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Zeitschriftenartikel zum Thema „Genocide in the theater“

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Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 30. Juli 2024

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1

Kaplan, Ellen Wendy. „Refuge and Resistance: Theater with Kurds and Yezidi Survivors of ISIS“. Humanities 11, Nr. 5 (02.09.2022): 111. http://dx.doi.org/10.3390/h11050111.

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This essay looks at ongoing efforts to revitalize arts and culture among the Yezidi and broader Iraqi Kurdish communities. The Yezidi are survivors of the 2014 genocide perpetrated by the Islamic State (ISIS, also known by its Arabic acronym Da’esh) which resulted in mass killing, captivity and expulsion from their ancestral homeland of Mt. Sinjar in northern Iraq. They are part of the Kurdish people, who have engaged in centuries of struggle to protect their cultural and political identity, establish autonomy and ensure their security in the broader Middle East. After a brief overview of the Yezidi genocide and its aftermath, we trace some theatrical efforts in the 20–21st century and look at two embryonic theater initiatives in Iraqi Kurdistan. The description of cultural projects at Springs of Hope Foundation (Shariya Camp) is followed by personal reflection and analysis of the aims, uses and challenges of Applied Theater. This ‘umbrella term’ refers to a process that uses a theatrical tool-kit in non-theater contexts. The aesthetic, ethical and political challenges inherent in this work are considered: the essay explores questions of ethical care and the implications and pitfalls of working with vulnerable and displaced populations, issues of representation, and creating spaces for healing and expression through participatory theater. Finally, we discuss a new initiative in Iraqi Kurdistan that seeks to address ethnic and political fissures through theater. The essay culminates with a consideration of belonging and re-imagining home.

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2

Makward, Christiane, und Helene Cixous. „Theatre of Genocide“. Women's Review of Books 3, Nr. 6 (März 1986): 17. http://dx.doi.org/10.2307/4019816.

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3

Ahmadova, Gulkhara. „WORLDLY SIGNIFICANCE OF THEATERS: IREVAN STATE AZERBAIJAN DRAMA THEATER“. Scientific Journal of Polonia University 58, Nr. 3 (01.09.2023): 10–14. http://dx.doi.org/10.23856/5801.

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Historically and even now, the literary and cultural environment of Azerbaijan is known both in the East and in the West. As a result of the severe tragedies, deportations, and genocides inflicted on the people of Azerbaijan, scientific and educational institutions, state institutions, museums, natural monuments, and cultural centers created in our country have suffered as much as our people. Theaters were also forced to live the fate of refugees. Today Shusha Musical Drama Theater, Aghdam State Drama Theater, Fuzili State Drama Theater continue their activities in the field of refugees. All three theaters, which have a great tradition of Armenian influence, have undoubtedly struck a blow. The annals of the Theater, which went through a tumultuous journey and was repeatedly subjected to Armenian vandalism, is a part of the historical destiny of our compatriots in the ancient lands of Azerbaijan. The article discussed the history, activity, and post-deportation activities of the Yerevan State Azerbaijan Drama Theater in exchange for all these processes. At the same time, attention was drawn here to the current situation of the Iravan State Azerbaijan Drama Theater and the works in the theater's repertoire. It was emphasized that the theater, which went through a difficult and turbulent path, goes on tours today, stages new plays, and gives successful performances. The article is dedicated to the ongoing processes related to the Yerevan State Azerbaijan Drama Theater.

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4

Skloot, Robert. „Review Essay: Old Concerns and New Plays in the Theater of Genocide“. Genocide Studies and Prevention 5, Nr. 1 (2010): 114–20. http://dx.doi.org/10.1353/gsp.0.0041.

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5

Skloot, Robert. „‘Where Does It Hurt?’: Genocide, the Theatre and the Human Body“. Theatre Research International 23, Nr. 1 (1998): 51–58. http://dx.doi.org/10.1017/s0307883300018216.

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Our desire for a humane future, for a future diminished in violence and enhanced in human possibility, insists that every means possible be used to warn and work against genocidal activity. Political scientists, historians, psychologists and others have their disciplinary agendas when they seek to sound the genocidal alarm, and to prevent the eruption of wholesale slaughter. I am concerned with the arts and how they contribute to moving us ‘toward the understanding and prevention of genocide’, specifically how the art of theatre can be used for the purpose of creating a world less violent and more protective and supportive of human life.

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6

Kalisa, Chantal. „Theatre and the Rwandan Genocide“. Peace Review 18, Nr. 4 (Dezember 2006): 515–21. http://dx.doi.org/10.1080/10402650601030476.

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7

Kalisa, Chantal. „Theatre and the Rwandan Genocide“. Journal of Dramatic Theory and Criticism 27, Nr. 2 (2013): 159–66. http://dx.doi.org/10.1353/dtc.2013.0014.

