Zeitschriftenartikel: „Experimental theatre“

1

Firestein, Stuart. „Experimental theatre“. Nature 443, Nr. 7114 (Oktober 2006): 913–14. http://dx.doi.org/10.1038/443913a.

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2

Kauffmann, Stanley. „Broadway and the Necessity for ‘Bad Theatre’“. New Theatre Quarterly 1, Nr. 4 (November 1985): 359–63. http://dx.doi.org/10.1017/s0266464x00001779.

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Is Broadway necessary? As the focus for new writing and major experimental work in the USA shifts ever further from the old theatre district around Times Square – first to off- and then to off-off-Broadway, more recently to the flourishing regional theatres – many critics have come to regard Broadway either as an economic anachronism, failing to perpetuate past glories, or simply as an irrelevance to ‘real’ theatre. Yet Stanley Kauffmann argues that a focal point for a nation's theatre is more than the sum of sometimes fraying parts, and works on the imagination in ways that cannot be evaluated by the fragmentary assessment of succeeding productions; and here he analyses the ‘organism’ that Broadway remains, and the function it performs. Stanley Kauffmann has been theatre critic for the New York Times, the New Republic, and the Saturday Review, while the most recent of his full-length works is Theater Criticisms (1984).

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Jesenko, Primož. „Balbina’s “theatre in the round”“. Maska 31, Nr. 181 (01.12.2016): 160–65. http://dx.doi.org/10.1386/maska.31.181-182.160_7.

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With an overview of the life and work of Balbina Battelino Baranovič (1921–2015), the article emphasises her role in the Slovenian theatre scene. She founded theatres, researched contemporary theatrical practices, and, thanks to a strong connection to French and American theatre, broadened the horizons of the Slovenian and Yugoslav theatre of the time, while enabling actors to flourish under contemporary approaches. The founder of the Experimental Theatre, she also introduced theatre in the round to the Slovenian artistic space.

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4

Sierz, Aleks. „Experimental Theatre in Cario“. New Theatre Quarterly 12, Nr. 45 (Februar 1996): 86–87. http://dx.doi.org/10.1017/s0266464x00009672.

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5

Shepard, Sam. „Experimental Theatre Then and Now“. PAJ: A Journal of Performance and Art 40, Nr. 1 (Januar 2018): 3–4. http://dx.doi.org/10.1162/pajj_a_00388.

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6

Roche, Anthony. „Experimental Irish theatre: after Yeats“. Irish Studies Review 21, Nr. 2 (Mai 2013): 247–49. http://dx.doi.org/10.1080/09670882.2013.777618.

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7

Lacey, Stephen, und Andrew Davies. „Other Theatres: The Development of Alternative and Experimental Theatre in Britain“. Yearbook of English Studies 20 (1990): 360. http://dx.doi.org/10.2307/3507640.

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8

Cornish, Roger, und Andrew Davies. „Other Theatres: The Development of Alternative and Experimental Theatre in Britain“. Theatre Journal 40, Nr. 4 (Dezember 1988): 576. http://dx.doi.org/10.2307/3207914.

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9

Stadtler, Florian. „National representations, national theatres: Aubrey Menen and the experimental theatre company“. Studies in Theatre and Performance 38, Nr. 1 (22.03.2017): 23–35. http://dx.doi.org/10.1080/14682761.2017.1303282.

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10

Douxami, Christine. „Brazilian Black Theatre: A Political Theatre Against Racism“. TDR/The Drama Review 63, Nr. 1 (März 2019): 32–51. http://dx.doi.org/10.1162/dram_a_00815.

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Black Brazilian theatre constitutes a political and artistic response to the racial discrimination characteristic of Brazilian society. As early as 1944, young members of the recently created black political movement saw theatre as a potential weapon to transform Brazilian society and created the Teatro Experimental do Negro (Black Experimental Theatre). This activist theatre continues to this day to pave the way for other black theatre companies.

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11

Harun, Afrizal, Kurniasih Zaitun und Susandro Susandro. „Postdramatik: Dramaturgi Teater Indonesia Kontemporer“. Dance and Theatre Review 4, Nr. 2 (11.01.2022): 57–69. http://dx.doi.org/10.24821/dtr.v4i2.6450.

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Postdramatic: The Dramaturgy of Contemporary Indonesian Theater. The research attempts to explain a new possibility in theatre practice in Indonesia, which was initially formed through the power of words in the form of dialogue depicted in drama scripts. Since then, there was another tendency which was a matter of fact, in the early 1920s, for which Antonin Artaud initiated. Various terms have been used to describe new trends in the dramaturgy of Indonesian theatre since the 1970s up to now, such as cutting-edge theatre, avant-garde theatre, experimental theatre, body theatre, visual/visual theatre, postmodern theatre, contemporary theatre, and so on. Therefore, the appearing terms show doubts in determining the identity of the currently developing Indonesian theatre. This study aims to explain the potential for postdramatic theatre works that have been performed by Indonesian theatre directors, such as WS Rendra, Putu Wijaya, Boedi S. Otong, Dindon WS, Rahman Sabur, Yudi A Tajudin, including Yusril with a Postdramatic theatre approach. This research method is dominated by literature studies that take references such as books, journal-based articles, and online and printed media. The results of the study indicate that postdramatic dramaturgy in the practice of theatre in Indonesia is necessary from the spirit of the times that formed it, including the possibility of creating a new form of post-dramatic theatre developing in the current era of the Covid-19 pandemic.Keywords: postdramatic; dramaturgy; theatre; Indonesia; contemporary

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12

Brigstocke, Julian. „Experimental authority in the lecture theatre“. Journal of Geography in Higher Education 44, Nr. 3 (09.12.2019): 370–86. http://dx.doi.org/10.1080/03098265.2019.1698527.

