This collection explores the link between theater and human flourishing. It interrogates both the social good of theater and the personally restorative work of a range of live embodied performances. It brings together the disciplines of theater (and performance studies) and psychology, especially positive psychology, to explore the social benefits of theater. These benefits include the formation and participation in community, opportunities to engage in political speech and thought, and the experience of being entertained (...) (or offended) by both the creative work of artists and the individual responses of fellow audience members. (shrink)

Because the histories of theater, politics, art, poetry, athletics, and philosophy tend to be studied separately, it is easy to forget how interconnected they were in Western Greece—the coastal areas of Southern Italy and Sicily settled by Hellenes in the 8th and 7th centuries BCE. Hieron I of Syracuse may be remembered as a tyrant, but his political power was inseparable from the theater. Hieron was the patron of the dramatist Epicharmus, who was as much a philosopher as (...) Xenophanes, who was a poet in his own right like Pindar, who was also supported by the tyrant and whose work---like all the others’—was performed for political ends. Even Plato’s adventures in Syracuse can be seen as a performance of his own political poetry. This collection of essays from a variety of disciplinary perspectives including archaeology, classics, philosophy, and art history, offers a refreshing new outlook on the ancient cultural interactions of politics and performance in Western Greece. (shrink)

In theater studies, the dramatic text tends to be treated as a remnant of an older and even old-fashioned type of theater that has now been replaced by a “post-dramatic” theater, answering only to the logic of performance. Against that view, the article argues for the continuing importance of the dramatic text across different types of theater, including those termed post-dramatic. For what has changed in the case of theater groups such as the (...) Wooster Group that are associated with post-dramatic theater is not that they discard the dramatic text, but rather that they envision a different relation to it. In order to capture the different functions of text in theater, the essay proposes three models and touches on their historical manifestations. The first assumes that the dramatic text dictates theatrical performance; the second, that the dramatic text needs to be supplemented by theatrical performance; and the third, that the text needs to undergo a process of adaptation. This third model is then applied to two case studies, the production by the Wooster Group of Gertrude Stein's Doctor Faustus Lights the Lights and the production by Big Dance Theater of Mac Wellman's Antigone. (shrink)

Performing Difference is a compilation of seventeen essays from some of the leading scholars in history, criticism, film, and theater studies. Each author examines the portrayal of groups and individuals that have been traditionally marginalized or excluded from dominant historical narratives. As a meeting point of several fields of study, this book is organized around three meta-themes: race, gender, and genocide. Included are analyses of films and theatrical productions from the United States, as well as essays on cinema (...) from Southern and Central America, Europe, and the Middle East. Topically, the contributing authors write about the depiction of race, ethnicities, gender and sexual orientation, and genocides. This volume assesses how the performing arts have aided in the social construction of the "other" in differing contexts. Its fundamental premise is that performance is powerful, and its unifying thesis is that the arts remain a major forum for advancing a more nuanced and humane vision of social outcasts, not only in the realm of national imaginations, but in social relations as well."--Jacket. (shrink)

Philosophy is not a theory but an activity. My interest in aesthetic philosophy and performance theory has offered me the opportunity to engage with the recent work of political philosopher Charles Taylor and performance theorist Jill Dolan.2 As I read these studies, I see interesting and potentially useful contributions to be drawn from their philosophical investigations toward the beginning moments of a new philosophy of drama education that is rooted in the collective creation of socially imagined performative (...) utopias. It is through this process that I arrive at the understanding that the very nature of the dramatic education process embodies and defines socially committed moral values of active and.. (shrink)

In this highly original study of the nature of performance, Spencer Golub uses the insights of Ludwig Wittgenstein into the way language works to analyze the relationship between the linguistic and the visual in the work of a broad range of dramatists, novelists, and filmmakers, among them Richard Foreman, Mac Wellman, Peter Handke, David Mamet, and Alfred Hitchcock. Like Wittgenstein, these artists are concerned with the limits of language’s representational capacity. For Golub, it is these limits that give Wittgenstein’s (...) thought a further, very personal significance—its therapeutic quality with respect to the Obsessive Compulsive Disorder from which he suffers. Underlying what Golub calls “performance behavior” is Wittgenstein’s notion of “pain behavior”—that which gives public expression to private experience. Golub charts new directions for exploring the relationship between theater and philosophy, and even for scholarly criticism itself. (shrink)

Abstract:AbstractOne of the most recognized playwrights and stage directors on the African continent today, Werewere Liking is the Cameroonian founder of the Village et Fondation Panafricaine Ki-yi Mbock in Abidjan. A 2000 Prince Claus Award laureate for her contributions to culture and development, Liking has also produced impressive works of literature and art. From the beginning of her career in the late 1970s, Liking has always promoted and expanded her project of elite theater for development, with her productions of (...) the last decade bringing to the masses theater and performance as a form of resistance to the surrounding conflict and chaos in the West African nations of Cote-d'Ivoire and, most recently, Mali. The ability of Liking and the Village to carry out their projects to fruition both in times of relative prosperity as well as in periods of conflict is a testament to Liking's successful matriarchal style of African feminist leadership and shared governance made possible by the espousing of traditional African values necessary for tackling problems of a contemporary world. (shrink)

Recent work at the intersection of philosophy of action and aesthetics has unearthed rich territory. We are deepening our appreciation for and understanding of the role of pretense, imagination, and narrative (to name a few) in human action and moral psychology. Tzachi Zamir’s book investigates a relatively unexplored locus of overlap between philosophy of action and aesthetics via a multifaceted and conceptually rich study of the art, ethics, and moral psychology of acting — topics that have received scant philosophical attention...