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8

Čirić-Fazlija, Ifeta. „“Not the time for fighting but for taking care of each other”: Portrayals of the Second World War in Two Asian-American Plays“. Društvene i humanističke studije (Online) 7, Nr. 2(19) (20.05.2022): 139–52. http://dx.doi.org/10.51558/2490-3647.2022.7.2.139.

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Most of humanity’s recorded history has been indelibly marked by armed conflicts in various places around the world, yet the scale and effect of the two world wars in the first half of the twentieth century were unprecedented. Both wars remapped the geography, politics, economies, and consciousness of prior realities, and echoed deafeningly throughout the modern works of literature of diverse nations. Anglophone literature overtly portrays wartime atrocities and human ordeals, and concurrently raises awareness of, and agitates against, the savagery of warfare. It does so through its poignant Trench Poetry, the anti-war novels of the Lost Generation, dramas of the Holocaust, and theater of genocide, among others. Another, relatively recent, a subgenre of Anglophone drama also addresses the subject of armed conflicts and their consequences, although its critics and reviewers mostly focus on identity politics, minority and ethnic studies, and the mix of ideas and images that are features of Asian-American theater. Within it researchers can find arresting examples of how an English-speaking theater represents conflict-induced displacement and migration and other repercussions of the Second World War, while dealing with one of the most discomfiting events in recent US history. This paper examines Wakako Yamauchi’s representation of the state-controlled relocation of Asian-American citizens and their consequent experiences, in her play 12-1-A; and Velina Hasu Houston’s portrayal of the Second World War’s ideological and socio-economic repercussions in the Japanese community, in Asa Ga Kimashita (Morning Has Broken).

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9

Songolo, Aliko. „Marie Béatrice Umutesi's Truth: The Other Rwanda Genocide?“ African Studies Review 48, Nr. 3 (Dezember 2005): 107–19. http://dx.doi.org/10.1353/arw.2006.0040.

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Une tragédie n'exclut pas l'autreet il n'existe aucune hiérarchie dans la souffrance.(One tragedy does not cancel out the other,and there is no hierarchy in suffering.)Calixthe Beyala (2005)There can be no reconciliation between Hutu and Tutsi withoutjustice, and no justice without truth. This proposition holds truefor all three states of former Belgian Africa.René Lemarchand (1998)The title of Marie Béatrice Umutesi's book, Fuir ou mourir au Zaïre: Le vécu d'une Réfugiée Rwandaise—or in its English version, Surviving the Slaughter: The Ordeal of a Rwandan Refugee in Zaïre—might prove confusing for some readers on at least two counts. Because the name Rwanda will forever be associated in our memory with the horror of the 1994 genocide, one might surmise that this is the story of a Tutsi survivor taking refuge in neighboring Zaire, as in previous massacres in 1959, 1963, and 1973. But then again, considering the disastrous wars that have raged in that country for the last decade, one might conclude that Umutesi's book tells the story of a Rwandan refugee caught in the crossfire between competing forces, Rwanda versus Uganda and their proxies within the former Zaire. Both assumptions would be only half true. The missing half in both inferences is that the ordeal of this refugee and her cohort originated in the Rwandan conflict that began in 1990 and culminated in the genocide four years later. Shrewdly orchestrated and largely perpetrated by the Tutsi-dominated regime that took power in Rwanda in the aftermath of the genocide, the slaughter of these Hutu refugees has been concealed behind a curtain of silence on the part of the international community. In the drama that unfolds in Umutesi's book, Zairian territory is the unwitting, albeit highly significant, theater of the cynically suppressed story of the disappearance of nearly a quarter million Hutu refugees from Rwanda at the hands of shadowy “rebels.”

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Breed, Ananda. „Performing the Nation: Theatre in Post-Genocide Rwanda“. TDR/The Drama Review 52, Nr. 1 (März 2008): 32–50. http://dx.doi.org/10.1162/dram.2008.52.1.32.

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While grassroots theatre brings together perpetrators and survivors of the Rwandan genocide, government-driven campaigns can manipulate theatre for reconciliation to serve its own nationalist agenda. The Mutabaruka company use their performances in Burundi to resurrect/construct the identity of a precolonial Rwanda; the Mashirika theatre focus on reconciling the Hutu, Tutsi, and Twa.

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YILDIRIM, ŞEYDA NUR. „Staging Theatre Historiography: The Afterlives of Ottoman Armenian Drama in Contemporary Turkish Public Theatre“. Theatre Research International 48, Nr. 3 (Oktober 2023): 246–63. http://dx.doi.org/10.1017/s0307883323000160.

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In the last twenty years, memory has gained broader attention in Turkey's social, cultural and political arena. In line with this movement, independent and subsidized theatres produced plays engaging with Armenian history through diverse political and aesthetic agendas. Among these works, public and state theatre productions remained mostly invisible in theatre scholarship due to their ambiguous position that does not directly align with the framework of political theatre. This article examines the adaptation of the Ottoman Armenian playwright Hagop Baronian's Adamnapuyj aravelyan (1868) as Şark Dişçisi (The Oriental Dentist) (2011) by the Istanbul Metropolitan Municipality City Theatres (İBBŞT). While promoting confrontation with the past, Şark Dişçisi eliminates the crucial political insights of its source text and their ramifications for contemporary demands for historical justice regarding the 1915 Armenian Genocide. The intersection of revisionist theatre historiography and broader political dynamics in the adaptation process reveals the ambivalences of post-Genocide memory work in Turkey.