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13

DOLZHENKOVA, Marina Igorevna, Olga Alekseyevna DOROZHKINA, Larisa Aleksandrovna ROMANINA und Oksana Germanovna PROKHOROVA. „THEATRE THERAPY TECHNOLOGY IN MODERN SOCIAL REHABILITATION“. Tambov University Review. Series: Humanities, Nr. 177 (2018): 59–69. http://dx.doi.org/10.20310/1810-0201-2018-23-177-59-69.

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The technologies of theatre therapy in modern social rehabilitation are presented, the components of the pair of theatre system are revealed: game therapy; hospital clownery; psychodrama; psychomelodrama; satidrama; figurative psychodrama; pesso-therapy; psychogymnastics; “theatre of the oppressed”; forum theatre; “political theatre”; invisible theatre; theatre of memories; playback theatre; theatre of homeless artists or other unprotected categories; theatre of sports. It is noted that theatre therapy is extremely important for the social rehabilitation of children. We discuss some of the most outstanding achievements of the experimental technology theatre therapy in different countries: USA (project “Invisible People”); Greece; Russia (Project “Invizibl people” or “People Invisible”; All-Russian Festival of Special Theatres “ProTeatr”; project “Ariadne's Thread”; project “Touch-Ables”; “Theatre of Open-Hearted”; “ARTель inspiration”; “NeFoрмат”; “Speak Freely” (L.V. Soloveva)). It is indicated that by means of theatre therapy there is an improvement of skills of conscious action in the conditions of dramatic work, processes of self-knowledge in the context of development of emotional-strong-willed and intellectual-cognitive spheres of the personality are stimulated. The implementation of art therapy technologies in the modern practice of social rehabilitation is extremely relevant and in demand. That is why so important theoretical and methodological justification of formation and promising directions of development of these technologies, as well as creating the appropriate database information and methodological support that takes into account the latest advances in medical and psycho-pedagogical branches of scientific knowledge. Also important specialized programs for retraining and advanced training of social workers, taking into account innovative developments in the field of social rehabilitation, including technologies of theatre therapy.

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14

Moraru, Iuliana. „4. Jerzy Grotowski’s Laboratory, A Model for the Experimental Workshop“. Review of Artistic Education 1, Nr. 23 (01.04.2022): 146–51. http://dx.doi.org/10.2478/rae-2022-0019.

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Abstract Grotowski concludes that theatre can exist without sets, without costumes, without music and without light effects and even without text. The argument in support of this surprising thesis comes from the very history of the theatre. In the evolution of theatrical art, the text was one of the last elements to be added. The theatre cannot exist without actors, not even the puppet theatre, behind the stage being hidden another manipulative actor. Furthermore, it cannot exist without the audience. Consequently, following the successive eliminations, only two elements remain: the actor and the audience.

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Cesare, T. Nikki, und Mariellen R. Sandford. „To Avant or Not to Avant: Questioning the Experimental, the New, and the Potential to Shock in the New Garde“. TDR/The Drama Review 54, Nr. 4 (Dezember 2010): 7–10. http://dx.doi.org/10.1162/dram_a_00021.

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A flush of new theatre ensembles producing, for the most part, group-devised work prompts questions about the viability of the term avantgarde, the confluence of events behind the activity of this latest “bunch of experimental theatres,” and their relationship to the original “bunch” from the 1970s.

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BIERNAT, JUSTYNA. „The Landscape of Węgajty Theatre“. Theatre Research International 46, Nr. 3 (Oktober 2021): 303–21. http://dx.doi.org/10.1017/s0307883321000286.

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The alternative culture in Poland formed between the late 1970s and the second half of the 1990s. In this period many artists were moving from cities into the countryside in order to find space for independent and experimental art. Among these new settlers were Erdmute and Wacław Sobaszek, who made their home in a small rural settlement of Węgajty in the 1980s. The Sobaszeks converted an abandoned farm into a stage and soon their undertaking became one of the most prominent alternative theatres in Poland. This article explores intersections of the Sobaszeks's art and rural landscape through the lens of humanistic geography, anthropology and philosophy. The purpose of the article is to reveal a deep attachment of the artists to local, rural space and to examine how it shapes their performances and community building. In the article, the Węgajty Theatre is recognized as ‘landscape theatre’, a term which attempts to emphasize a bond between the theatre and the natural environment.

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Puszak, Lubomir. „Твори Лесі Українки у світлі рампи сучасного театру“. Kultury Wschodniosłowiańskie - Oblicza i Dialog, Nr. 7 (31.07.2018): 135–52. http://dx.doi.org/10.14746/kw.2017.7.11.

