From <i>On the Theatre</i>

Meyerhold, Vsevolod

doi:10.2307/1124884

Cited by 3 publications

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“…In order to teach EMCD, an essential aspect to know is the difference between this discipline and other motor artistic-expressive ones as can be, for instance, the Argentinian tango (OLSZEWSKI, 2008) or the Naturalistic Theater (MEYERHOLD; BEESON, 1960), among others. In this sense, EMCD does not teach specific postures, movements or techniques.…”

Section: Emcd's Characteristicsmentioning

confidence: 99%

“…What is more, it gives the importance to the learning process and not to the final outcome (MONTESINOS, 2015). Meanwhile, other motor artistic-expressive disciplines as the ones discussed above (i.e., Argentinian tango and Naturalistic Theater), are based on learning a series of concrete steps and movements (MEYERHOLD; BEESON, 1960;OLSZEWSKI, 2008). Even though it is possible to give to these disciplines (i.e., Argentinian tango and Naturalistic Theater) a personal touch, they will always be specific body languages, and the final outcome the learning protagonist (LARA-APARICIO; MAYORGA-VEGA; LÓPEZ-FERNÁNDEZ, 2019b).…”

Section: Emcd's Characteristicsmentioning

confidence: 99%

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EXPRESSIVE MOVEMENT & CREATIVE DANCE PRACTICE IN TIMES OF QUARANTINE: THE #VIDLOP MOVEMENT

2021

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A situação causada pela nova doença do coronavírus afetou a educação em todo o mundo, sendo urgente a aplicação de programas que promovam a atividade física em casa e o uso responsável de dispositivos conectados à internet. O presente trabalho apresenta uma proposta didática de Expressão Corporal (EC) para a sua prática desde casa, adaptável a diferentes níveis educacionais, e útil também como uma valiosa experiência educacional on-line ou presencial mesmo quando a crise do coronavírus acabe. Esta proposta baseia-se na Análise Laban de Movimento, no Teatro do Oprimido e no Lipdub. Procura desenvolver a linguagem corporal artística própria, a inteligência emocional, comportamentos saudáveis de atividade física e a consciência social dos alunos; e promover a criação de um novo movimento social (#VIDLOP), usando a arte e a mídia popular como canais democráticos e de poder para construir um mundo melhor. Em conclusão, esta pode ser uma proposta promissora para o desenvolvimento da EC e da consciência humana em cenários desafiadores e em diferentes ambientes educacionais.

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Section: Emcd's Characteristicsmentioning

confidence: 99%

Section: Emcd's Characteristicsmentioning

confidence: 99%

EXPRESSIVE MOVEMENT & CREATIVE DANCE PRACTICE IN TIMES OF QUARANTINE: THE #VIDLOP MOVEMENT

2021

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Modern Drama: A Selective Bibliography Of Works Published In English In 1959

Norton¹,

Shedd²

1960

Modern Drama

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A FEW ARBITRARY RULES have been improvised for this first annual bibliography of materials which we hope will facilitate research in modern drama. Our general policy has been to emphasize what might be called scholarship at the expense of slighting journalism. However, anyone who works regularly with published materials in this area knows of many cases in which scholarship and journalism merge; we have included entries for several such indeterminate, but possibly useful studies.

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Chekhov, Boredom, and Pathology as Dramatic Technique

Phillips¹

2020

Modern Drama

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This article reconsiders the depiction of boredom in Anton Chekhov’s plays. Against the notion that boredom is a form of ambient gloom that contributes to his “theatre of mood” (in Vsevolod Meyerhold’s enduring phase), I suggest that boredom is, for Chekhov, a disease with a narrowly patterned pathology, which he mobilizes as a dramatic technique. Chekhov’s formulation of “pathology plays” allowed him to make implicit recommendations to the intelligentsia about how to remedy their stultification, even as he avoided outright moral or political prescriptivism. His audiences are made to feel alongside his characters, not only through straightforward identification with their diagnoses, but also through a minimalist aesthetics that causes boredom to redouble itself in seeping from the stage into the auditorium. By focusing on the widespread understanding, in turn-of-the-century Russia, of boredom as a disease, I show how Chekhov was able to maintain the objectivity of a physician while putting the pain of boredom into a narrative, dialogic form.

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From On the Theatre

Cited by 3 publications

References 0 publications

EXPRESSIVE MOVEMENT & CREATIVE DANCE PRACTICE IN TIMES OF QUARANTINE: THE #VIDLOP MOVEMENT

EXPRESSIVE MOVEMENT & CREATIVE DANCE PRACTICE IN TIMES OF QUARANTINE: THE #VIDLOP MOVEMENT

Modern Drama: A Selective Bibliography Of Works Published In English In 1959

Chekhov, Boredom, and Pathology as Dramatic Technique

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