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Between intentionality and affect : on Jan Mukařovský's theory of reception

100%
Meerzon Y.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2014
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vol. 17
|
issue 2
24-40
EN
Erin Hurley and Sara Warner in their insightful study "Affect/Performance/Politics" (2012) remind us that humanities and social sciences today experience a new sweep of theoretical inquiry, focusing on studying affect as a leading mechanism of our cognition and communication, as well as making and receiving art products. This paper takes this theoretical proposition further. I argue that although the theory of affect is still struggling to find its own methodology of textual and performance analysis, when it is paired with semiotic approaches in theatre scholarship, it can offer interesting insights on how theatrical performance capitalizes on its built-in structural or artistic intentionality – Jan Mukařovský's semantic gesture - to evoke the audience's emotional responses.
2
Content available remote

Playing a tyrant - rethinking an autocrat in Asya Voloshina's Antigona: Redukciia

100%
Meerzon Y.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2023
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vol. 26
|
issue 1
29-54
EN
Written by Russian playwright Asya Voloshina, the 2013 Antigona : Redukciia is, as the author herself refers to it, 'a political satire with elements of poetry and reduction', which recasts Sophocles' title character, Antigone, from an existentialist tragic figure to a political rebel, whose actions of protest become inevitably and ironically performative in the highly mediatised culture of social media influencers and performative post-truth. A radical juxtaposition between the individual and the state, Voloshina's play exhibits deep internal connections with Bertolt Brecht's Die Antigone des Sophokles (1948), which serves as its contextual and analytical entry point. Like Brecht, I argue, Voloshina interprets the tragic conflict of Sophocles' Antigone as highly pragmatic. In her acknowledgement of Antigone's new reality – which simultaneously reminds of George Orwell's 1984 and Suzanne Collins' Hunger Games – Voloshina challenges the premise of the 20th century political tragedy. Her Antigone stands to combat the state-based machine of manipulation with her personal truth. She 'is motivated neither by religion nor by kinship'; for her Creon's law is 'simply a pretext to protest against her country turning into a totalitarian state' (SYSKA 2022: 4); and so eventually she is cancelled out from the history and from the myth. I conclude that Brecht's and Voloshina's plays connect the two centuries together, diagnose their respective dark times, and demonstrate that the cultures of populism produce corrupt moral standards, compromise personal dignity, and cultivate post-truth, all channeled through the role of an autocratic, if not tyrannic, state leader.
3
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The magic of a toolbox : The Prague School in Theatre pedagogy: analysis, comprehension, creativity

100%
Meerzon Y.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2020
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vol. 23
|
issue 1
89-104
EN
In a Canadian general theatre studies or liberal arts program in which the majority of B.A. students are expected to simultaneously take classes in theatre practice and theory, including acting, directing, design, theatre history and dramaturgy, teaching and learning can be challenging. Often our students approach exercises in text and performance analysis as unnecessary or even as superfluous tasks which a practitioner can do without. The naiveté of this hostile attitude is not surprising, but what is interesting is how a system of structural text and performance analysis, specifically here regarding the category of space, can be used as a pedagogical strategy to wake up the student's imagination and eventually become a tool of the practitioner's creative work. In the following, I will describe how to use the analytical methodologies of drama and performance analysis as developed by Prague School theoreticians as a pedagogical strategy to harness creativity. My case study is a 4th year class – Practice of Dramaturgy – which I have taught at the Department of Theatre, University of Ottawa.
4
Content available remote

Mezi záměrností a afektem: O teorii vnímání Jana Mukařovského

100%
Meerzon Y.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
|
2016
|
vol. 19
|
issue 1
37-53
EN
Erin Hurley and Sara Warner in their insightful study “Affect/Performance/Politics” (2012) remind us that humanities and social sciences today experience a new sweep of theoretical inquiry, focusing on studying affect as a leading mechanism of our cognition and communication, as well as making and receiving art products. This paper takes this theoretical proposition further. I argue that although the theory of affect is still struggling to find its own methodology of textual and performance analysis, when it is paired with semiotic approaches in theatre scholarship, it can offer interesting insights on how theatrical performance capitalizes on its built-in structural or artistic intentionality – Jan Mukařovský’s semantic gesture – to evoke the audience’s emotional responses.
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