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The paper continues an earlier work on the stage production of dramatic works by Lesya Ukrainka in Ukrainian theatres. It presents the overview of stage productions put on in the years of 2012 to 2016, as well as productions, which had been staged earlier but are still performed on the stage. The study is based on the overview and the analysis of publications in Ukrainian theatre periodicals available online, as well as on the data presented on the websites of Ukrainian theatres. The analysis of the material leadsto the conclusion that Lesya Ukrainka’s dramatic works included in the current listof productions of Ukrainian theatres (drama, opera and ballet, experimental, puppet, and amateur ones) hold the attention of theatre directors, who take both modern and traditional approaches to staging her plays. Productions of the fairy drama Forest Songare the most frequent to be put on stage.

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18

Dan, Marcela Livia. „Cum a transformat pandemia artele?“ Symbolon 23, SI (2022): 57–64. http://dx.doi.org/10.46522/s.2022.s1.6.

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2020 was a difficult year for all the artists as well as for the audience. The artists were forced to bring masks on stage that they would never have wanted. Many art creators have moved their shows online. The public was also affected by all this madness. The people stayed at home and paid tickets online for shows broadcasted online. For many theater makers, preserving a palpable sense of liveness was paramount in adapting a theatri-cal project for a digital medium. Plays and monologues on Zoom about lockdown life had most appreciated on the virtual space. Online plays had a lot of success in most of the countries. Some digital productions had shown impresive formal originality – such as Belarus Free Theatre’s experimental Zoom show “A School of Fools”. The conversation and subject matter has focused on the pandemic lifestyle. Many creators, however, got most excited by projects that brought theater to the digital space in unprecedented ways. Theatre has of-fered us comfort, provocation and entertainment

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Orel, Barbara. „The World of Odour in the Slovenian Performing Arts“. Amfiteater 9, Nr. 2021-2 (05.12.2021): 92–98. http://dx.doi.org/10.51937/amfiteater-2021-2/92-98.

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The article provides an overview of performances on Slovenian stages that have used odour to stimulate the audience’s senses and arouse transformational effects. Representing the first research of this kind into Slovenian culture, the author demonstrates that odour was used as a means of sensory perception, especially in experimental theatre practices since the 1970s. One of the first such works was Cimetova vrata ladje norcev in druge spremembe (The Cinnamon Door of the Ship of Fools and Other Changes), a performance art piece directed by Tomaž Kralj at Glej Theatre in 1975. In the 1990s, the interest in olfactory perceptions grew among theatre-makers who successfully used odour to implement the aesthetics of the real in post-dramatic theatre and achieve the immersion of the spectator. This role of odour in theatre also continues in the 21st century. Barbara Pia Jenič began deliberately and continuously developing the poetics of scent at the Sensorium Theatre, which she founded in 2001 with Gabriel Hernandez. In her creation of sensorial events, Jenič relies on the methodologies of Enrique Vargas, with which she became acquainted as an actress and scent designer in his group Teatro de los Sentidos and creatively developed them at the Sensorium Theatre. As a scent designer, Jenič has collaborated with other Slovenian theatres, among others, on the 2015 operatorium, The Tenth Daughter (Deseta hči) by Svetlana Makarovič (based on the libretto by Milko Lazar, directed by Rocco) at the Slovenian National Theatre – Opera and Ballet Ljubljana.

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Chandra Uniyal,, Dr Bipin. „Grotowski´s Poor Theatre: An Experiment in Theatre“. SMART MOVES JOURNAL IJELLH 7, Nr. 12 (28.12.2019): 14. http://dx.doi.org/10.24113/ijellh.v7i12.10240.

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This research paper is about Grotowski´s poor theatre. Before Grotowski´s there were many theatre, but these theatre were not suitable for Grotowski´s purpose. Before Grotowski´s theatre there were Schechner´s Environmental theatre, Stainslavaski´s Experimental theatre, Meyerhold´s Avant-grade theatre, Alexander Tiraov´s Kamerney theatre, Brecht´s Epic theatre, Judith Malina and Tulian Beck´s Living theatre, Bread and Puppet theatre by Peter Schumana. During the 1960´s a voice of deploration came by a number of persons, who demanded the abandonment of every element of the theatre borrowed from other media and not really required. This leading exponent was Jerzy Grotowski´s Poor theatre.

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Żurowski, Andrzej, und Piotr Kuhiwzak. „Old and New in the Polish Theatre: a Season at the Stary“. New Theatre Quarterly 3, Nr. 10 (Mai 1987): 178–83. http://dx.doi.org/10.1017/s0266464x00008666.

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The Stary Theatre in Cracow has. since the death of its former director Konrad Swinarski, enjoyed a reputation for more eclectic work than those Polish theatres identified with a single, strong directorial ‘line’. Its recent season nevertheless reveals that this ‘old’ playhouse, as its name translates, remains in the vanguard of new and experimental work, with three productions of contrasting styles but shared stature – Wajda's Crime and Punishment. Pasolini's Affabulazione. and Bradecki's A Pattern of Metaphysical Evidence. The leading Polish critic Andrzej Żurowski. who is also vice-president of the International Association of Theatre Critics, provides an evocative comparison of plays, directors, and styles.

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George, David E. R. „Quantum Theatre – Potential Theatre: a New Paradigm?“ New Theatre Quarterly 5, Nr. 18 (Mai 1989): 171–79. http://dx.doi.org/10.1017/s0266464x00003067.