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Poll, Ryan. „Lynn Nottage's Theatre of Genocide: Ruined, Rape, and Afropessimism“. Journal of Dramatic Theory and Criticism 35, Nr. 1 (2020): 81–105. http://dx.doi.org/10.1353/dtc.2020.0021.

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13

Lie, Siv B., und Ioanida Costache. „Staging Genocide: Theatrical Remembering of the Romani Holocaust“. European History Quarterly 52, Nr. 4 (28.09.2022): 677–98. http://dx.doi.org/10.1177/02656914221097602.

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This article explores performance-centred efforts to remediate the erasure of Romanies from public Holocaust narratives. First, the French play Samudaripen uses aesthetic strategies that emphasize themes of violence and rupture in order to evoke the brutality of Romani persecution under Nazi and Vichy regimes. With its performative elisions between Romani experiences in internment camps in France and concentration camps abroad, Samudaripen connects both historically-specific and fictionalized instances of Romani trauma to broader patterns of anti-Romani persecution past and present. Second, the Romanian-Romani language theatre piece Kali Traš (‘Black Fear’) relays the story of the Romani deportations to camps in Romania in the region of Transnistria under the rule of Romanian fascist dictator Ion Antonescu. Kali Traš pushes back against the silencing of the Romani genocide by reinvigorating the counter-history of the Romani Holocaust in both informative and affectively compelling ways. Each play proclaims Romani agency in commemorative contexts through its narrative and aesthetic strategies. This article shows how Romani artists have engaged in public-facing projects that criticize mainstream Holocaust historiographies and anti-Romani racism more broadly, assessing the extent to which such works constitute valuable additions to Romani struggles for recognition and reparations.

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Knittel, Susanne C. „Ecologies of violence: Cultural memory (studies) and the genocide–ecocide nexus“. Memory Studies 16, Nr. 6 (Dezember 2023): 1563–78. http://dx.doi.org/10.1177/17506980231202747.

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Ecocide and large-scale ecological degradation raise critical questions regarding guilt, justice, and responsibility. The complexity and scale of ecological violence present a singular challenge for memory studies, especially when it comes to understanding how we are implicated in this violence. Often, the way ecological violence is framed as violence relies on repertoires, forms and conventions for representing and commemorating genocides and other acts of large-scale violence against humans. Moreover, cultural forms are able to reveal the historical, structural and discursive links between crimes against humanity and crimes against nature. To explore the implications of these ‘ecologies of violence’ for memory studies, this essay brings together two major strands in the field that have so far not intersected in a substantial way: the turn towards the figure of the perpetrator and to questions of guilt, complicity/implication on the one hand, and on the other, the turn towards the environment and the non-human. The increased interest in the question of perpetration and complicity has gone hand in hand with a critical interrogation of the perpetrator–victim–bystander triad and a shift towards more relational and dynamic conceptions of violence. The environmental turn in memory studies is beginning to rethink memory in terms of more-than-human temporalities or scales, as well as developing new conceptualizations of trauma and victimhood. The aim of this essay is twofold: first, it will briefly sketch each of these developments, bringing out possible points of convergence and divergence. Second, it will explore the potential for memory studies in bringing these two strands together, taking the re-emergence of tribunal theatre as a key example of the cultural imaginary of the genocide–ecocide nexus.

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Skloot, Robert. „Review Essay: Old Concerns and New Plays in the Theater of Genocide1“. Genocide Studies and Prevention 5, Nr. 1 (April 2010): 114–20. http://dx.doi.org/10.3138/gsp.5.1.114.

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16

Monah, Dana. „Guilty Memories: Remembering the Theresienstadt Ghetto in Concentrationary Theatre“. Theatrical Colloquia 9, Nr. 2 (01.12.2019): 30–39. http://dx.doi.org/10.2478/tco-2019-0014.

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Abstract One of the issues theatre must deal with when approaching the topic of genocide is representation. How can theatre, an art of mimesis, represent extreme violence, absolute evil? What can be shown, so as to honour the memory of the victims and at the same time convey the idea of radical evil? At the turn of the 21st century, two playwrights, Enzo Cormann (France) and Juan Mayorga (Spain) approached the issue of the Holocaust through memory. In Toujours l’orage [Always the Storm](1997) and respectively Himmelweg [Way to heaven] (2002) the protagonists revisit, after several decades, the traumatic events of 1944, when they witnessed or participated in the perversion of life and theatre by the Nazi. This paper will analyse the modalities of the memorial mechanism, among which the metatheatrical devices facilitating the representation of the traumatic event.

