SCS No. 46 (2021)
Articles
DES FRONTIÈRES CULTURELLES POREUSES : LA RENCONTRE DES ARTS MARTIAUX CHINOIS SHAOLIN (SHÀOLÍN少林) ET DE LA DANSE CONTEMPORAINE DANS SUTRA DE SIDI LARBI CHERKAOUI
Sylvain Gagné
Porous Cultural Boundaries: The Meeting of Shaolin (Shàolín少林) Chinese Martial Arts and Contemporary Dance in Sutra by Sidi Larbi CherkaouiThis contribution presents an analysis of the porous cultural boundaries in the context of European contemporary dance with Shaolin (Shàolín少林) martial arts in the spectacle Sutra from Sidi Larbi Cherkaoui and the Shaolin monks (Shàolín héshàng 少林和尚). The porous cultural boundaries as presented in Sutra are studied with the concept of martial arts corposphere (José Enrique Finol) in relation to the concept of semiosphere (Yuri Lotman) as applied to the Chinese cultural space. The territory is also presented as the holder of the culture, but the diaspora constitutes an example of ultraperipheral extension of the culture or the transgression of the cultural boundaries.
LA LIMITE DANS L’ART PERFORMANCE AU XXIe SIÈCLE: TRANSGRESSION ET ABANDON À LA TRANSE
Beatrice Lăpădat
Boundaries in the art performance of the 21st century : transgression and the abandonment to tranceOur paper, titled Boundaries in the art performance of the 21st century : transgression and the abandonment to trance (« La limite dans l’art performance au XXIe siècle: transgression et abandon à la transe »), seeks to explore the meaning of boundary-pushing practices within the art performance of the 21st century centred around violence, in reference, on the one hand, to the concept of transgression and, on the other, to that of transcendence. If transgression “has become a cliché of modern culture”, as Anthony Julius (2008) puts it, how can we project a post-2000 boundary-pushing performative and choreographic practice without witnessing an undesired dilution of the concept while also being respectful of the ethical values that a new wave of artists is advancing? Our analysis of several performances signed by Jan Fabre and Youness Aboulakoul, respectively – two performance artists marked by different generational and socio-cultural backgrounds – provides the framework to acknowledge the different ways in which contemporary artists may nourish the notion of boundary-pushing models. While Jan Fabre denounces what we might call “pseudo-transgression” in Orgy of tolerance (2009) as he employs himself a series of shock strategies and a radical display of physical violence, French-Moroccan choreographer Youness Aboulakoul directs the boundary-pushing performative process to his own body by the means of trance, without ever recurring to an actual corporeal brutality that might hurt or shock the audience. These different practices open what we hope to be a productive field of debate helping us to understand how choreographic and performative systems are changing in relation to the way in which concepts such as violence, transgression, and corporeal limits are being shaped and socially accepted and assimilated today.
DISSIDENCE ET TRANSGRESSION DANS LE PROCESSUS DE CRÉATION DE LA PIÈCE LE RÊVE D'URMILA INSPIRÉE DU RAMAYANA ET DU KATHAKALI DANS UN CONTEXTE DE CONTROVERSE
Sylvie Belleau
Dissent and transgression in the creative process of the play Urmila's Dream inspired by the Rāmāyana and Kathakali dance in the context of a controversyIn 2018, two controversies erupted in Montreal around director Robert Lepage's latest creations accusing him of cultural appropriation. A few weeks later, the play Le rêve d'Urmila was presented as part of my creative laboratory for the Doctorate in Littérature et arts de la scene et de l’écran at Université Laval in Quebec City. Inspired by a myth and a traditional Indian dance, how do we deal with transgression and dissent in a creative work that is rooted in another culture?
L’APPRECIATIVE INQUIRY (AI) POUR RÉPONDRE À LA SENSORI-SCÉNICITÉ
Josiane Nguimfack Zeufack
Appreciative inquiry (ai) to respond to sensory-sceneityIn this study, we are interested in the application of the appreciative inquiry (AI) method to a brand-new approach to theatrical creation, the sensory-scenicity, currently being conceptualized as part of our doctoral project in which we seek to make the theatrical stage to people with visual disabilities, and to highlight their sensory and creative potential. Using these two concepts, we want to give full scope to the deployment of the senses, the imagination, creativity, and a shared vision in an experimental theatrical creation. It is therefore a question of merging corporate organizational development approaches with those of theatrical work, to stimulate the creative potential of visually impaired people as participants in the theatrical act. The interdisciplinarity of this study further enriches our view and our approach to the creative process with visually impaired people. It also contributes to the establishment of an approach that is both artistic and human.