What is unique and essential about theatre? What separates it from other arts? Do we need 'theatre' in some fundamental way? The art of theatre, as Paul Woodruff says in this elegant and unique book, is as necessary-and as powerful-as language itself. Defining theatre broadly, including sporting events and social rituals, he treats traditional theatre as only one possibility in an art that-at its most powerful-can change lives and bring a divine presence to earth. The Necessity of Theater analyzes (...) the unique power of theatre by separating it into the twin arts of watching and being watched, practiced together in harmony by watchers and the watched. Whereas performers practice the art of being watched-making their actions worth watching, and paying attention to action, choice, plot, character, mimesis, and the sacredness of performance space-audiences practice the art of watching: paying close attention. A good audience is emotionally engaged as spectators; their engagement takes a form of empathy that can lead to a special kind of human wisdom. As Plato implied, theatre cannot teach us transcendent truths, but it can teach us about ourselves. Characteristically thoughtful, probing, and original, Paul Woodruff makes the case for theatre as a unique form of expression connected to our most human insticts. The Necessity of Theater should appeal to anyone seriously interested or involved in theatre or performance more broadly. (shrink)

This book takes performance studies in exciting new directions, exploring the ways in which ethics can be used to understand the complex questions facing contemporary spectators. Engaging with five key performances, the book reflects on the emotional and intellectual impacts of politically inflected performance on spectators, critics and theorists.

This paper approaches the spectrum of theater studies in Indonesia in an interdisciplinary manner, encompassing both descriptive and normative perspectives. From a descriptive standpoint, the spectrum is shaped by various ways of attributing meaning to theater as an entity. In a normative approach, various disciplines offer perspectives that contribute to creating a spectrum of meaning for theater in relation to the life of Indonesian society. Through a literature review, the research identifies at least three approaches to (...) constructing theater studies in Indonesia: synchronic, diachronic and, combined. These three approaches are drawn from disciplines outside of theater, such as historical, anthropological, and sociological studies. Based on this perspectives, theater studies in Indonesia has moved from viewing theater in its meaning as a form of sacred ritual in the past to theater as symbolic capital today. These interdisciplinary perspective has an influence on the meaning of theater in theater studies itself as a discipline. Theater in Indonesia as a subject of study, therefore, is not only understood as an art that originates from dramatic works, but is more broadly understood as all forms of art that are centered on human action displayed in live performances, including sacred rituals, cultural performances, and theatrical protests. (shrink)

Biology is seen not merely as a privileged oppressor of women but as a co-victim of masculinist social assumptions. We see feminist critique as one of the normative controls that any scientist must perform whenever analyzing data, and we seek to demonstrate what has happened when this control has not been utilized. Narratives of fertilization and sex determination traditionally have been modeled on the cultural patterns of male/female interaction, leading to gender associations being placed on cells and their components. We (...) also find that when gender biases are controlled, new perceptions of these intracellular and extracellular relationships emerge. (shrink)

How can performance transform places of urban renewal and regeneration? What does performance contribute to the creation of community? These are some of the questions addressed in this study of the relationship of performance to urban space. Marrying theory with a series of international case studies of performance practice and interviews with practitioners, this interdisciplinary study examines how space is performatively produced to create a sense of 'placeness'. Case studies are drawn from Canada, Brazil, (...) the Czech Republic, the UK and Spain. (shrink)

Descartes's notion of subjectivity changed the way characters would be written, performed by actors, and received by audiences. His coordinate system reshaped how theatrical space would be conceived and built. His theory of the passions revolutionized our understanding of the emotional exchange between spectacle and spectators. Yet theater scholars have not seen Descartes's transformational impact on theater history. Nor have philosophers looked to this history to understand his reception and impact. After Descartes, playwrights put Cartesian characters on the (...) stage and thematized their rational workings. Actors adapted their performances to account for new models of subjectivity and physiology. Critics theorized the theater's emotional and ethical benefits in Cartesian terms. Architects fostered these benefits by altering their designs. _The Mind-Body Stage_ provides a dazzlingly original picture of one of the most consequential and confusing periods in the histories of modern theater and philosophy. Interdisciplinary and comparatist in scope, it uses methodological techniques from literary study, philosophy, theater history, and performance studies and draws on scores of documents from several countries. (shrink)