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Vucenovic, A. „THE HISTORICAL SIGNIFICANCE OF THE SONG “DJURJEVDAN”: ON THE PROBLEM OF SELECTION OF MUSICAL MATERIAL FOR STUDIES“. Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 26, Nr. 94 (2024): 46–60. http://dx.doi.org/10.37313/2413-9645-2024-26-94-46-60.

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The author touches upon the issue of justification and logic of musical material (folk and/or original) used in the process of directing performances or student sketches. This aspect is emphasized in the context of the problem of upbringing and education of future directors and actors. Emphasis is placed on the need for a more careful selection of any, including world-famous, musical material in order to avoid harmful mistakes when preparing performances. Freedom of creativity does not give theater workers the right to distort history. In this article, the object of study was the song “Djurdjevdan”, the historical roots of which, according to one version, go back to the “death trains” during the Second World War, the Serbian genocide, but which is now interpreted as a song about love conflicts, out of ignorance it is performed in the territory of the former Yugoslavia “both at weddings and funerals.” The song “Djurdjevdan” became popular in Yugoslavia in 1942 after it was sung by one of the Bosnian Serbs transported to the Jasenovac concentration camp. Then other, no less tragic events from the history of Serbia were layered. The song became world famous thanks to the film by E. Kusturica “House for Hanging” (“Time of the Gypsies”), in which the key scene is the celebration of St. George’s Day (St. George’s Day), Djurdjevdan in Serbian or, in the language of the Gypsies, Ederlezi.

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Adamson, Ginette. „L'engagement dans le théâtre haïtien: l'œuvre dramatique de Jean Métellus“. Theatre Research International 21, Nr. 3 (1996): 245–55. http://dx.doi.org/10.1017/s0307883300015364.

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In his dramatization of the genocide of Haiti's indigenous Indian population, Jean Metellus sets himself the task of reading the island's future in the archives of Haiti's graveyards. Without being didactic Métellus's Anacaona and Colomb, do have a teaching purpose. They retrace the history of the Indians who lived in Haiti (Ayti) before the arrival of the Conquistadors and their African slaves. In this retracing of history we have a political theatre which calls into question that which and those who allowed this atrocious massacre to take place, and which echoes the dilemmas facing post-Duvalier Haiti.

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LE LAY, MAËLINE. „Performing for Peace and Social Change in Africa's Great Lakes Region“. Theatre Research International 46, Nr. 1 (März 2021): 23–38. http://dx.doi.org/10.1017/s0307883320000565.

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International aid has influenced and, in part, shaped the artistic sector in Africa's Great Lakes region (DRC, Rwanda, Burundi) since the 1990s, a period marked by numerous conflicts and mass violence. Due to NGOs’ programmatic foci, artists performing for social change are increasingly compelled to focus on reconciliation and conflict resolution, generating political awareness and bringing about social change, healing and peacemaking. Through a comparative analysis of European and local productions on the genocide this article asks, how and why does an ‘NGO-style theatre’ develop a specific audience in the region? How have themes such as mass violence, inter-ethnic conflict and social cohesion become the main concerns of the territory's theatre? How do performances made and/or sponsored by NGOs challenge not only theatre's form, its social stakes and functions, but also the conception of its audience and the relationships between actors and spectators?

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Milatovic-Ovadia, Maja. „Shakespeare's Fools“. Critical Survey 31, Nr. 4 (01.12.2019): 29–41. http://dx.doi.org/10.3167/cs.2019.310404.

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In November 2017, Ratko Mladic, a war-time leader and a commander of the Bosnian Serb Army, was sentenced by the United Nations International Criminal Tribunal to life imprisonment for the genocide and crimes against humanity committed during the 1992–1995 war in Bosnia and Herzegovina. In the region the verdict was received with conflicting reactions, emphasising yet again how extensive the ethnic division is within the society. Through close analysis of the theatre project Shakespeare’s Comedies performed by ethnically segregated youth in Bosnia-Herzegovina, this article aims to understand how Shakespeare’s work functions as a vehicle to address the consequences of war and to support the complex process of reconciliation under circumstances in which the issues of war crimes cannot be tackled in a straightforward and direct manner. The study takes a cross-disciplinary approach to research, drawing from theory of reconciliation, applied theatre practice and comedy studies.

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Collins, Holly, und Jacob Abell. „From trauma to drama: A polymorphous space for witnessing (to) the Rwandan genocide in theatre“. International Journal of Francophone Studies 20, Nr. 3 (01.09.2017): 273–91. http://dx.doi.org/10.1386/ijfs.20.3-4.273_1.

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22

Procop, Svetlana. „Pavel Andreichenko as the leader of the Roma movement in the late 90s – early 2000s: new facts and evidence“. JOURNAL OF ETHNOLOGY AND CULTUROLOGY 31 (2022): 63–74. http://dx.doi.org/10.52603/rec.2022.31.07.

