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How UK HE STEM Students Were Motivated to Switch Their Cameras on: A Study of the Development of Compassionate Communications in Task-focused Online Group Meetings
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In: Education Sciences; Volume 12; Issue 5; Pages: 317 (2022)
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Artificial Intelligence for Mental Health Care: Clinical Applications, Barriers, Facilitators, and Artificial Wisdom.
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In: Biological psychiatry. Cognitive neuroscience and neuroimaging, vol 6, iss 9 (2021)
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Body Positivity and Self-Compassion on a Publicly Available Behavior Change Weight Management Program
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In: International Journal of Environmental Research and Public Health; Volume 18; Issue 24; Pages: 13358 (2021)
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Empathy Cultivation through (Pro)Social Media: A Counter to Compassion Fatigue
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In: Journalism and Media; Volume 2; Issue 4; Pages: 819-829 (2021)
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Empathy cultivation through (pro)social media: a counter to compassion fatigue
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HIV and three dimensions of Wisdom: Association with cognitive function and physical and mental well-being: For: Psychiatry Research.
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O sofrimento e a esperança : uma leitura de O Deus crucificado e de Teologia da esperança de Jürgen Moltmann
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The Impact of Compassion Fatigue on Mental Health Sign Language Interpreters Working with Children: A Thematic Analysis
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In: Journal of Interpretation (2020)
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Under Discussion: Free Speech, Cancel Culture, and Compassion
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In: Languages, Philosophy, and Communication Studies Faculty Publications (2020)
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Fostering Compassion through Translanguaging Pedagogy in the German Willkommensklasse ...
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Fostering Compassion through Translanguaging Pedagogy in the German Willkommensklasse
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Science Backed Classroom-Based Strategies for Improving Students’ Academic Performance and Emotional Resilience
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In: South East Coastal Conference on Languages & Literatures (SECCLL) (2019)
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Self-Compassion and Sensory Processing Sensitivity among Sexual Minorities: A Minority Stress Framework
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The Effect of Clinical Experience on Perceived and Self-Reported Empathy in Novice Speech- Language Pathology Clinicians
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In: Graduate Theses and Dissertations (2017)
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Towards a Poetics of Affect: Staging Sound in Wajdi Mouawad's Theatre of Compassion
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Meerzon, Yana. - : Association canadienne de sémiotique / Canadian Semiotic Association, 2016. : Érudit, 2016
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Abstract:
Erin Hurley and Sara Warner in their insightful study “Affect/Performance/Politics” (2012) remind us that the humanities and social sciences today experience a new sweep of theoretical inquiry, focusing on studying affect or thrill experience as a leading mechanism of our cognition and communication, as well as the making and reception of art works. Today, “the affective turn signals [our] renewed interest in embodiment and sensorial experience” (2012 : 99), allowing scholars to examine a theatrical performance as a venue to reinforce the subjectivity of the artist and that of the receiver. A theory of affect strives to describe the mechanisms of reception in theatre as our psycho-physical experience, regardless of our linguistic, cultural, social, or ethnic background, and thus aspires to bring the question of universals back to the rehearsal hall and the theatre auditorium. This article takes such a theoretical framework further to argue that in today’s theatre it is the multiple soundscapes of performance – actors’ voices, music, artificially produced and live sound, the architecture of performance aurality – that has the most potential for instigating the audiences’ visceral experience. Hans Thies Lehmann (2006) in his influential book on post-dramatic theatre aesthetics names this phenomenon as chora, the sonoric space of the performance, which possesses the great power to deconstruct the semantic meanings of words, turning them into mechanisms of performative psycho-physical affect as xperienced by the audience (ibid. : 145). In order to illustrate how words (as poetry) and sounds (as singing and music) generate affect in today’s performances, an example of Lehmann’s chora-graphy (2006 : 146), I examine Wajdi Mouawad’s theatre of compassion (Naugrette 2008 : 88), emphasizing his dramaturgy, directorial choices (mise-en-scene), use of sound, and work with actors, as an artistic project called to shock and shake audiences emotionally. In the first section of my study I outline the major principles of the theory of affect; in the second, I discuss Mouawad’s approach to staging a canonical dramatic text and investigate how sound serves as the leading compositional element of affect in his 2011 production Des Femmes, an adaptation of Sophocles’ three tragedies Les Trachiniennes, Antigone and Électre. ; Dans un judicieux article intitulé “Affect/Performance/Politics” (2012) Erin Hurley et Sara Warner nous rappellent à quel point les sciences humaines et sociales connaissent aujourd’hui d’importantes mutations théoriques, notamment en ce qui concerne l’étude des affects et des sensations perçus comme des mécanismes fondamentaux pour la cognition et la communication, de même que pour la réception des oeuvres d’art. Elles expliquent comment le “tournant affectif” marque aujourd’hui “un intérêt renouvelé pour l’incarnation corporelle et l’expérience sensorielle” (21012 : 99), et nous permet d’envisager la performance théâtrale comme un lieu où se trouve renforcées tant la subjectivité de l’artiste que celle du spectateur. Une théorie de l’affect permet de décrire les mécanismes de réception au théâtre en tant qu’expérience psycho-physique, et ce, sans égard pour le contexte linguistique, culturel, social ou ethnique, de manière à remettre en scène la question des universaux. Notre article adopte ce parti pris théorique afin de montrer que c’est la dimension sonore – les voix des acteurs, la musique, les son artificiels et ceux générés en direct sur la scène, l’architecture de la performance sonore – qui est aujourd’hui l’aspect de l’expérience théâtrale le plus enclin à produire chez le spectateur une expérience viscérale. Dans un ouvrage important sur l’esthétique du théâtre post-dramatique, Hans Thies Lehmann (2006) nomme ce phénomène “chora”. Espace sonore de la performance, la chora possède le pouvoir de déconstruire le sens des mots et de les transformer en un mécanisme performatif et affectif de nature psycho-physique agissant sur le spectateur (106). Afin d’illustrer comment les mots (la poésie) et les sons (le chant et la musique) peuvent générer des affects dans le théâtre contemporain – ce que Lehmann nomme : chora-graphie (146) – nous prendrons pour objet d’étude le “théâtre de la compassion” (Naugrette 2008 : 88) de Wajdi Mouawad. En particulier, nous montrerons comment la dramaturgie, les choix de mise en scène, l’usage du son, et le travail avec les acteurs concourent à remuer le spectateur au moyen d’une série de chocs affectifs. La première partie de notre article résume les principaux postulats de la théorie des affects. La deuxième partie examine la manière dont Mouawad envisage, avec Des Femmes (2011), la mise en scène de textes dramatiques canoniques – il s’agit d’une adaptation de trois pièces de Sophocle : Les Trachiniennes, Antigone et Électre. Plus spécifiquement, nous étudierons la manière dont Mouawad utilise le son comme principal élément compositionnel créateur d’affects.
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Keyword:
Compassion; espace sonore de la performance; Greek Tragedy; le choeur théâtral; Son et affect au théâtre; Sound Space of Performance; The Work of Chorus; Theatre Sound and Affect; tragédie Grecque; Wajdi Mouawad
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URL: https://doi.org/10.7202/1051185ar
http://id.erudit.org/iderudit/1051185ar
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| 17 |
Exploring the Experience of Teachers Working with Exceptional Learners
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| 18 |
The Curriculum Challenge: Classrooms as Sites of Resistance
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In: Curriculum Studies Summer Collaborative (2015)
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The Pedagogy of Silence: What Students Can Gain by Not Trying to Understand
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