Horizontes Culturales is a performance that interprets the Mexican culture and it describes all the events that happened back in the days and what impacted our history. This performance is presented by a university in Mexico which put it out on television and was distributed by You Tube. The medium, structure, audience, spectacle and industry, adaptation and lastly technology or convergence make this presentation Horizontes Culturales these structures make the presentation complete and clear. The medium of the presentation Horizontes Culturales is television and live presentation. The performance is mediated due to adjustments and modifications that were made so that the audience viewing would enjoy it more. Horizontes Culturales has plenty …show more content…
The performance has lots of bits of living behaviors that were recombined and rearranged to make the performance possible. This performance is formed by the cultural aspects that it portrays through restored behaviors. The six elements of Aristotle are clearly shown in this presentation. The plot of this performance is well told in the arrangement of action in the way that all the scenes are shown and how the characters have more freedom of movement and have more action. The plot that is being presented in this performance is more of an episodic structure. Characters in this performance are very well structure starting from their biological traits all the way physiological traits. The biological traits are very well played or acted because the actors are actually going by the female or male role and even the non-human characteristics. Thought is the most important Aristotle element in this performance because this performance is highly active in culture and the actors that are participating identify themselves to this show because of their own roots and backgrounds and this leads to the motivating force …show more content…
The demographics of the audience are Mexicans. The mode of engagement is in the way that culture attracts the Mexican people because they identify themselves. The production that makes this performance possible is a television podcaster that was made in the University of San Luis Potosi. It is distributed by YouTube and TUDSLP. The spectacle and industry are basically the same as stated above. This creation was produce by the University of San Luis Potosi and distributed by YouTube and the television program of the university. This performance reflects the value of the society by showing the cultures and by people identifying themselves with this presentation. The intended audience is for people that qualify under the culture that is being presented in the performance. The Mexican society is impacted by this performance because they can be informed about facts about their cultures and they can also feel proud about their roots and they dedicated a whole performance to the Mexican culture. This performance symbolizes perfectly the controversies of life in the way that the performance values culture. A dramatic structure is brought up in this performance of the struggles and conflicts that people face. In one of the episodes that appeared in the performance it shows the struggles of a death and how people overcome
Daniel Robert Elfman known as Danny Elfman was born May 29, 1953 in Amarillo Texas. He grew up in Los Angeles until he moved to France with his brother at the age of 18. His mother Blossom Elfman was a teacher and a writer and his father Milton was a teacher and was also in the Air Force. His brother Robert is a filmmaker. He was married to Bridget Fonda on November 29, 2003 and has scored one movie of hers in 1997. He has three children Lola born in 1979, Mali born in 1984, and Oliver born in 2005.
Latin American identity, something so simple yet so powerful, an idea that has caused numerous countries great political, cultural, and economical problems. Something that has been lost at times and forced back into play, an ongoing dream that has taken its toll on an entire continent. In Calle 13’s song “Latinoamerica”, the idea of Latin American identity is portrayed through the thoughts of an actual Latin American. In this piece, Calle 13 brings up numerous issues occurring in todays Latin America. It is a manifest against great economic instability in Latin America, ongoing political issues, and what true Latin American identity means. Calle 13 brings these points up with great precision, for example “Soy una fábrica de humo, mano de obra
She explains how Mexican and Chicano literature, music, and film is alienated; their culture is considered shameful by Americans. They are forced to internalize their pride in their culture. This conflict creates an issue in a dual culture society. They can neither identify with North American culture or with the Mexican culture.
"Los Vendidos," directed by Luis Valdez, is a remarkable play that looks into the historical struggles, stereotypes and challenges of Mexican Americans in a unique fashion. Rather than tell the history of Mexican Americans through documentaries and actual footage, the play conveys its message about the true history of Mexican Americans in the United States through both subtle and blatant techniques.
New York: Routledge, 2003 Belmont, CA: Cengage Learning, 2012. Print Shaw, Lisa and Stephanie Dennison. Pop Culture Latin America: Media, Arts, and Lifestyle. Jefferson, NC: McFarland & Company Publishers, 2009.
The spectacle of this play is limited which is why there is such weight put on the actors themselves. Their scene and ensembles never show signs of change yet they develop and grow. There is a huge stress on the statue, which whom the Learned Ladies bow
These activities are designed to highlight a particular area of TO practice such as Image Theatre, Forum Theatre, Rainbow of Desire, etc. Thus we are invited not only to imagine new possibilities and solutions, but to actively participate in them, Forum style. Group problem solving, highly interactive imagining, physical involvement, trust and fun combine to create vigorous interpersonal dynamics. As a result, we learn that we are, if not the source of our difficulties, at least the reason for their maintenance. More importantly, we are clearly the source of our mutual liberations.