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The ‘theatre of the world’, or Theatrum Mundi, offered a pervasive emblematic view of the relationship between God, as playwright and audience, and his terrestrial creation. Although this became peculiarly appropriate during the Renaissance period, views of the theatre as microcosmic of the larger world have persisted – whether in the consciously wrought imagery of modern sociology or the unconscious colloquial useage of theatrical terms to describe everyday behaviour. In the article which follows, David E. R. George suggests that the ‘view’ of the subatomic world presented by quantum theory makes for a paradigm which is no less compelling, according to which the sense of theatrical ‘potentiality’ which characterizen much contemporary experimental theatre is illuminated and paralleled by the refusal of scientific certainty that quantum theory confronts and accommodates. David George. whose ‘Letter to a Poor Actor’ appeared in NTQ 8 (1986), taught in the Universities of California at Berkeley, Gottingen, Malaysia, and Peking before taking up his present post at Murdoch University, Western Australia. His books include studies of Ibsen. German tragic theory, and Indian ritual dance–drama.

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Quintero, Craig. „Pilgrimage As a Pedagogical Practice in Contemporary Taiwanese Theatre: U Theatre and the Baishatun Ma-tsu Pilgrimage“. TDR/The Drama Review 46, Nr. 1 (März 2002): 131–48. http://dx.doi.org/10.1162/105420402753555903.

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An experimental theatre on a religious pilgrimage? It sounds like a contradiction. But in Taiwan an increasing number of experimental theatre companies have incorporated traditional ritual practice into their performer training.

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Sprogøe, Charlotte. „Live Experiences in the Theater Gardens of Contemporary Art“. Peripeti 19, Nr. 35 (01.02.2022): 97–108. http://dx.doi.org/10.7146/peri.v19i35.130635.

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Theatre has been a model for curatorial experiments throughout the history of experimental exhibitions. This article will look into contemporary experiments with curating exhibition formats that come alive as virtual, ‘lucid dreams’ through the uses of theatrical tropes such as Narrator, Stage, Backdrop – and through the integration of affect, living matter, organic form and worldlike backdrops into the formats, as in the historic Theater Gardens.

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Jesenko, Primož. „Hibernation Works for Bears but not for Theatre: The Notion of Community among Theatre Institutions and Experimental Theatre Groups in Slovenia (1955–1967)“. Amfiteater 9, Nr. 2021-2 (05.12.2021): 196–217. http://dx.doi.org/10.51937/amfiteater-2021-2/196-217.

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The paper proposes that the experimental theatre scene in Slovenia in the years 1955–1967 formed a community. The performative visions of experimental groups acted as subtle gestures opposing the prominent aesthetic trend that dominated the performing scene in central institutions of postwar theatre creativity. The latter found it difficult to connect with its audience since it dealt with issues of lesser concern and lacked a true connection with progressive theatre currents (predominantly coming from France).

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Malița, Ramona. „Madame de Staël ou le plaidoyer pour une vie seconde : le théâtre“. Studia Universitatis Babeş-Bolyai Dramatica 65, Nr. 2 (30.10.2020): 39–56. http://dx.doi.org/10.24193/subbdrama.2020.2.02.

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"Madame de Staël or the Necessity of a Second Life: The Theatre. Our contribution proposes an incursion into literary history at the time of the First Wave of French Romanticism. The subject of the investigation is Madame de Staël’s experimental theatre and the dramatic seasons that she organized between 1804 and 1811 in Coppet and Geneva. Our conclusions are twofold: on the aesthetic side, Coppet’s dramatic representations had the role of changing the aesthetic and literary canons of the early 19th century; on the historical side, the Coppet Group is one of the first romantic cenacles whose resounding literary activity was the theatre. Keywords: Madame de Staël, Coppet, Geneva, experimental theatre, French Romanticism, aesthetic and literary canons, 19th century literature, romantic theatre."

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Edward Flores, Suyo Ballarta Curin Rud,. „THEATER AS A STRATEGY TO IMPROVE ORAL EXPRESSION IN EI STUDENTS OF THE KINGDOM OF SPAIN IN THE COVID-19 PANDEMIC“. Psychology and Education Journal 58, Nr. 1 (01.01.2021): 3165–74. http://dx.doi.org/10.17762/pae.v58i1.1222.

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This research formulated as the main objective of determining the influence of the theater, as a strategy on the oral expression of first grade high school students of the I.E. Kingdom of Spain, Barranco- 2020, where theories related to oral expression were considered, in turn conceptions of oral expression and its elements, are revised concept of strategies. The study was quantitative, applied type, with quasi-experimental design, the sample was intentional non-probabilistic and consisted of two groups: Control Group of 25 students and Experimental Group also of 25 first grade high school students. The technique used was observation and the instrument an Oral Expression Observation Sheet, composed of 20 items that evaluates the three dimensions worked: verbal resources, for verbal and non-verbal. The results denote positive variation in the development of oral expression before and after the implementation of the program theatre as a strategy, which changes from 92% in process to 96% as an achievement in the post test; achieving a p-value of 000, less than α x 0.05, by using the Mann Whitney U-test, which makes it possible to conclude that the theater program influences oral expression. It is proposed to hold theatre workshops in educational institutions to improve oral expression.

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Speckenbach, Jan, und Thomas Irmer. „In Interview: On the Development of Video in the Theatre“. New Theatre Quarterly 38, Nr. 3 (19.07.2022): 234–41. http://dx.doi.org/10.1017/s0266464x22000161.