This article addresses cultural memory’s ability to address past and present injustices by focusing on the artistic-political practices displayed by the professional actresses of Roma descent from the independent theater the Giuvlipen in Bucharest. The founders of this Romani women-centered theater also have ‘invented’ the word ‘Giuvlipen’ – ‘feminism’ in the Romani language – because there had previously been no word to connote both the forms of oppression and the consciousness raising politics performed by Romani women. By applying (...) the lens of intersectional feminism, the argument this article aims to put forth is that Giuvlipen’s artistic performances can foster the awareness raising of the Romani women’s ‘double jeopardy’. At the same time, the artistic performances displayed by the Giuvlipen Theater challenge the habits of historical remembering and its politics of oblivion, which can in turn promote experiential forms of knowledge and new structures and archives of feelings. (shrink)

An action research project was carried out, using theater workshops and basic digital fabrication technology workshops to improve social skills—such as the expression of emotions, communication, self-control, and teamwork—in a group of 10 young individuals with autism spectrum disorder. This article focuses on the digital fabrication workshops, where participants worked on the fundamentals of electronics and programming, as well as 3D design and printing, to make props that were later used on stage in the theatrical performances in which they (...) participated. These workshops were systematized through observation guides. According to the results, it was evident that the participants not only enjoyed and gained technological knowledge, but that their social skill development needs were addressed. Professionals from the Special Education Faculty and the Fab Lab Kä Träre, both from Universidad Estatal a Distancia in Costa Rica, were in charge of the study during its first phase, executed in 2016 and 2017. (shrink)

The article is the first exploration of Mārganāṭyam, a new tradition in the performing arts of modern India, created from the beginning of the XXI century by an outstanding researcher of musical, theatrical and dance culture, Kalamandalam Piyal Bhattacharya and his students. It is based on the many years of the author’s personal observations, interaction, interviews and discussions with the participants of “Chidakash Kalalay. Centre of Art and Divinity”, an artistic community based on the direct transfer of knowledge and skills (...) from teacher to students, which has developed around Piyal. The features of the method of reconstruction of the ancient Indian theater, the flexible application of the legacy of the past in modern conditions are under study. Particular attention is paid to the artistic interpretation and comprehension of the Indian philosophical heritage, and above all the concepts and worldview of Nyaya and Vedanta systems, transferring them to the space of scenic images. The presented material demonstrates that an integrated approach to the artistic heritage, a metatheater, combined with individual pedagogical unfold of the personality of the artists, creates the possibility of recreating the long-vanished tradition and complex philosophical issues in a way that is well understood today, relevant and reflects the essential needs of modern creators and viewers of the Indian theater at large. (shrink)

The article discusses the current topic of international interuniversity exchanges in the field of theater education. The subject of the study is the interaction of theater schools in Russia and China within the framework of the experimental Russian–Chinese theater and educational project of the Central Academy of Drama and the Russian State Institute of Performing Arts. The project has been implemented since 2015. According to the terms of the project, Russian and Chinese teachers of acting and special (...) disciplines work together in St. Petersburg and Beijing. Upon graduation, students receive diplomas from two universities recognized in both countries. The author, a direct participant of the project, analyzes the results of this experiment from the position of compliance with the principles and requirements of the dialogue of cultures.  The novelty of the research lies in the substantiation of the cultural value, the prospects of the modern version of the interaction of theater schools in Russia and China. The results of the study were the following conclusions: in the implementation of the Russian-Chinese theater and educational project, all the basic conditions are present and fulfilled, which make it possible to determine the events, events and their results that took place within the framework of the project as a full-fledged dialogue of cultures. Today, as never before, there are points of contact and mutual enrichment of the cultures of Russia and China. There are mutually significant cultural ties, dialogue and interaction of cultures. This variant of intercultural interaction is also productive from the point of view of innovation, creating a unique field of cross-cultural experiments. (shrink)

In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way (...) of doing philosophy. This strange and elusive book introduces the difficult and counter-intuitive notion of repetition. Repetition is a category of performativity that aims to activate the subjectivity of the reader. This performative effect is achieved by confronting the reader with an “unresolved”existential problem that is not yet drawn into clarity but is staged in all its confusions and contradictions. Kierkegaard’s pseudonym Constantius relies here on a performative writing strategy that is animated by a dialectic of advance and withdrawal. In the last and third step, I will analyze Constantius’s own reflection on the performative dimension of his text. Constantius has left several clues behind, each of which suggests that he deliberately developed a performative writing strategy. (shrink)

