On the Dialectics of Charisma in Marina Abramović’s The Artist is Present

While ‘charisma’ can be found in dramatic and theatrical parlance, the term enjoys only minimal critical attention in theatre and performance studies, with scholarly work on presence and actor training methods taking the lead in defining charisma’s supposed ‘undefinable’ quality. Within this context, the article examines the appearance of the term ‘charismatic space’ in relation to Marina Abramovic’s retrospective The Artist is Present at New York’s Museum of Modern Art in 2010. Here Abramovic uses this term to describe the shared space in which performer and spectator connect bodily, psychically, and spiritually through a shared sense of presence and energy in the moment of performance. Yet this is a space arguably constituted through a number of dialectical tensions and contradictions which, in dialogue with existing theatre scholarship on charisma, can be further understood by drawing on insights into charismatic leaders and charismatic authority in leadership studies. By examining the performance and its documentary traces in terms of dialectics we consider the political and ethical implications for how we think about power relations between artist/spectator in a neoliberal, market-driven art context. Here an alternative approach to conceiving of and facilitating a charismatic space is proposed which instead foregrounds what Bracha L. Ettinger calls a ‘matrixial encounter-event’: A relation of coexistence and compassion rather than dominance of self over other; performer over spectator; leader over follower. By illustrating the dialectical tensions in The Artist is Present, we consider the potential of the charismatic space not as generated through the seductive power or charm of an individual whose authority is tied to his/her ‘presence’, but as something co-produced within an ethical and relational space of trans-subjectivity

Acting in musical theatre: a comprehensive course

Buku ini membahas tentang teater musik yang menggabungkan antara akting, menyayi dan menari yang sebelumnya telah diperlakukan sebagai disiplin ilmu yang berbeda. Isi buku memberikan informasi tentang ketrampilan dasar untuk aktor pemula, wawasan praktis untuk profesional dan tips untuk membantu para pemain musik untuk menyembupnakan keahlian mereka. Buku ini ditulis berdasarkan pengalaman puluhan tahun dalam akting dan mengajar. Hal-hal yang dibahas adalah: sadar-dasar akting yang diterapkan pada teater msuikal, naskah, skor dan analisis karakter, personalisasi kinerja, mengubah latihan menjadi kinerja, gaya akting di teater musikal dan langkah praktis untuk berkarir. Buku ini juga ditujukan untuk siswa maupun praktisi karena didalamnya memuat panduan untuk latihan solo maupun kelompok

Acting in Musical Theatre: A Comprehensive course 2nd ed.

Buku ini membahas tentang akting dalam teater musikal. Merupakan satu-satunya kursus lengkap tentang pendekatan seni peran dalam musikal. Mencakup keterampilan dasar untuk aktor pemula, wawasan praktis untuk para profesional, dan tips untuk membantu pemain musik memperbaiki penampilan mereka.Pembaruan edisi kedua ini diperluas dan direvisi ini meliputi:*situs web baru sebagai pendamping siswa dan guru, termasuk slide kuliah powerpoint, contoh silabus, dan daftar ceklis untuk proyek dan latihan*rangkuman setiap bab untuk membimbing guru dan siswa da;lam memahami gagasan dan pelajaran inti buku ini*ikhtisar gaya baru untuk Musikal Kotak Pop dan Juke*update wawasan profesional dari uji lapangan dengan dengan siswa, profesional muda, dan pameran industri*gambar produk penuh warna, menghidupkan setiap ba

Glee, Flash Mobs, and the Creation of Heightened Realities

The television series Glee managed to succeed where other musical television series failed. This can be partially attributed to the emergence of flash mob culture and social media in the same time period, which created a “heightened reality” in which public musical performances were more readily accepted. [ABSTRACT FROM PUBLISHER

Regional-scale development of opening-mode calcite veins due to silica diagenesis

The formation and distribution of natural fractures in Cretaceous–Paleogene strata in Jordan are strongly tied to diagenetic processes, which in turn reflect the lithology of the host material. Observations collected from subsurface cores show that widespread fracturing began before compaction of the host sediment was complete, based on ptygmatic folding of one set of mineral-filled fractures (veins). Non-folded veins are preferentially developed within heavily cemented layers. Calcium carbonate is the greatest volumetric component of the host sediment, and most fractures are at least partially filled by calcite. Dolomite- and silica-bearing fractures are present in dolomitized and silicified host beds, respectively. Horizontal veins are filled by cone-in-cone calcite or, rarely, silica or dolomite. The stratigraphic arrangement and degree of compaction around ptygmatically folded calcite veins and chert nodules suggest that silica diagenesis was an important driver of early fractures. Nevertheless, those fractures were filled with carbonate cements as they opened, based on crack-seal texture of the vein fill. The volume loss associated with silica diagenesis created fracture porosity, which was filled coevally by carbonate cements. The distribution of later veins reflects embrittlement of host layers by cementation and is consistent with crustal deformation as the primary fracture driver