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In the presented article, an attempt was made to fill in the information about a well-known person in our republic, a dancer, choreographer, writer and leader of the Roma social movement, this is Pavel Andreichenko. New facts and testimonies found on the pages of the republican press testify to the versatility of the talent of this outstanding representative of the Roma people. Many years ago we wrote about P. Andreichenko as the author of one book – “Ten notebooks in the squares”, which told about the difficult fate of the entire gypsy people, who experienced humiliation and deprivation for many centuries, and in the XXth century experienced a real genocide. Pavel Andreichenko entered the history of the Roma people living in the Republic of Moldova by the fact that he was one of the first to appeal to the local authorities for help in creating a gypsy theater, opening gypsy schools, and an interest club for children and youth. In addition, Pavel Andreichenko was one of the first to speak in an interview about the mass execution of gypsies in Chisinau (near the districte “Old Post Office”). It was here, on this spot, he wanted to erect a monument to Roma children and adults, the victims who fell during the Second World War. It seems to us that the experience of social activity of the “Space Gypsy Pasha”, as Emil Loteanu once called him, can serve as an example for his followers, young activists and leaders of the Roma social movement, who have taken on the noble mission of making the dreams and aspirations of Pavel Andreichenko come true.

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Pentkowsky, Mstislav. „CHILDREN ’ S OPERA BRUNDIBÁR BY HANS KRÁSA – UNIQUE STAGE HISTORY AND CONTEMPORARY SIGNIFICANCE“. Culture Crossroads 19 (11.10.2022): 55–67. http://dx.doi.org/10.55877/cc.vol19.35.

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Brundibár, an opera written by the Czech composer Hans Krása in 1938, has gained worldwide fame since the end of World War II and has become a representa- tion of the global resistance to genocide and crimes against humanity. Brundibár was performed fifty-five times by the young Jewish inmates of the Theresienstadt concentration camp (Czechoslovakia) during 1943–1944. Depicting the victory of the helpless children over the tyrannical organ grinder Brundibár (“bumble-bee” in Czech), this opera symbolized the triumph of the good over the evil. It provided the prisoners of the camp with the hope for the liberation. In the autumn of 1944, composer Hans Krása, conductor Rafael Schächter, stage designer František Zelenka, and 150 young actors and members of the orchestra were deported in the cattle wagons to Auschwitz and other concentration camps. After the deportation of the artists, the most popular theatre production at Theresienstadt was silenced only to be revived after the end of Word War II. This paper aims to demonstrate that the role of Brundibár goes far beyond a common opera production. Brundibár has a great significance and a very special meaning when performed in the countries with the authoritarian regimes in the past, e. g. in Latvia, who faced mass deportations of the Latvians in 1941–1949 and lost the majority of its Jewish population during the Holocaust. The paper talks about the importance of the art pieces about the genocide in the 20th century that should be presented to a wide audience to keep the traumatic memory of the past alive in the memory of the today’s society.

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Budzowska, Małgorzata, und Jadwiga Czerwińska. „The Political Involvement of Myth in Its Stage Adapatations“. Collectanea Philologica, Nr. 19 (30.12.2016): 63–75. http://dx.doi.org/10.18778/1733-0319.19.05.

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Ancient myths from the Mediterranean Culture often become a language used to express current social and political anxieties. In the contemporary theatre ancient myths are deconstructed and subverted according to the postmodern dialogue with tradition. Aesthetic changes are accompanied by the ideological modifications. This obviously crisis position of myth is associated with the method of de-contextualization when a mythical plot or just a mythical character is involved in the (post)modern political background. This paper is to analyse three theatre productions from Polish theatre (Iphigenia by Antonina Grzegorzewska, 2008; Oresteia by Michał Zadara, 2010; Antigone by Marcin Liber, 2013) which adapt the most political ancient myths of Atreides and Labdacides’ families. Authors will present the ancient literary context of these myths (Sophocles, Euripides, Aeschylus) and compare it with the contemporary stage adaptations. Political issues which will be discussed concern 1) global terrorism threat; 2) communism; 3) political usage of dead heroes and enemies – post-memory; 4) wars in Iraq and Afghanistan; 5) Nazi genocide; 6) media management of death. All these current problems constitute a deconstructed background for ancient myths and authors will consider whether this procedure creates an empty mythical mask for performance or, conversely, it enriches a source meaning of ancient myth.

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McKenna, Brian. „Staging a Christopher Columbus Play in a Culture of Illusion: Public Pedagogy in a Theatre of Genocide“. Policy Futures in Education 9, Nr. 6 (Januar 2011): 735–46. http://dx.doi.org/10.2304/pfie.2011.9.6.735.

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Kemp, Roisin. „Broken Glass“. Psychiatric Bulletin 18, Nr. 12 (Dezember 1994): 758–59. http://dx.doi.org/10.1192/pb.18.12.758.