PHILOSOPHY BEGINS IN WONDER--so says Socrates in the Theaetetus-- but where does it end? The Theaetetus itself ends in such a puzzling way as to be the cause of apparently interminable dispute. Although its theme is the nature of knowledge, neither Socrates nor his interlocutors ever present a definition that gains unanimous approval. The definitions of knowledge as perception, as true opinion and as true opinion with an account are all rejected. This fact has understandably inclined most interpreters to maintain (...) that the dialogue fails to reach its explicit goal. Nevertheless, Socrates' attitude about the apparent failure of his conversation with Theaetetus is markedly distinct from his express attitude in those early dialogues with which the Theaetetus is often compared. Whereas early dialogues conclude with self-deprecation and exhortation to continue the quest, the Theaetetus concludes in satisfaction, indifferent to the possibility of further study. As midwife Socrates has successfully delivered Theaetetus of his phantom offspring; beyond that he can do no more. Thus the apparently negative conclusions of the dialogue are at least not negatively intoned, and readers can barely avoid the suspicion of having missed something. One response is to argue that an authorized definition of knowledge can be found by a careful reexamination of the very arguments Socrates rejects. But the fact that our suspicion is aroused by a dramatic consideration commends a search for resolution through the drama, however that might happen to bear on the problem of knowledge. (shrink)

Sartre's play Les Mouches ( The Flies ), first performed in 1943 under German occupation, has long been controversial. While intended to encourage resistance against the Nazis, its approval by the censor indicates that the regime did not recognize the play as a threat. Further, its apparently violent and solitary themes have been read as irresponsible or apolitical. For these reasons, the play has been characterized as ambiguous or worse. Sartre himself later saw it as overemphasizing individual autonomy, and in (...) the view of one critic, it conveys an “existentialist fascism.” In response to this reading, it is necessary to attend to the elements of the play that already emphasize duty to society. From this perspective, the play can be seen as anticipating the concern with collective responsibility usually associated with the later Sartre of the 1960s. More than this, the play's apparent “ambiguity” can be found to exemplify a didacticism that is much more complex than sometimes attributed to Sartre. It is not only an exhortation about ethical responsibility, but also a performance of the difficulties attendant to that duty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing the Art of TheaterAaron Meskin (bio)IntroductionIn his 1992 address to the American Society for Aesthetics, Peter Kivy suggested that philosophers of art might do best by giving up on “grand theorizing” (that is, pursuing the definition of art).1 In its place he proposed that they pursue the “careful and imaginative philosophical scrutiny of the individual arts and their individual problems.”2 Of course John Passmore and others had said (...) similar things at earlier points,3 but philosophical aesthetics has, it seems to me, finally and robustly taken the turn toward the philosophies of the arts. Much of the best work in philosophical aesthetics over the last fifteen years or so has pursued the route Kivy suggested. James Hamilton’s The Art of Theater is part of this turn—it is careful and imaginative scrutiny of the art of theater done at the very highest level, and I am delighted to have this opportunity to comment on it.4In what follows I shall address a number of issues raised by Hamilton’s work: the definition of theatrical enactment; the place of pretending and imagining in theatrical performance; the nature of Hamilton’s “ingredients model” and its relation to more traditional accounts of the work/performance relation; the account of theatrical style on offer; and the question of what we have learned from experimental theater.But before I move on to address those aspects of the book’s content in detail, let me say something about the pedagogical significance of this work. Although there are a number of legitimate ways to teach introductory courses on aesthetics and the philosophy of art (for example, by following a historical progression or by structuring it around certain key issues), one increasingly attractive option is to teach a course that focuses on those aforementioned individual arts and their individual problems. So, for example, I used to regularly teach graduate seminars in aesthetics to students enrolled [End Page 51] in a fine arts doctoral program. These students studied music, art education, the visual arts, theater, and dance; the seminars were designed to provide them with a broad foundation in philosophical aesthetics. Since they typically had no background in philosophy, I made the effort to assign readings and topics relevant to their own artistic practices and interests. Providing them with contemporary cutting-edge philosophical material on music and the visual arts was not hard. Kivy’s work, as well as that by Jerrold Levinson, Arthur Danto, Richard Wollheim, and others, makes that fairly easy. And intriguingly—since philosophers are commonly said to have ignored the art of dance—there’s even a decent amount of recent philosophical work on that art form by such authors as Graham McFee, Frances Sparshott, and Noël Carroll and Sally Banes.5 But where to turn to for the theater students? I would often read some of Aristotle’s Poetics with them, but I have to admit that the serious students of the theater that I encountered in those seminars typically knew that text much better than I did. (Still, I hope I challenged their breezy assumptions about catharsis!) We would read Hume on tragedy together—fun, but not really so much about the theater—and sometimes a bit of Nietzsche. But there was never much to give them from contemporary philosophers on the subject—a few articles here and there, of course, but nothing that clearly laid out the big and distinctive issues that the art form of theater raises. Nothing, to put the point a bit differently, that would provide any evidence that there really was a lively and extant philosophy of theater out there, as there are lively and extant philosophies of film, music, literature, and photography. In short, for those attracted to the prospect of teaching aesthetics as the philosophies of arts, the dearth of good work on theater by contemporary philosophers has been a significant source of frustration and even a bit of an embarrassment.The book in question is not the only recent philosophical work on theater. There are fine articles on the topic by David Osipovich, David Saltz, and Paul Woodruff, among others. Hamilton himself has a string of... (shrink)