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German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have interacted with this new technology and how filmmaking can be an integral part of the theatre indicate clearly that filmmaking has played an invaluable role in recent theatre history. Speckenbach here also speaks of his collaborations with other directors, notably Sebastian Hartmann and René Pollesch, and about the future perspectives of this technology, which has changed the theatre altogether.Jan Speckenbach studied art history, philosophy, and media in Karlsruhe, Munich, and Paris during the 1990s. At the beginning of the new millennium he participated in the development of video theatre with Frank Castorf and, now a successful filmmaker, he also continues to work in the theatre. His short film Gestern in Eden [Yesterday in Eden] premiered at Cannes in 2008, while the full-length feature film Die Vermissten [The Missing] was shown at the 2012 Berlinale and Freiheit [Freedom] at the 2017 film competition at Locarno. In 2020 he directed the live-stream of Der Zauberberg [The Magic Mountain, after Thomas Mann’s novel] at the Deutsches Theater in Berlin (premiered online in November 2019), which was subsequently invited to the Berlin Theatertreffen. Thomas Irmer is the editor-in-chief of the Berlin-based monthly Theater der Zeit. He has co-edited two books on the work of Frank Castorf – Zehn Jahre Volksbühne Intendanz Frank Castorf (2003) and Castorf (2016). During the last forty years he has authored, among other significant writings, numerous analytical articles and interviews on Castorf’s creative output.

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Ekaterina, Eryomina. „INDEPENDENT ENSEMBLES AND NEW DIRECTIONS IN THEATRICAL ART OF BELARUS OFTHE 2010S“. Proceedings of Altai State Academy of Culture and Arts, Nr. 1 (2021): 42–49. http://dx.doi.org/10.32340/2414-9101-2021-1-42-49.

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The paper briefly describes creative activity of Belarusian independent theatre ensembles in experimental genres of stage art in the 2010s. Range of creative quest of Belarusian theatre of the second decade of the 21st century embraces various genres and directions: social, documentary, inclusive theatre, interactive baby theatre, puppet show, etc. The author points out on creative approach of Belarusian independent theatre figures to understanding and adaptation of conceptual and artistic achievement of directors' and actors' experiences f the world theatre, that exclude its blind taking.

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Ferry, Joan. „Experiences of a Pioneer in Canadian Experimental Theatre“. Theatre Research in Canada 8, Nr. 1 (Januar 1987): 59–67. http://dx.doi.org/10.3138/tric.8.1.59.

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31

Kolchanov, Vladimir V. „M.A. Bulgakov and V.E. Meyerhold: to the poetics of the avant-garde form “upside down theatre” and the erotic reception of the French theatre “nude”“. Neophilology, Nr. 17 (2019): 84–89. http://dx.doi.org/10.20310/2587-6953-2019-5-17-84-89.

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In this study we analyze allusion from the novel by M.A. Bulgakov “The Fatal Eggs”, which, according to most literary critics, see the relations between M.A. Bulgakov and V.E. Meyerhold. Meanwhile, the theatrical avant-garde form of “upside down theatre” and the erotic reception of the French theater “nude”, denoted in it, say the opposite. They point to the political and social and public atmosphere that denies them, which is developing in the era of J.V. Stalin’s knocking together of the indisputable sample of the imperial spectacle. While indulging the tastes of the leader to be printed, M.A. Bulgakov uses sarcasm and hints that the further development of the experimental, constructivist theater will lead to the “brilliant revolutionary-artist” (S.S. Mokulsky) to impending death.

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Gardner, Colin. „The Losey–Moscow Connection: Experimental Soviet Theatre and the Living Newspaper“. New Theatre Quarterly 30, Nr. 3 (August 2014): 249–68. http://dx.doi.org/10.1017/s0266464x14000499.

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Although Joseph Losey is best known as the blacklisted director of films such as the Pinter-scripted The Servant, The Go-Between, and Accident, as well as Mr Klein starring Alain Delon, he also had an important career in leftist theatre prior to making his Hollywood film debut in in the late 1940s. Because of his collaboration with Bertolt Brecht on the 1947 Hollywood production of Galileo, it is assumed that Losey learned from him most of his stagecraft – particularly the use of Verfremdungseffekt and self-reflexivity. However, as this article shows, Losey's apprenticeship was rooted not in the Epic Theatre (which was largely a second-hand phenomenon) but in the Soviet theatrical avant garde, observed at first hand during a 1935 Moscow visit studying the techniques of Meyerhold, Vakhtangov, and Pavlovich Okhlopkov, whose ‘theatre in the round’ stagings and use of complex ramps and projections provided the basis for Losey's subsequent Federal Theatre Project ‘Living Newspaper’ productions – notably Triple-A Plowed Under and Injunction Granted! Under the aegis of co-founder Hallie Flanagan, the Living Newspaper proved to be the model of 1930s political theatre: topical, didactic, fast-paced – and almost immediately obsolete as events superseded the plays' relevance. Colin Gardner is Professor of Critical Theory and Integrative Studies at the University of California, Santa Barbara. He is the author of critical studies on Joseph Losey and Karel Reisz for Manchester University Press's ‘British Film Makers’ series and of Beckett, Deleuze, and the Televisual Event: Peephole Art for Palgrave Macmillan. He is currently working with Felicity Colman on a three-volume Encyclopedia of Film-Philosophy.

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Jordan, James. „Audience Disruption in the Theatre of the Weimar Republic“. New Theatre Quarterly 1, Nr. 3 (August 1985): 283–91. http://dx.doi.org/10.1017/s0266464x00001664.