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Is it possible for a Jewish woman in 1938 New York to develop hysterical paralysis of her legs in response to events in Nazi Germany? And how much are her symptoms a reaction to longstanding difficulties in her marriage to a man who is impotent, autocratic, subject to sporadic violent rages, and uncomfortable with his Jewish identity? Is it appropriate for an honest play which explores issues of prejudice, oppression, tryanny, and genocide to be simultaneously humorous and entertaining? What if at the end one feels almost as moved by the miserable (and dead) husband as the heroine, who finds the power to walk again only when her husband expires? These are the difficult questions posed by Arthur Miller in Broken Glass, his latest play recently in repertory at London's National Theatre. The weighty themes are leavened by the hallmark wry humour, sparkling dialogue and deft characterisation.

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Perez, Fernando Hernandez. „Through the Mists of Transformation: Excerpts from a Conversation with Petrona de la Cruz Cruz and Isabel Juarez Espinosa“. Canadian Theatre Review 68 (September 1991): 32–36. http://dx.doi.org/10.3138/ctr.68.011.

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In the footsteps of the history of this continent is a long path of resistance and survival. Five hundred years of change and transformation have forged a different society, a balance with no midpoint. The destruction of social, traditional and spiritual values has made a deep wound in the hearts of First Nations Peoples. We also must not forget in our spirits the First Nations that were wiped out by the Spanish, French and English, in their greed, appropriation and conquest of a world different from theirs. It is because of genocide, torture and death that at the end of the twentieth century, the new generation searches for different ways to express its ideals and goals, ways that will permit the continuing survival of the First Nations. One form of expression that has a very important role in the political struggle of First Nations people is theatre.

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Graham-Jones, Jean. „The Theatre of Genocide: Four Plays about Mass Murder in Rwanda, Bosnia, Cambodia, and Armenia (review)“. Human Rights Quarterly 30, Nr. 3 (2008): 807–10. http://dx.doi.org/10.1353/hrq.0.0021.

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29

Moyo, Cletus, und Miranda Young-Jahangeer. „Identity and the Genocide That Did Not Happen: An Analysis of Two Zimbabwean Plays 1983: Years Before and After and Speak Out!“ Genealogy 6, Nr. 2 (25.03.2022): 24. http://dx.doi.org/10.3390/genealogy6020024.

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Between 1983 and 1987, three years after Zimbabwe gained independence from Britain, there were disturbances in the Ndebele dominated Matabeleland and Midlands provinces, resulting in the massacre of an estimated 20,000 unarmed civilians by an elite armed unit sent by the newly elected democratic (Shona dominated) government. This has become known as the Gukurahundi. The atrocities ended with the signing of the Unity Accord in 1987; however, the Gukurahundi issue has remained sensitive, due to the official silence on this painful period, which has lasted many decades. Victims and families in this community have been given no closure. This article examines the portrayal of identity/genealogy issues by two stage plays: 1983: Years Before and After and Speak Out! The view that we take is that theatre offers a map of individual and social experience that provides a tapestry of the people’s suffering, pain, concerns, hopes, and aspirations. We observe that the plays under study grapple with issues of identity emanating from the undocumented deaths and disappearances of people during the Gukurahundi, whose effects manifest today in the lives of the survivors and children of victims, through failure to obtain birth certificates and identity documents, and through an identity crisis. We conclude that theatre has provided an avenue for the victims of the Gukurahundi to share their experiences and to protest against their continued marginalisation.

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Shannon-Chastain, Elif. „A Martyr of the Multicultural Ottoman Theatre: The Ottoman-Armenian Legacy of Mardiros Mnagian (1912–1920)“. DIYÂR 5, Nr. 1 (2024): 26–46. http://dx.doi.org/10.5771/2625-9842-2024-1-26.

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On May 12, 1912, the Varyete Tiyatrosu in Istanbul’s Beyoğlu district hosted a seminal event in the annals of Ottoman theatre: the first official jubilee honoring the Armenian actor and director Mardiros Mnagian for his half-century of contributions to the empire’s theatrical arts. This event preluded the 1914 establishment of Darü’l Bedâyi, the inaugural Turkish theatre, by Turkish Muslim intellectuals and the Istanbul city government. While Mnagian’s role as principal drama instructor at Darü’l Bedâyi’s was proof of his initial import to the institution, he was not immune to politically motivated exclusion. His abrupt dismissal on July 13, 1915, speaks to the larger shadow of the Armenian Genocide, which removed Armenian talent from the burgeoning Turkish theatrical scene. After his dismissal, Mnagian dedicated his remaining years to nurturing new Armenian theatre troupes, leaving an indelible mark on the cultural landscape until his death in 1920. Mnagian’s life and career, often overlooked by scholars, present a compelling study of an individual navigating the dual facets of an Ottoman-Armenian identity within the theatrical realm. This research aims to delve into Mnagian’s intricate identity interplay, dissecting how he balanced and projected his Armenian and Ottoman personas in his theatrical pursuits. Such an inquiry not only resurrects Mnagian’s obscured legacy but also illuminates the dynamics of cooperation and the subsequent dominance of the Ottoman-Turkish community over the Ottoman-Armenian community in the cultural sphere. Mnagian’s contributions transcended communal lines; he was not only a seminal figure in Western-style Armenian theatre but also, as his name suggested, a martyr in the evolution of Turkish theatre. His life and death bridge cultures in a textured narrative of service and unity, underscoring the multifaceted role he played in shaping the theatrical heritage of the Ottoman Empire.