Through providing a micro-level analysis of the “self” through theatrical dramaturgy, Goffman supplies an adequate account of how modification of the “self” happens via performance. Taking parallel theories and ideas, each author builds upon the arguments of the other and Goffman provides enough detailed examples of social development through performance to satisfy the treatises of Berger and Luckmann’s account. Therefore, the arguments of Goffman and Berger and Luckmann work best when combined, giving us the most insight into the “self.”
To help me understand and analyze a different culture, I watched the film Selena. The film tells the life story of the famous singer Selena Quintanilla-Pérez. Not only does it just tell personal stories from her life, it also gives insight to the Mexican-American culture. Her whole life she lived in the United States, specifically in Texas, but was Hispanic and because of that both her and her family faced more struggles than white singers on the climb to her success. Even though the film is a story about a specific person, it brought understanding into the culture in which she lived. Keeping in mind that these ideas that I drew about the Mexican-American culture is very broad and do not apply to every single person in the culture, there were very obvious differences in their culture and the one that I belong. Mexican-American culture identifies with their family rather than individualized or spiritual identities and the culture has gone through significant changes because of discrimination and the changing demographics of the United States.
This week, I could see that it is impossible to understand a performance without knowing its social/ cultural context. At first I watched Jerome Bel’s The Show Must Go On, I found it was experimental. However, Shirtology, Bel’s another performance, was the weirdest and embarrassing piece that I had ever seen. It was a couple of days later when I could comprehend the intention of the video where he changes his shirts for six minutes. He was challenging the capitalistic structure of choreography; he was refusing to adapt to the tastes of the audience. In Cult Plastic, Voaugust says that “his work reveals how deeply we have been socialized and colonized to experience and create performances” (Voaugust, 2017). Artists cast a doubt on the social
...n Aristotle’s view of characters. Aristotle also suggests that a tragedy should have the power to provoke audience’s emotion of pity and fear. The suffering and behavior of each character in Hamlet possess that power. The author agrees with the Aristotelian analysis of Hamlet, the story of Hamlet was perfectly based on Aristotle’s tragedy theory. However, the author thinks that the tragedy doesn’t always have to end up in misery. A tragic story can also have some hidden happiness in the suffering, misery of tragic hero(s), in which way can audience realize that there is still hopeful when your life is tragic and encourage people to strive hard to create a better life.
Aristotle’s concept of a well written tragedy is that it is “…an imitation of an action that is serious, complete, and of a certain magnitude, in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play, the form of action, not of narrative, through pity and fear effecting the proper purgation of these emotions” (McManus). According to Aristotle, the plot is the “soul” of the tragedy from which the other parts such as characters, diction, thought, spectacle, and melody stem (McManus). Shakespeare skillfully applies Aristotle’s concept of tragedy, to Hamlet in various ways, dramatizing what may happen or “what is possible according to the law of probability or necessity (McManus). ”
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
The sixth and least important in Aristotle’s point of view is that of Spectacle, or costumes and props. This is the least important because Aristotle believes that the plot will overcome all the rest. Although Aristotle recognizes the emotional attraction of spectacle, he argues that superior poets rely on the inner structure of the play rather than spectacle to arouse pity and fear; those who rely heavily on spectacle “create a sense, not of the terrible, but only of the monstrous”(http://www.cnr.edu/home/).
In Aristotle’s book, Poetics, he defines tragedy as, “an imitation of an action that is serious, complete, and possessing magnitude; in embellished language, each kind of which is used separately in the different parts; in the mode of action and not narrated; and effecting through pity and fear” (Aristotle 1149). Tragedy creates a cause and effect chain of actions that clearly gives the audience ideas of possible events. The six parts to Aristotle’s elements of tragedy are: Plot, character, language, thought, spectacle, and melody. According to Aristotle, the most important element is the plot. Aristotle writes in Poetics that, “It is not for the purpose of presenting their characters that the agents engage in action, but rather it is for the sake of their actions that they take on the characters they have” (Aristotle 1150). Plots should have a beginning, middle, and end that have a unity of actions throughout the play making it complete. In addition, the plot should be complex making it an effective tragedy. The second most important element is character. Characters...