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Disruption of plays by their audiences has not been an uncommon occurrence in theatre history, but the received wisdom has it that rioting more or less went out of fashion once the house lights could be lowered for the performance. But the combination in the theatre of the Weimar Republic of the politically radical and artistically experimental drama of inter-war Germany with the high political tensions of the times proved an explosive one. The frequent audience disturbances of the period were, however, less the spontaneous expression of genuine indignation than a carefully planned and orchestrated attempt to suppress radical art and opinion. In this article, James Jordan, a member of the Department of German at the University of Warwick, traces the course of theatrical disruption as a tactic of emergent Nazism – and the reactions to it of the theatres, the playwrights, and a too-often-myopic judiciary.

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Smith, Sophy. „Pervasive theatre“. Convergence: The International Journal of Research into New Media Technologies 24, Nr. 3 (15.11.2016): 321–36. http://dx.doi.org/10.1177/1354856516675253.

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This article explores the opportunities and implications for new digital writing in transmedia performance environments. This article centres on the experimental Pervasive Theatre project ( Assault Events 2014, commissioned by futuredream funded through Arts Council England), which explored the potential of online social tools to create a multimedia, collaborative and participatory work situated across multiple platforms. This project brought together researchers, artists, writers, technologists and practitioners from the interdisciplinary fields of digital writing, transmedia and performance to explore ways to develop narratives that weave together physical and online worlds, blurring the distinction between reality and fantasy, audience and performers in a way that would be exciting, immersive and participative. The project looked at different performative spaces including Facebook, Twitter, YouTube and Vines, exploring how these platforms could support the delivery of original narrative performance. This transmedia approach informed and shaped the digital writing practice, instigating new modes of working. Four aspects were of particular interest and will be explored in this article – how new writing can emerge from within online spaces rather than being translated onto them; how characteristics of different online social platforms inform style and content; how social media platforms can be used to develop narrative and character through creative collaboration with performers; and finally, how online social spaces enable the digital writer to develop a narrative framework through which audiences frame their own meaning.

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Chiaghanam, Ndubuisi. „Awareness of Theatre Team to Radiation Risk From C-Arm During Surgical Procedures: A Case Study of University of Calabar Teaching Hospital in Nigeria“. Journal of Scientific Research in Medical and Biological Sciences 3, Nr. 2 (04.07.2022): 20–27. http://dx.doi.org/10.47631/jsrmbs.v3i2.475.

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Purpose: This study aims to assess the awareness of the theatre team to radiation risk from C-arm as well as their adherence to radiation protection or safety measures in the study Centre. Methods: A non-experimental descriptive design was adopted for this study and a well-structured 27 item questionnaire was distributed to 52 members of the surgical theatre: Surgeons, Anesthesiologists, Theatre nurses and Radiographers in the selected hospital. Of this sample, 49 respondents returned their questionnaires. Results. Results from this study reveal a high level (83.67%) of knowledge of radiation risk from C-arm. A greater percentage of the respondents have an average level of knowledge of radiation protection or safety measures: Surgeons (58.8%), Anesthesiologists (50%), and Theatre Nurses (33.3%). Of this percentage on awareness, only 41.1% of Surgeons, 30% of Anesthesiologists, 16.6% of theatre Nurses adhere to these radiation protection/safety measures. This study further reveals a low level of awareness and use of radiation monitoring devices: Surgeons (29.4%), Anesthesiologists (10%), and Theatre Nurses (8.3%). Also, the study shows that the surgical team spends long periods during surgical procedures: 4 hours (24.48%), 6 hours (20.4%), 12 hours (6.12%), thus increasing their susceptibility to radiation effects. The study further affirms that a lesser percentage of the respondents (44.89%) knew the safest positioning of the radiation-emitting tube, meaning that a greater percentage of the respondents don’t know the safest position to take during beam-on periods. Conclusion: This study shows a high level of knowledge of radiation risk, an average level of awareness to radiation protection/safety measures and a poor level adherence of these measures by the theater team.

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Overbeke, Grace. „An Interview with Young Jean Lee“. Theatre Survey 57, Nr. 1 (09.12.2015): 37–42. http://dx.doi.org/10.1017/s004055741500054x.

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Identified by Time Out New York as “one of the best experimental playwrights in America” and hailed by the New York Times as “the most adventurous downtown playwright of her generation,” Young Jean Lee (Fig. 1) is actively shaping the future of the American theatre. In 2003, she founded Young Jean Lee's Theater Company, through which she has written and directed ten productions. Her full-length plays, including The Shipment and Songs of the Dragons Flying to Heaven, have been published in four collections and performed worldwide. In 2013, she released her first short film, Here Come the Girls, and her debut album, We're Gonna Die. In the following interview, Young Jean Lee reflects on the role of humor in her plays, discusses her collaborative process, and reveals the two rules that she would never break in the theatre.

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Constantinidis, Stratos E. „Rehearsal as a Subsystem: Transactional Analysis and Role Research“. New Theatre Quarterly 4, Nr. 13 (Februar 1988): 64–76. http://dx.doi.org/10.1017/s0266464x0000258x.