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31

Zhizhi, Able Shibinya, und Emmanuel Okokondem Okon. „Insurgence and National Security in Nigeria: A Focus on Boko Haram“. American Economic & Social Review 2, Nr. 1 (18.01.2018): 41–51. http://dx.doi.org/10.46281/aesr.v2i1.153.

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The contemporary Nigeria has become a theatre of genocide, bloodshed and insecurity over the past years due to the carnage activities of terrorist groups. Terrorists of various groups and camps unleash havoc on the Nigerian populace. Though these groups are numerous, one of the most noticeable and deadly group is Boko Haram. This paper attempts to investigate if this group is one of the major security challenges confronting Nigeria today. The result reveals that a number of factors, including bad governance and religious and political manipulations, and the long and porous borders of Nigeria promote Boko Haram activities. As such, there is significant relationship between Boko Haram insurgency and national security in Nigeria. This paper recommends that at all levels of government, governance should be taken as a serious business especially in the area of provision of security and public goods such as improved infrastructure and the creation of the enabling environment needed for investment that would in turn creation opportunities for employments which will lead to reduction in poverty.

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Merlin, Bella. „Using Stanislavsky's Toolkit for Shakespeare's Richard III, Part I: Research on the Text and the Play“. New Theatre Quarterly 29, Nr. 1 (Februar 2013): 24–34. http://dx.doi.org/10.1017/s0266464x13000031.

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An actor's training continues throughout his/her professional career, yet they rarely have the time or inclination to write in detail about their processes, when building a character, to provide documents for inquisitive peers. In this two-part article, Bella Merlin articulates the discoveries made playing Margaret in Richard III at the Colorado Shakespeare Festival in Summer 2012, directed by internationally acclaimed actor-director Tina Packer (co-founder of Shakespeare and Company with Kristin Linklater in 1978). Merlin highlights how the shift from teacher to actor reactivates the ‘willing vulnerability’ that she demands of her own students. She focuses on Stanislavsky's three avenues of research: on the playtext; on the world of the play and playwright; and on the self. There can be resistance by some theatre practitioners to the application of Stanislavsky's tools to Shakespeare's texts, often due to a perceived over-psychologizing. Here, Merlin challenges some of these resistances. She demonstrates that Packer's insistence on connecting voice with thought to release the imagination implicitly harnesses Shakespeare's structure with Stanislavsky's underpinnings. Packer also lays emphasis on contemporary resonance, freeing the natural voice, and the significance of Shakespeare's female characters in Richard III for awakening an audience to the consequences of violence. The journey is unsettlingly personal and startlingly global. Part I, which follows, addresses research on the text and research on the play, drawing upon history, biography, accounts of grief, and chilling footage of the Rwandan genocide. Part II, planned for the next issue, uses the immediacy of a rehearsal journal to address research on the self. Bella Merlin is an actor, writer and actor-trainer. Acting includes seasons at the National Theatre with Max Stafford-Clark's Out of Joint Company. Publications include The Complete Stanislavsky Toolkit (2007) and Acting: the Basics (2010). She is currently Professor of Acting at the University of California, Davis.

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Merlin, Bella. „Using Stanislavsky's Toolkit for Shakespeare's Richard III, Part II: Research on the Self in the Play“. New Theatre Quarterly 29, Nr. 2 (29.04.2013): 159–69. http://dx.doi.org/10.1017/s0266464x13000262.

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An actor's training continues throughout his/her professional career, yet they rarely have the time or inclination to write in detail about their processes, when building a character, to provide documents for inquisitive peers. In this two-part article, Bella Merlin articulates the discoveries made playing Margaret in Richard III at the Colorado Shakespeare Festival in Summer 2012, directed by internationally acclaimed actor-director Tina Packer (co-founder of Shakespeare and Company with Kristin Linklater in 1978). Merlin highlights how the shift from teacher to actor reactivates the ‘willing vulnerability’ that she demands of her own students. She focuses on Stanislavsky's three avenues of research: on the playtext; on the world of the play and playwright; and on the self. There can be resistance by some theatre practitioners to the application of Stanislavsky's tools to Shakespeare's texts, often due to a perceived over-psychologizing. In these articles Merlin challenges some of these resistances. She demonstrates that Packer's insistence on connecting voice with thought to release the imagination implicitly harnesses Shakespeare's structure with Stanislavsky's underpinnings. Packer also lays emphasis on contemporary resonance, freeing the natural voice, and the significance of Shakespeare's female characters in Richard III for awakening an audience to the consequences of violence. The journey is unsettlingly personal and startlingly global. In Part I, in NTQ 113, Merlin addressed research on the text and research on the play, drawing upon history, biography, accounts of grief, and chilling footage of the Rwandan genocide. In Part II, which follows, she uses the immediacy of a rehearsal journal to address research on the self. Bella Merlin is an actor, writer, and actor-trainer. Acting includes seasons at the National Theatre with Max Stafford-Clark's Out of Joint Company. Publications include The Complete Stanislavsky Toolkit (2007) and Acting: the Basics (2010). She is currently Professor of Acting at the University of California, Davis.

