneath the surface, whether literal or figurative, and it is the challenge I present to the viewer in my thesis exhibition. It is only by engaging and looking very closely that the meaning hidden within the simplest forms can be found.Includes bibliographical reference

How to seed a puppet in someone's heart? - Challenges of teaching puppetry techniques at the University

The author presents the two arms of his pedagogical practice. The first one is the work method Vellinho has developed – as a director, puppeteer and actor – to train professionals to the practice of the Animation Theater. His technical procedures have been improved throughout the 18 years of his company, by means of experimentations that approach the Animation Theater to other languages, as Cinema, Dance and Cartoon. The second arm is Vellinho’s work since 2008 as a professor at the university. The director was responsible for the creation of the Animation Theater discipline at UNIRIO, considering the challenges of public education’s reality in Brazil, both at University – field for the students’ professional qualification – and at Elementary, Middle and High School – the largest work field for the future teachers. His work seeks to establish real and strong links between the artist and the animated object. In this process, the crafting of the puppets is a special highlight, because that is where begins the comprehension of the puppet in its scenic expression’s entirety, a methodology Vellinho considers as a gestatio

Ancient into Modern Perceptions of an onlooker

Penny Francis apresenta aqui um panorama da evolução do teatro de bonecos europeu contemporâneo, com a esperança de que o leitor o considere instigante para observar as similaridades e contrastes entre este e o teatro de bonecos no Brasil. Através da descrição da produção dos diversos países europeus– com forte enfoque na produção britânica – o leitor certamente poderá encontrar o prazer de reconhecer algumas características compartilhadas pelos nossos mundos

Plot 99 : towards a feminine semiotic : spiritual and sexual emergence(y) in women's puppetry and visual performance

Includes bibliographical references.This thesis explores how a multidisciplinary Feminine Semiotics may find expression through the cross-disciplinary medium of puppetry and visual performance. It investigates puppetry's relevance to the developing academic field of Practice as Research in performance. It considers the theoretical and creative applications of this multidisciplinary art form in the innovative Feminine Semiotics of emergence(y) in the production Plot 99

The Development and Function of the Gara-gara Scene in the Surakarta Style Shadow Puppet Performances

This paper aimed to examine the development and function of the gara-gara scene in the Surakarta style shadow puppet performances. The gara-gara scene is the scene that is shown first in the pathet sanga part of the shadow puppet performances. There were two problems studied: (1) how the development of the gara-gara scene is; and (2) how the function of the gara-gara scene is in shadow puppet performances. Problems were analyzed with the theories of development and art function. The method used was literature study, interviews, and observation. The analysis results showed that the gara-gara scene was originally only presented in a play which contains a scene of the knight in meditation. In its development, the gara-gara scene is presented in every play. In addition, the gara-gara scene in the Surakarta style shadow puppet performances has developed in pocapan (narration), ginem (dialogue), and karawitan pakeliran, which includes gamelan instruments and the songs performed. This development contains two factors, namely internal and external factors. The function of the gara-gara scene includes the functions of communication, education, entertainment, and propaganda media. The conclusion of this paper states that the scene of gara-gara has developed along with the dynamics of changing times. The gara-gara scene has various functions for the social life of society. Keywords: gara-gara scene, development, function, shadow pupprt performance, Surakarta style DOI: 10.7176/ADS/102-04 Publication date:December 31st 202