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What happens during a rehearsal? How are actors' expectations and achievements affected by different directorial approaches, and how do the various ‘systems’ of acting fit with the responses of an audience? From Diderot through Stanislavski. Brecht. and Artaud to the work of such modern experimental directors as Brook, Grotowski, Chaikin, and Schechner, the theory may or may not be adequately tested against the practice. The author of two earlier, complementary studies in empirical theatre research – ‘Feedback as a Subsystem’ and ‘Prompt–Copy as a Subsystem’, both published inKodikas/Code: Ars Semeiotica(1984 and 1987) – Stratos E. Constantinidis here checks several normative fallacies which have influenced theatre practice by relating the findings of empirical research in theatre to the experimental work of theatre artists. The author, who has previously worked in the Universities of Iowa and Arizona, presently teaches theory and criticism in the Department of Theatre at Ohio State University.

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Kidd, Ross. „‘Theatre for Development’: Diary of a Zimbabwe Workshop“. New Theatre Quarterly 1, Nr. 2 (Mai 1985): 179–204. http://dx.doi.org/10.1017/s0266464x0000155x.

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The years since independence have seen a remarkable range of work in experimental forms of theatre in the nations of Africa – ‘experimental’, that is, in their shared rejection of the imposed colonial heritage of westernized forms, and the common attempt to revitalize indigenous cultural traditions while making them relevant to present and future development priorities. Ross Kidd, who has worked and written widely in this field, here provides a case study of just one ‘Theatre for Development’ workshop, held in a small Zimbabwe village in August 1983. A member of the secretariat of the International Popular Theatre Alliance. Ross Kidd is also an advisory editor of NTQ, and will be contributing a full survey of the range of popular theatre activity in the Third World to a forthcoming issue.

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Ioannidis, D., A. Tsagkovits und A. Rokade. „Minimising aerosol spread during endoscopic sinus and skull base surgery. Experimental model evaluation of the efficacy of the microscope drape method“. Journal of Laryngology & Otology 134, Nr. 9 (September 2020): 804–10. http://dx.doi.org/10.1017/s0022215120001838.

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AbstractBackgroundEndoscopic sinus and anterior skull base surgery is considered particularly high risk for severe acute respiratory syndrome coronavirus-2 transmission in the operating theatre setting. In this context, the use of a microscope drape method is proposed, to minimise aerosol spread in the wider operating theatre environment.MethodsThe efficacy of the method is assessed with a simulation model, using a CMI Concept Air Trace MK2 smoke generator for aerosol generation and a Fluke 985 air particle counter to measure air particles sized 0.3–10 μm in the operating theatre environment.ResultsAerosol spread was contained almost to baseline levels with the application of the drape barrier and the negative pressure created using suction within the drape.ConclusionThe method is an efficient adjunct that could reduce the risk of aerosol shedding and viral transmission to the operating theatre team. It potentially allows faster operating theatre turnover and more liberal use of powered instruments during endonasal surgery.

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Tomaszewska, Ewa, und Marzenna Wiśniewska. „Kronika życia i twórczości Jana Dormana (1912–1986)“. Pamiętnik Teatralny 68, Nr. 3-4 (18.12.2019): 13–140. http://dx.doi.org/10.36744/pt.9.

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Jan Dorman (b. Dębowa Góra, now Sosnowiec, 1912–d. Będzin, 1986) was a teacher, director, stage designer, author of texts for theatre, founder of the Experimental Child’s Theatre (ETD) in Sosnowiec (1945–1951) and The Children of Zagłębie’s Theatre (TDZ) in Będzin, which has been named after him (1951–1977), lecturer at the Faculty of Puppetry in Wrocław, Branch of the State Academic School of Theatre (PWST) in Krakow, now Stanisław Wyspiański Academy of Theatre Arts (1978–1986), promoter of culture in Będzin. His theatre practice situated itself between children’s theatre, young spectator’s theatre, puppet theatre, avant-garde art theatre and experiments close to the happening. Dorman’s performances were presented at many festivals internationally; the work of TDZ that he directed represented Poland at the International Exhibition of Stage Design in Amiens, France (1969). Dorman wrote and adapted texts for theatre, composed and selected music, designed the sets (along with his son, Jacek), initiated the “Herody” review of folk productions, maintained extensive contacts with Polish and foreign theatre communities, contributed regularly to theatre magazines (including Scena, Teatr Lalek, Teatr), and he published his book Children Playing at Theatre. Throughout his life, Dorman recorded his practice through meticulously produced archival documentation.

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Hill, Holly. „Peformance Review: IX Cairo International Festival for Experimental Theatre“. Theatre Journal 50, Nr. 3 (1998): 387–89. http://dx.doi.org/10.1353/tj.1998.0089.

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Morgan, D. A. F., P. B. McGiffin und D. DeV Weedon. „AN EXPERIMENTAL STUDY OF IATROGENICALLY INDUCED OPERATING THEATRE BURNS“. ANZ Journal of Surgery 55, Nr. 1 (Februar 1985): 55–60. http://dx.doi.org/10.1111/j.1445-2197.1985.tb00855.x.

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Heile, Björn. „Recent Approaches to Experimental Music Theatre and Contemporary Opera“. Music and Letters 87, Nr. 1 (01.01.2006): 72–81. http://dx.doi.org/10.1093/ml/gci179.

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Conceison, Claire. „China's Experimental Mainstream: The Badass Theatre of Meng Jinghui“. TDR/The Drama Review 58, Nr. 1 (März 2014): 64–88. http://dx.doi.org/10.1162/dram_a_00328.