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Burelle, Julie. „Theatre in Contested Lands: Repatriating Indigenous Remains“. TDR/The Drama Review 59, Nr. 1 (März 2015): 97–118. http://dx.doi.org/10.1162/dram_a_00431.

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The repatriation of indigenous remains and cultural patrimony can trigger anxiety among the settler majority. Performing as surrogates for the Americas’ un-grieved genocidal past, these remains, and the mourning performances that accompany their sometimes-embattled repatriation, illuminate the continuous violence against indigenous people that infiltrates even settler societies’ most reparative laws.

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Lang, Berel. „BETWEEN GENOCIDE AND “GENOCIDE”“. History and Theory 50, Nr. 2 (26.04.2011): 285–94. http://dx.doi.org/10.1111/j.1468-2303.2011.00584.x.

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36

Lemarchand, Rene. „Genocide in the Great Lakes: Which Genocide? Whose Genocide?“ African Studies Review 41, Nr. 1 (April 1998): 3. http://dx.doi.org/10.2307/524678.

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37

Rakow, Christian. „Theater. Pop-Theater“. POP 6, Nr. 1 (01.03.2017): 87–93. http://dx.doi.org/10.14361/pop-2017-0115.

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38

Morus, Christina M. „Genocide“. Journal for Peace and Justice Studies 20, Nr. 2 (2010): 141–45. http://dx.doi.org/10.5840/peacejustice201020225.

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39

Polacek, Kelly Myer, und Rachel K. Fischer. „Genocide“. Reference & User Services Quarterly 52, Nr. 4 (01.06.2013): 291–97. http://dx.doi.org/10.5860/rusq.52n4.291.

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40

Winterdyk, John. „Genocide“. International Criminal Justice Review 19, Nr. 2 (15.05.2009): 101–14. http://dx.doi.org/10.1177/1057567709334217.

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41

Quigley, John. „Genocide“. International Criminal Justice Review 19, Nr. 2 (11.05.2009): 115–31. http://dx.doi.org/10.1177/1057567709335396.

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42

Wade, Marianne L. „Genocide“. International Criminal Justice Review 19, Nr. 2 (15.05.2009): 150–74. http://dx.doi.org/10.1177/1057567709335397.

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43

Beres, Louis Rene. „GENOCIDE“. Review of Policy Research 4, Nr. 3 (Februar 1985): 397–406. http://dx.doi.org/10.1111/j.1541-1338.1985.tb00239.x.

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44

Burleigh, M. „Genocide“. German History 10, Nr. 2 (01.01.1992): 260–61. http://dx.doi.org/10.1093/gh/10.2.260.

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45

Khachatourian, Reynold. „Genocide“. Journal of Genocide Research 1, Nr. 1 (März 1999): 127. http://dx.doi.org/10.1080/14623529908413941.

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46

Jones, Adam. „Gendering Rwanda Genocide and Post-Genocide“. Journal of International Peacekeeping 22, Nr. 1-4 (08.04.2020): 215–29. http://dx.doi.org/10.1163/18754112-0220104014.

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In his chapter, Adam Jones addresses genocide as multi-dimensional crime. He describes two broad typologies of genocide – ‘gendercide’, and ‘root and branch genocide’, which are ‘distinguished by the different operations of the gender variable in each’. As Jones outlines, the Rwanda genocide evidenced broad range of gendered aspects – from leveraging ethnicized gender tropes, through the sometime employment of gender-based genocidal approaches (execution, rape), to the economic and social consequences (planned or not) that are the legacy of gendered genocide. ‘The “gendering” of a given genocide’, he concludes, ‘therefore encompasses the cultural configurations that influence the mobilisation of perpetrators and the targeting of victims, as well as the sexed bodies that are damaged or destroyed in genocidal campaigns’.

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47

Rakow, Christian. „THEATER: THEATER ALS popKONZERT“. POP 2, Nr. 2 (01.09.2013): 76–80. http://dx.doi.org/10.14361/pop.2013-0214.

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48

Rakow, Christian. „THEATER: THEATER ALS POPKONZERT“. POP 3, Nr. 2 (01.09.2013): 76–80. http://dx.doi.org/10.14361/pop.2013.0214.

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49

Kaiser, Johanna. „„Theater, Theater — einfach wunderbar!““. Sozial Extra 37, Nr. 11-12 (Dezember 2013): 27–30. http://dx.doi.org/10.1007/s12054-013-1087-x.

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50

Cohn, Ruby. „Theater in Recent English Theater“. Modern Drama 30, Nr. 1 (März 1987): 1–13. http://dx.doi.org/10.3138/md.30.1.1.

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