This research explores temporal concept drift and temporal alignment in knowledge organization systems. A comparative analysis is pursued using the 1910 Library of Congress Subject Headings, 2020 FAST Topical, and automatic indexing. The use case involves a sample of 90 nineteenth-century Encyclopedia Britannica entries. The entries were indexed using two approaches: 1) full-text indexing; 2) Named Entity Recognition was performed upon the entries with Stanza, Stanford’s NLP toolkit, and entities were automatically indexed with the Helping Interdisciplinary Vocabulary application, using both (...) 1910 LCSH and FAST Topical. The analysis focused on three goals: 1) identifying results that were exclusive to the 1910 LCSH output; 2) identifying terms in the exclusive set that have been deprecated from the contemporary LCSH, demonstrating temporal concept drift; and 3) exploring the historical significance of these deprecated terms. Results confirm that historical vocabularies can be used to generate anachronistic subject headings representing conceptual drift across time in KOS and historical resources. A methodological contribution is made demonstrating how to study changes in KOS over time and improve the contextualization historical humanities resources. (shrink)

Insight problem solving is thought to underpin creative thought as it incorporates both divergent (generating multiple ideas and solutions) and convergent (arriving at the optimal solution) thinking approaches. The current literature on schizotypy and creativity is mixed and requires clarification. An alternate approach was employed by designing an exploratory web-based study using only correlates of schizotypal traits (paranoia, dissociation, cognitive failures, fantasy proneness, and unusual sleep experiences) and examining which (if any) predicted optimal performance on an insight problem-solving task. (...) One hundred and twenty-one participants were recruited online from the general population and completed the number reduction task. The discovery of the hidden rule (HR) was used as a measure of insight. Multivariate logistic regression analyses highlighted persecutory ideation to best predict the discovery of the HR (OR = 1.05; 95% CI 1.01–1.10, p = 0.017), with a one-point increase in persecutory ideas corresponding to the participant being 5% more likely to discover the HR. This result suggests that persecutory ideation, above other schizotypy correlates, may be involved in insight problem solving. (shrink)

Purpose: Studies of reactive and proactive modes of inhibitory control tend to show age-related declines and are accompanied by abnormalities in the prefrontal cortex. We explored which mode of inhibitory control would be more amenable to change and accrue greater benefits following engagement in a 4-week theater acting intervention in older adults. These gains were evaluated by performance on the AX-CPT task. We hypothesized that an increase in proactive control would relate to an increase in AY errors (...) and a decrease in BX errors. In contrast, an increase in reactive control would be associated with a decrease in AY errors, no change in AY reaction time, and an increase in BX response time. Further, we posited that an increase in behavioral proactive control would accompany greater cue versus probe activity for previously identified regions in the prefrontal cortex. In contrast, an increase in behavioral reactive control would be accompanied by greater probe activation in these identified brain areas.Materials and Methods: The participants were 179 community-dwelling adults aged 60–89 years who were on average, college-educated. Participants were pseudo-randomly assigned to either an active-experiencing acting intervention condition or the active control condition ; participant assignment was subject to time of enrollment. Participants in both groups were trained by theater-actor researchers with expertise in acting interventions. In contrast to the active control participants who attended a course on theater acting, the acting-intervention group was required to consistently deploy proactive and reactive control mechanisms. Both groups met two times/week for 75-min for 4 weeks. Participant brain-behavioral performance on the AX-CPT task was evaluated prior to and after this four-week period.Results: No intervention effects were found in favor of proactive control. Behavioral evidence in favor of reactive control was weak. Brain-related benefits to reactive control was illustrated by greater probe-activation in Brodmann areas 6 and 8, relative to controls and pre-intervention.Conclusion: We found some evidence for improvements in reactive control via brain measures, attributed to engagement in the acting intervention. (shrink)

The Body in Sound, Music and Performance brings together cutting-edge contributions from women working on and researching contemporary sound practice. This highly interdisciplinary book features a host of international contributors and places emphasis on developments beyond the western world, including movements growing across Latin America. Within the book, the body is situated as both the site and centre for knowledge making and creative production. Chapters explore how insightful theoretical analysis, new methods, innovative practises, and sometimes within the socio-cultural conditions (...) of racism, sexism and classicism, the body can rise above, reshape and deconstruct understood ideas about performance practices, composition, and listening/sensing. This book will be of interest to both practitioners and researchers in the fields of sonic arts, sound design, music, acoustics and performance. (shrink)

Little is known about study co-ordinators of gene therapy clinical trials. The purposes of this study were to: (1) describe characteristics of co-ordinators of gene therapy (transfer) clinical trials; (2) assess differences between nurse and non-nurse study co-ordinators; and (3) identify factors indicative of study co-ordinators' role preparation that could affect their role performance. This exploratory correlational study employed a convenience sample of 118 co-ordinators in the USA (55 participants; 47% response rate). The researcher created the Study Coordinator Role (...) Preparedness and Performance Survey to assess factors or correlates of study co-ordinator performance. Analysis of variance was used to compare nurses and non-nurses, and men versus women on their perceived preparedness, perceived quality of orientation, and satisfaction with educational opportunities. The findings contribute to knowledge by identifying present inadequacies in the training of study co-ordinators and in recognizing the need for more effective provision of orientation and continuing education with respect to ethical issues, knowledge of genetic science, and potential research integrity challenges. (shrink)

