#arons

[bdpst24]

ARONS feat. Rebi – Alone

ARONS feat. Rebi – Alone

Nem vagy egyedül, mégis úgy érzed – Megjelent ARONS legújabb száma, az Alone! Hiába vannak sokan körülötted, ha közben egyedül vagy. Március elsején érkezik ARONS legújabb száma, az Alone! Mindenkinek vannak olyan pillanatai amikor úgy érzi, hogy egyedül van, pedig sok ember van körülötte. Milyen, amikor felvillan a magány érzése? Ez az érzés kapott el engem is és ennek a kérdésnek a lényege…

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[marc2b]

#arons #heerlen #aronsheerlen #heerlenmijnstad #heerlencity #guitarshop #gibson #fender #ibanez #mayones #eastman #guild #aronsmuziek #heerlen045 #heerlencity #heerlenmijnstad (bij Arons Muziek Heerlen)

[natureandperformance]

Arons, Wendy, and Theresa J. May. 2012. Readings in performance and ecology. New York: Palgrave Macmillan.

Heim, Wallace. “Epilogue: Thinking Forward…”

“Finding an ecological sensibility where it may not have been intended is a reminder to contemporary artists of the importance of historical and social context in shaping ecological ideas, even when these ideas may not be directly articulated” (212). The attention of critics puts pressure on artists to be cognizant, conscious of the ecological ramifications / assumptions.

 “many artists eschew an association with environmentalism or ecological art while producing work displaying incisive and innovative ecological understanding” (212).

 “A general ethos of ecological performance stems from an impetus toward ecologically beneficial thinking, sensibilities, and practices. One of the tasks of ecodramaturgy involves questioning the prevailing values in relation to nature” (212).

 “investigating the way that privileges of education and class, or assumptions about race, gender, and physical abilities underlie the rationales and expectations of that impetus toward ecologically beneficial sensibilities” (212).

 “The capacity of theater and performance to experiment with new ecological identities, new modes of behavior, and diverse values is imperative for the vitality of performance and to invigorate the task of finding new ways to live. Criticism can articulate these queered evologies and relate them to ecological thinking more widely” (213).

 Ethics and aesthetics. Animal in theater and art. Animal-human, consciousness, parameters of life. Role of scientific knowledge. “questions of what defines ‘information,’ how information are made, and how tis claims for validity are maintained” (213).

 “Theories of mimesis relate to the immediacy of art, to how an experience is brought into existence, made present, and how it becomes recognizable as something meaningful in itself, as well as to more semantically derived theories of representation. Ecocriticism has more work to do in exploring the many dimensions of the mimetic in performance, such as its relations to temporality or to transformation, as well as reflecting on how nature and ecological understanding is represented” (213). Sensate immediacy. Immanent embodied experience of ecological performance. Theories of kinesthesia. Mirror neurons. Empathy. Embodiment. Feelings of reciprocity. Phenomenological. Interplay.

 “Emotions about nature are implied in interpretations; an ache, or a longing, runs through these chapters. But the emotions in performance as they relate to nature-human relations is an area yet to be investigated in itself. The emotions expressed may not be related only to the referents of the environment or nature, but to the creation of emotional complexities that blur the human and nature. The capacity of performance to explore unmapped forms of feeling, unantincipated, extreme, or diffused emotions, contributes to the efforts to establish performance as a special mode of ecological understanding” (214). Performance as epistemology of nature.

 Material response to unsustainability.

 “Looking more widely at ecological performance, the model of the artist as scout, giving a warning of the future, may still hold, as might the model of the arts as providing rehearsals for another way of living. But in times of climate instability, there need to be new forms of art-making, improvisation, and collaboration with lands and species that engender an ability to respond to conditions of change, when there is no principle to guide, no structure of law, or no indication of what might be the right course of action” (215). Complex discourse. Conversation of contingencies. Shared.

[natureandperformance]

Arons, Wendy, and Theresa J. May. 2012. Readings in performance and ecology. New York: Palgrave Macmillan.

Garrett, Ian. “Theatrical Production’s Carbon Footprint.”

 “An increasing, and justifiable, sense of alarm about the ecological crisis carries an imperative to rethink how society imposes the built environment upon the natural. Theater artists, like all other members of contemporary society, have an opportunity to reconsider how we do what we do. This opportunity is not merely a question of reducing our carbon footprint, but is necessary for theater to be a contemporary and relevant art form” (201).

 It’s expensive to practice sustainability.

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[natureandperformance]

Arons, Wendy, and Theresa J. May. 2012. Readings in performance and ecology. New York: Palgrave Macmillan.

Miller, Justin A. “The Labor of Greening Love’s Labour’s Lost.”

 “Theatrical production is inherently wasteful” (192). Sustainability concerns in theatrical practices. Green theater. Energy neutral. “Reducing and reusing are energy neutral, but recycling takes energy to complete” (193). Local (196).

[natureandperformance]

Arons, Wendy, and Theresa J. May. 2012. Readings in performance and ecology. New York: Palgrave Macmillan.

Hoogland, Cornelia. “Sound Ecology in the Woods: Red Riding Hood Takes an Audio Walk.”

 “My analysis of attention, and the ways of gaining and holding it, is set within ecopoetics and experiential education, which assert that people need to experience the natural world in order to understand their place in it” (183). Embodied experience. Embodiment.

 “Our mediated environments mean that weather and landscapes have little or no immediate impact on people; traveling between cars and buildings, it’s possible to spend most of one’s time indoors. Consequently, many urban North Americans are unaware of their dependency upon the physical world” (184).

 Technological worldview. Technology. Environment as ‘other’. Deepen ecological awareness (186).

 “Poetry’s work to name, to tell, to be specific, and to report what is seen and felt, can help people better see the natural world they are part of…thereby potentially renewing people’s feelings of connectedness and hope” (189). Psychedelic detail.

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[natureandperformance]

Arons, Wendy, and Theresa J. May. 2012. Readings in performance and ecology. New York: Palgrave Macmillan.

D’Zmura, Anne Justine. “Devising Green Piece: A Holistic Pedagogy for Artists and Educators.”

 “exploration and dramatization of the core of our relationship with the planet” (169). How to inspire activism? Shake people out of “ecological complacency into a state of shared awareness, concern, and, ultimately, action?” (170). “I sought a means by which to awaken our minds to the information, our hearts to the pain of destruction, and our spirits to the joy of reconnection with our environment” (170). Reconnection as a raised/reminded consciousness of our connection to and responsibility towards nature.

 Use sustainable materials. Recycled wood (174). Hemp. Green. Sustainable.

 “Audience members reported that our theatrical demonstration of the symbiosis among humans, animals, and their habitat helped them experience the struggles and obstacles that face our planet in a new and profound way and deepened their appreciation for how our human actions affect all creatures” (177).

 “put the audience in the middle of our inescapable, immediate, and visceral theatrical world, our ecodrama made it difficult for them to disassociate from difficult and troubling information….Audience members were visibly moved by their experience and talked about how it had affected them emotionally, and they spoke of desires to become proactive in their community to help facilitate change. Many members of the audience took informational materials, and later reported that the performance remained with them after seeing the show, raising an awareness and prompting them to make earth-friendly changes in their everyday lives” (178).  Embodied experience. Embodiment.

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