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Meng Jinghui has been the most important experimental theatre director in the People's Republic of China for the past two decades, with an increasingly global presence. The success and popularity of his productions challenge conventional notions of the avantgarde and persistent dichotomies of official vs. unofficial networks and discourses. His cool “badass” persona and aesthetic have become recognizable trademarks of his work, which includes adaptations of Western classics, collaborations with Chinese playwrights, and collective creations.

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Liu, Yao-Kun. „An Experimental Theatre Laboratory—On Fugard's play The Coat“. South African Theatre Journal 18, Nr. 1 (Januar 2004): 39–49. http://dx.doi.org/10.1080/10137548.2004.9687779.

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Curtin, Adrian. „The Absurdity of Denial: Staging the American Way of Death“. New Theatre Quarterly 33, Nr. 2 (12.04.2017): 125–42. http://dx.doi.org/10.1017/s0266464x17000045.

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Death denial is a psychological impulse and a cultural attitude that banishes thoughts about death and disavows the reality of personal mortality. In theatre, death denial can function as an unexamined philosophy and conditioning element unless it is foregrounded and challenged. In this article, Adrian Curtin looks at two examples of American experimental theatre that did just that: a 1975 production of Dino Buzzati's 1953 play Un Caso Clinico (A Clinical Case) and Terminal (1969–1971), a collectively created work by the Open Theatre. Buzzati's play is little known, especially in English-language scholarship. This article pairs an obscure work with a canonical work in order to offer new insight into American experimental theatre of the early 1970s, indicating how both productions contributed to the contemporaneous ‘death awareness’ movement, which opened up matters relating to death and dying. These productions highlighted the illogicality and absurdity of death denial, exposing the delusional basis of this attitude and its potentially damaging effects on the individual and society. Adrian Curtin lectures in the Drama Department at the University of Exeter. He is the author of Avant-Garde Theatre Sound: Staging Sonic Modernity (Palgrave, 2014) and multiple essays on theatre sound, musical performance, and modernism. He is the 2015 winner of the Early Career Research Prize, awarded by the Theatre and Performance Research Association.

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Szuster, Magdalena. „Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States“. Text Matters, Nr. 9 (30.12.2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.

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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City. Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.

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Marinho, Helena, Mónica Chambel, Alfonso Benetti und Luís Bittencourt. „Experimental recreation practices: Restaging Constança Capdeville’s musical theatre work Don’t, Juan“. Studies in Musical Theatre 14, Nr. 1 (01.04.2020): 77–94. http://dx.doi.org/10.1386/smt_00020_1.

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The recreation or re-enactment of twentieth-century avant-garde musical theatre works involves a set of epistemological and methodological issues that can be addressed through practice-based procedures informed by archaeological, ethnographic and experimental perspectives. This article presents a discussion about the relevance of integrating these perspectives, departing from their application in a specific case study, the recreation of Don’t, Juan (1985), an experimental musical theatre work by the Portuguese composer, pianist and percussionist Constança Capdeville (1937‐92). This research proposes the blending of archaeology with the living experience of performance as an approach to a reconstruction project, with methods such as performative ethnography, experimental practice and embodied knowledge through performance operating as effective tools.

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Barzilai, Reut. „Being European: "Hamlet" on the Israeli Stage“. Multicultural Shakespeare: Translation, Appropriation and Performance 21, Nr. 36 (30.06.2020): 27–53. http://dx.doi.org/10.18778/2083-8530.21.03.

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One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more financially successful than those directed by non-Israelis, and even when local national and political circumstances bore a striking resemblance to the plot of the play. Conversely, when one Israeli production of Hamlet (originating in an experimental theatre) did try to hold a mirror up to Israeli society—and was indeed understood abroad as doing so—Israeli audiences and theatre critics failed to recognize their reflection in this mirror. The article explores the various functions that Hamlet has served for the Israeli theatre: a rite of passage, an educational tool, an indication of belonging to the European cultural tradition, a means of boosting the prestige of Israeli theatres, and—only finally—a mirror reflecting Israel’s “age and body.” The article also shows how, precisely because Hamlet was not allowed to reflect local concerns, the play mirrors instead the evolution of the Israeli theatre, its conflicted relation to the Western theatrical tradition, and its growing self-confidence.

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Barzilai, Reut. „Being European: "Hamlet" on the Israeli Stage“. Multicultural Shakespeare: Translation, Appropriation and Performance 21, Nr. 36 (30.06.2020): 27–53. http://dx.doi.org/10.18778/2083-8530.21.03.

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One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more financially successful than those directed by non-Israelis, and even when local national and political circumstances bore a striking resemblance to the plot of the play. Conversely, when one Israeli production of Hamlet (originating in an experimental theatre) did try to hold a mirror up to Israeli society—and was indeed understood abroad as doing so—Israeli audiences and theatre critics failed to recognize their reflection in this mirror. The article explores the various functions that Hamlet has served for the Israeli theatre: a rite of passage, an educational tool, an indication of belonging to the European cultural tradition, a means of boosting the prestige of Israeli theatres, and—only finally—a mirror reflecting Israel’s “age and body.” The article also shows how, precisely because Hamlet was not allowed to reflect local concerns, the play mirrors instead the evolution of the Israeli theatre, its conflicted relation to the Western theatrical tradition, and its growing self-confidence.

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Zeitschriftenartikel zum Thema „Experimental theatre“

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