This paper offers the first large-scale empirical study of organizational virtue as perceived by both internal and external stakeholders and of the links between these virtues and organizational outcomes such as identification, satisfaction, and distinctiveness. It takes a strategic approach to virtue ethics, one that differs from a more traditional Aristotelian concept of virtue and from Alasdair MacIntyre’s manner of distinguishing between internal and external goods. The literature review compares three different perspectives on the empirical study of organizational virtues, taken (...) by virtue theorists, POS scholars, and strategy scholars. The main study describes an empirical research undertaking that involved the analysis of 2548 usable questionnaires administered to employees and customers of seven organizations in the U.K. A structural equation model was used to test the linkages of the six dimensions of organizational virtue to satisfaction, identification, and distinctiveness. All the links were significant, with the strongest between virtue and identification. For employees, identification was driven most significantly by integrity, whereas customers’ identification was principally influenced by empathy. The empirical finding also sounds an alarm bell to the global firms who focus on creating a differentiated image based on CSR in the hope that it will lead to satisfaction. The results lead to a discussion of how companies might build favorable stakeholder perceptions of key dimensions of virtue that most shape their identification and differentiation in the marketplace. (shrink)

There are several reasons to explore the role theater played in the life of Søren Kierkegaard and in the inspiration for his works. There are probably more reasons to analyze the role Kierkegaard played for theater, both as a source of inspiration and as a thinker reflecting on different facets of drama, performance, and acting. In the present study I focus on the diversity and complexity of Kierkegaard’s views on theater to elaborate on the possible connections (...) and types of influence he exercised on stage artists and theorists, shaping our contemporary theater theories. Approaches include literature, philosophy, theology, staging, acting, audience, and the history of theater, both in Kierkegaard’s times and later. (shrink)

Had I been willing to run the risk of multiplying cuteness beyond necessity, this article would have worn the title “So you are one of those naṭs!.” The Hindi word naṭ, which helpfully sounds like the English nut, represents the way most of us in contemporary India pronounce the Sanskrit word naṭa. When we notice that a nut, in English, is someone crazy, pointing us toward the divine madness that a Dionysian performer might be expected to manifest — while on (...) the other hand no known classical Indian theory essentially associates the theater with madness — the contrast between conceptualizations of the theatrical in classical India and in classical Greece comes into view. Relative to what has come to.. (shrink)

This is the first collection on Rancière, a key thinker of political philosophy and aesthetics, which deals explicitly with the implications of his thought on theatre and performance studies.

From the Federal Theater Projects of the Great Depression to the disruptive performances of the 1960s and 1970s, theater has played an important role in American radicalism. This special issue of_ _Theater_ reports on socially conscious, politically active theaters in the United States. Despite the evaporation of Cold War passions and the rise of conservatism in the 1980s and 1990s, such theater work remains a persistent and evolving presence on the political landscape. Since the first inauguration of (...) George W. Bush, new opportunities have arisen for political performance and for significant new challenges to these artists. T_heater and Social Change_ not only tracks the historical evolution of political theater but also explores the current state and future prospects of different modes, including agit-prop, demonstrations, solo performance, Augusto Boal’s Theater of the Oppressed, and community-based production. With such notable contributors as Anna Deavere Smith, Jonathan Kalb, Holly Hughes, and Tony Kushner, the issue offers a diverse assemblage of personal statements, conversations, photographs, interviews, and performance text. _Contributors include:_ Reverend Billy, Jan Cohen-Cruz, Arlene Goldbard, Sharon Green, Lani Guinier, Holly Hughes, Jonathan Kalb, Tony Kushner, Judith Malina, Robbie McCauley, John O'Neal, Claudia Orenstein, Bill Rauch, Julie Salverson, Anna Deavere Smith, Alisa Solomon, Roberta Uno. (shrink)

Theater requires artifice, justice demands truth. Are these demands as irreconcilable as the pejorative term “show trials” suggests? After the Second World War, canonical directors and playwrights sought to claim a new public role for theater by restaging the era’s great trials as shows. The Nuremberg trials, the Eichmann trial, and the Auschwitz trials were all performed multiple times, first in courts and then in theaters. Does justice require both courtrooms and stages? In Staged, Minou Arjomand draws on (...) a rich archive of postwar German and American rehearsals and performances to reveal how theater can become a place for forms of storytelling and judgment that are inadmissible in a court of law but indispensable for public life. She unveils the affinities between dramatists like Bertolt Brecht, Erwin Piscator, and Peter Weiss and philosophers such as Hannah Arendt and Walter Benjamin, showing how they responded to the rise of fascism with a new politics of performance. Linking performance with theories of aesthetics, history, and politics, Arjomand argues that it is not subject matter that makes theater political but rather the act of judging a performance in the company of others. Staged weaves together theater history and political philosophy into a powerful and timely case for the importance of theaters as public institutions. (shrink)