LES ARTS DE LA SCÈNE FACE À LA PANDÉMIE DE LA COVID-19: LA TRANSITION PRÉMATURÉE VERS L’ENVIRONNEMENT VIRTUEL ET LE CAS DU PROJET ANIMA(L)S
Eirini Polydorou(1), Tiago Viudes Barboza(2), Claudia Funchal(3)
COVID-19 and the premature digital transition in performing arts: The Case of the project Anima(L)sThis paper examines the creative process of the video-performance Anima(L)s, created by Eirini Polydorou, Tiago Viudes Barboza and Claudia Funchal, in the context of the COVID-19 pandemic. Among the topics discussed are the impact of the pandemic in the way people work, specifically focusing on performing arts and cultural production, and the relations between performance, orality and technology. This video-performance portrays one intercultural interpretation of the short story Conversation of Oxen, from the Brazilian author Guimarães Rosa, focusing on its philosophic aspects.
„CRIZA” REPREZENTĂRII ŞI LIMITELE SEMIOTICII: PERFORMANCE CONTEMPORAN
Nicoleta Popa Blanariu
The Crisis of Representation and the Limits of Semiotics: Contemporary PerformancePrefigured since antiquity (Lucian of Samosata 2009, Augustin 2002), the semiotics of the performing arts is very much indebted, in the 1970s and even after that, to the linguistic paradigm of structuralism. It has the advantage of having changed the perspective on the aesthetic object, but also the disadvantage of not being able to seize some aspects specific to the performing arts. The Semiotics of performance emerges with the awareness of its vulnerability, of the methodological risk to which it is exposed by "this tendency to reduce all the problems of sign to language" (Kowzan 1968). However, later contributions ingeniously used some acquisitions of linguistics and structuralism. The transformations of artistic practice – the "avant-garde" after 1960 – imposed an adaptation of theoretical discourse. The new semiology dialogues with performance theory, communication theories, pragmatics and speech acts theory, reception studies, reader-response, theatrical anthropology. In the face of the versatility of its "object", it remains to be seen whether, playing the card of maximum adaptability, semiotics will be able to truly maintain its "universalizing vocation" (Helbo 2016).
QUAND UN PETIT ORNEMENT NOUS RATTACHE AU REEL : LE RUBAN AU COU D’OLYMPIA DE MICHEL LEIRIS
Maricela Strungariu
When a small ornament connects us to the real world: Le ruban au cou d’Olympia by Michel LeirisLe ruban au cou d’Olympia, the adulthood work of Michel Leiris, one of the most original French autobiographers of the 20th century, transgresses generic and artistic borders in order to create an image as faithful as possible of the modern man in the grip of existential anxieties and identity crises. Motley, fragmentary, oscillating between reality and fiction, prose and poetry, text and image, this book is an edifice that the author erects to give his life a meaning and a reality and, ultimately, to save himself from death and oblivion.
TRANSMEDIA PORTALING: IMAGINARUL MITOLOGIC AL TRECERII DINTRE LUMI, ÎN NOILE MEDIA
Dan Popa
Transmedia portaling: reminiscences of mythical imagination in new mediaIn this paper we aim to examine some aspects of the relationships between mythical symbols and images of the trangression of frontiers between this world and other world, on one hand, and its reminiscences in pop culture (movies, video games, advertising), on another hand.
DE DOUĂ ORI DUPĂ 20 DE ANI
Vasile Spiridon
Twice twenty years laterThis text is a translation of the preface written by the author of the book Le Maniérisme (Paris, Presses Universitaires de France, 1979), Claude-Gilbert Dubois, for the Romanian edition, which was supposed to appear in 1999. For reasons we do not mention here, the book has not been traslated into Romanian, although, the preface was preserved...
CONDIȚIA POETULUI ȘI A POEZIEI ÎN LIRICA LUI NICOLAE DABIJA
Liviu Chiscop
The condition of the poet and poetry in the lyrics of Nicolae DabijaAlong with the inescapable theme of love poetry, with the patriotic lyricism that aimed at the national rebirth of Bessarabian Romanians, or the poetry of religious sentiment, poetic arts or, rather, poetry about the status of the poet and poetry is one of the major themes of Dabijian creation . In the good tradition of genre creations in Romanian literature and in the descendants of some illustrious forerunners – starting with Eminescu, Coșbuc and Goga, continuing with Arghezi, Blaga and Barbu and ending with Labiș, Stănescu or Păunescu – Nicolae Dabija transfigures lyrically, in many of his creations, definitions of poetry or thoughts regarding the status of creators of art and even stories, with subliminal horticultural intention, addressed to congeners.
Recenzie 1
Vasile Spiridon
Gumă de șters englezeșteMircea Mihăieș, Finnegans Wake, 628. Romanul întunericului, Iași, Polirom, 2021, 880 p.
Recenzie 2
Adrian Jicu
Cosmin Ciotloș, Cenaclul de Luni. Viața și opera Cosmin Ciotloş, Cenaclul de Luni. Viața și opera, București, Pandora M, 2021, 464 p.
Recenzie 3
Vasile Spiridon
O anumită idee de școalăIon Pop, Conștiințe critice, Florești, Limes, 2021, 290 p.