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Artistic Articulations of Borders and Collectivity from Lebanon and Palestine
Series: TanzScripte, 52

| 51 To Unlearn what has been Learnt: On Epistemic Disobedience | 54 2.2 Aesthetic Evidence. Working with Artistic Case Studies | 60 The Epistemic Potential of Imagination and Experience | 61 Methodological Reflections on Case Study Work | 64 Criteria for Selecting the Artistic Case Studies | 65 2.3 Corpus of Empirical Materials and Analytical Methods | 67 Measuring Proximity and Distance: Fieldwork | 69 Performance Documents: From Dramaturgy to Dramaturgical Analysis | 70 Interviews and Transcription | 76 Organization of the Data and Structure of the

peril of working with aesthetic evidence and artistic case studies. The third section details the sample of empirical materials and the methodological tools applied to their collection and evaluation. Noting the environments and conditions in which the artworks are produced and distributed, I discuss the preconditions and the process of 38 | Resilient Bodies, Residual Effects carrying out fieldwork, of applying dramaturgical analysis as a methodological tool to the performance documents, and of qualitatively evaluating the interviews that I conducted with the

): Das Drama des Prekären. Über die Wiederkehr der Ethik in Theater und Performance, Bielefeld: transcript. Rokem, Freddie (2006): »Antigone Remembers. Dramaturgical Analysis and Oedipus Tyrannos«, in: Theatre Research International 31, S. 261- 269. Sophokles (1968): Tragödien, hg. u. übers. v. Wolfgang Schadewaldt, Zü- rich/München: Artemis. Vekemans, Lot (2005): Zus van, Amsterdam: International Theatre and Film Books. Vekemans, Lot (2008): Schwester von, Köln: Kiepenheuer & Witsch. Walsh, Keri (2008): »Antigone Now«, in: Mosaic: A Journal for the Inter

the artwork and the contexts in which it is embedded is structured upon a mixed sample of empirical data. The dramaturgical analysis of the piece is based on the video documentation of Contingency produced and edited by the artists. Filmed from a single, static camera angle, the nine minute and fifteen second document does not take into account the visitors’ interactions and presences that characterize the installed version of the piece. As with most of their work, the sound installation is primarily presented in visual arts contexts (i.e., biennials