On many occasions, the maximum result of a team does not equate to the total maximum individual effort of each athlete (social loafing). Athletes often combine their sports life with an academic one (Dual Career), prioritizing one over the over in a difficult balancing act. The aim of this research is to examine the existence of social loafing in a group of novice university rowers and the differences that exist according to sex, academic performance, and the kind of sport (...) previously practiced (individual or team). Therefore, a study was conducted from a probabilistic perspective using the Bayesian Network analysis methodology. The results confirm the existence of the Ringelmann effect or social loafing. The Bayesian analysis let us confirm that having a good student who practices a team sport, even in the individual rowing concept, increases the probability of obtaining greater performance (higher number of strokes and more power in each one). Therefore, when rowing partnerships are formed, the occurrence probability chain is quickly simplified, along with values of the top and bottom variables. Finally, the instantiations undertaken on the bottom variable that appears to be common in the two BNs, the watt input, enhance the results obtained. In short, rowers who have a better academic record are more involved in team testing, so this characteristic is defining when it comes to achieving better performance in team testing. (shrink)

: This study examines the effectiveness of systematic desensitizationtreatment on mathematics anxiety and performance among year one collegestudents. This study employs a quasi-experimental research design. The samplefor this study is drawn based on convenience sampling. The sample consistsof 65 year one students of which 32 are under the experimental group andanother 33 are under to control group. The instruments used in collectingdata are The Adopt and Adapt Fennama-Sherman Mathematics Attitude Scale, Neo-Five-Factory Personality Inventory, MathematicsPerformance Test, and The Systematic Desensitization (...) Module. The study postulates: mathematics anxious students who receivesystematic desensitization treatment would report a reduction in the level ofmathematics anxiety as compared to those mathematics anxious students whodo not receive any treatment; mathematics anxious students who receivesystematic desensitization treatment would perform better as comparedto those mathematics anxious students who do not receive any treatment.Quantitative data is analysed using ANOVAs. (shrink)

The development of the vital potential of the drama theater is in a continuous search for new forms of expression. Today, in an attempt to establish itself on the territory of a multicultural environment, as well as in an attempt to gain a unique method of communication with society, the theater as an art sphere expands the boundaries of its purpose. Going beyond the stage space turns out to be an important subject of research from the point of (...) view of the search for the artistic existence of the theater in the conditions of digital reality. This article discusses the issue of finding a place for a drama theater in a digital environment where the energy of human relations is significantly minimized and manifests itself in a specifically different way. The subject of the research for the author was the cultural and creative activity of the Tovstonogov BDT. The St. Petersburg Bolshoi Drama Theater does not need recommendations: it has a great history in the twentieth century, an attractive stage "today" for the audience and, undoubtedly, interesting prospects. In the practice of BDT under the leadership of Andrei the Mighty (2013-2023), there are such turns of dramatic action that are not directly connected with the stage and are almost out of place for the "repertory" theater. The phenomenon of the theater, as if removed from its ancestral roots, leaving the walls breathing tradition, is considered in the article as an experience of cultural and theatrical "exit" to the "stage" of digital reality. Among such experiments, the most significant are the social action "Help the doctors", as well as the experiments of "Minecraft" performances. In addition to the usual comparative historical method for art studies, others will be used, first of all, the formal method, which distinguishes the St. Petersburg school of theater studies. Scientific novelty is determined by the subject of research itself: BDT is considered as a phenomenon of a multi-genre cultural space, in which, as before, a special place is rightfully given to the actor, his role, as well as to the viewer who finds himself in the conditions of a new socio-cultural picture of the world. (shrink)

El Pachallampe o Raymi de la siembra se celebra anualmente en Socoroma, norte de Chile. El repertorio de prácticas escénicas involucrado en esta celebración crea y transmite memoria social y conocimiento andino en actos y en presencia. No es esta una escena que pueda ser estudiada exclusivamente a partir del archivo y desde conceptualizaciones asociadas al término teatro. En el Pachallampe, el repertorio hace visible un conjunto de estrategias decoloniales transmitidas de generación en generación a partir del lenguaje de las (...) artes y de un protocolo ritual. Allí, la ley del Ayni o ley de la reciprocidad prevalece por sobre las relaciones económicas y sociales basadas en la privatización del recurso productivo y del territorio. Por otra parte, el culto a la divinidad universal aymara, Pachamama, y a los dioses tutelares ocupa un lugar de destacada importancia en relación con las imágenes cristianas que presiden la fiesta. The Pachallampe or Raymi of the sowing is held annually in Socoroma, northern Chile. The repertoire of performance practices involved in this celebration creates and transmits social memory and Andean knowledge in gatherings and in presence. This is not a scene that can only be studied from the archive and from conceptualizations associated with the term theater. In the Pachallampe, the repertoire reveals a set of decolonial strategies transmitted from generation to generation from the language of the arts and a ritual protocol. There, the Ayni law or reciprocity law prevails over economic and social relations based on the privatization of productive resources and territory. Moreover, the Aymara cult of the universal divinity Pachamama and the tutelary gods occupy a place of major importance in relation to the Christian images that govern the party. (shrink)

ABSTRACTWith over 560 citations reported on Google Scholar by April 2018, a publication by Juslin and Gabrielsson presented evidence supporting performers’ abilities to communicate, with hig...

Child sexual exploitation and abuse has grave implications for the mental health and wellbeing of children and young people. It has been linked to a wide range of difficulties which may extend into adulthood. School-based prevention programs that aim to raise awareness are popular, however, have historically lacked robust and consistent evaluation. The purpose of the present study was therefore to explore young people’s experiences of attending a school-based theater-in-education program, and the impact this had on their awareness and (...) understanding of CSEA. Four focus groups of between four to six participants each were conducted with young people from two co-educational State schools in the United Kingdom. The approach of Template Analysis was used to analyze the data, and revealed a number of themes related to the superordinate themes of “Information and Detail Delivered” and “Format and Timing.” The results suggest that participants gained new awareness and understanding of aspects related to CSEA, including other forms of exploitation, as well as how to avoid harm and what to do “if bad things happen.” Participants further reported that the theater performance/live element of the program was particularly impactful, feeling that this was delivered to them at the right time, but suggesting that younger people would also benefit from the important messages. In addition, areas for improvement were identified in terms of the delivery of the program, and the issue of victim blaming. Findings are discussed with a view to practical implications and directions for future research. (shrink)

_A penetrating study of the images, symbols, pageants, and creative performances ambitious Elizabethans used to secure political power_ Shakespeare’s plays abound with kings and leaders who crave a public stage and seize every opportunity to make their lives a performance: Antony, Cleopatra, Richard III, Othello, and many others. Such self-dramatizing characters appear in the work of other playwrights of the era as well, Marlowe’s Edward II and Tamburlaine among them. But Elizabethan playwrights were not alone in realizing that a (...) sense of theater was essential to the exercise of power. Real rulers knew it, too, and none better than Queen Elizabeth. In this fascinating study of political stagecraft in the Elizabethan era, Garry Wills explores a period of vast cultural and political change during which the power of make-believe to make power real was not just a theory but an essential truth. Wills examines English culture as Catholic Christianity’s rituals were being overturned and a Protestant queen took the throne. New iconographies of power were necessary for the new Renaissance liturgy to displace the medieval church-state. The author illuminates the extensive imaginative constructions that went into Elizabeth’s reign and the explosion of great Tudor and Stuart drama that provided the imaginative power to support her long and successful rule. (shrink)

In this article I consider the role of passing and performance in the everyday lives of alkaptonuria and vitiligo patients. Race, LGBTQ, gender and disability scholars have long used the term passing to describe sub-groups of people within marginal populations who intentionally manipulate their bodies or alter their behaviour in order to claim identities that are not socially assigned to them at birth. In this paper I demonstrate the effectiveness of the passing strategies that patients use in order to (...) mitigate their disease symptoms and render them invisible, thus enabling them to pass as “healthy” or unaffected by their condition. I further consider how patients who choose not to pass utilise resistance strategies in order to generate awareness of their disease and encourage funding for it. I conclude by assessing the effectiveness of these strategies in determining whether or not patients can pass, and the ways in which this is aided or hindered by their social and economic status. (shrink)

The reliefs carved on the _vedikā_ of the Bharhut _stūpa_ in the Satna District of Madhya Pradesh are some of the earliest artworks extant in India to articulate the Buddha’s life stories and the essence of his teaching in a complex visual form. This article proposes that the reliefs from Bharhut depicting episodes from Śākyamuni’s life and _jātakas_ were informed by narrative practices established in the traditions of Buddhist recitation and performance. The inscriptions engraved on the Bharhut _vedikā_ that (...) function as labels for scenes, characters, and places, point to the use of specific storytelling strategies attested in oral recitation and picture scrolls that likely existed as aide-memoire. (shrink)

There is now compelling evidence that motor imagery (MI) promotes motor learning. While MI has been shown to influence the early stages of the learning process, recent data revealed that sleep also contributes to the consolidation of the memory trace. How such “online” and “offline” processes take place and how they interact to impact the neural underpinnings of movements has received little attention. The aim of the present review is twofold: i) providing an overview of recent applied and fundamental (...) class='Hi'>studies investigating the effects of MI practice on motor learning, and ii) detangling applied and fundamental findings in support of a sleep contribution to motor consolidation after MI practice. We conclude with an integrative approach of online and offline learning resulting from intense MI practice in healthy participants, and underline research avenues in the motor learning/clinical domains. (shrink)