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Thematische Bibliographien / Urban theatre

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Auswahl der wissenschaftlichen Literatur zum Thema „Urban theatre“

Autor: Grafiati

Veröffentlicht am 18. Mai 2024

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Zeitschriftenartikel zum Thema "Urban theatre"

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van den Berg, Klaus. „The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin“. Theatre Research International 16, Nr. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.

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Bhuyan, Abul Basher MD Ziaul Haque. „The synthesis of tradition in contemporary theatre of Bangladesh: “The theatre of roots”“. ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, Nr. 4 (2022): 84–104. http://dx.doi.org/10.35852/2588-0144-2022-4-84-104.

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The article examines how the Eastern traditional theatre responded to the Western theatre in the context of the British colonial regime in the Indian subcontinent. From this point of view, the dialogue between cultures was practically not considered. Hence, this study is devoted to understanding the synthesis of European theatre and traditional theatre, which began to be considered a rural art form by the early twentieth century, meaning something simple or low. In contrast, urban theatre of the European type was perceived as something refined or high. Rabindranath Tagore had not been fully successful in synthesizing heterogeneous theatrical traditions in his lyrical plays. The Indian People’s Theatre Association (IPTA), an all-India organization of progressive writers-artists-activists, was established in Mumbai (Bombay) in 1943, played a significant role in creating the new cultural expression in the map of colonial Bengali theatre. Also, after obtaining independence in 1971, the theatre artists of Bangladesh sought a new language of performance in the urban theater, which would embody the people’s lives, hopes, and dreams. Eventually, the national cultural movement emerged in the decade of 90s in the last century. The movement was called the “Theatre of Roots”, which attempted to synthesize the traditional elements with the Western forms and enjoyed great popularity. Therefore, the article analyzes the play Wheel by Selim Al Deen, directed by Syed Jamil Ahmed, the most significant examples of the “Theatre of Roots” movement. In the study of this production, an analysis of the artistic process of synthesis of traditions in the modern urban theatre of Bangladesh is carried out.

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Wang, Chen, und Heng Li. „Built Environmental Variations Between Regular and Imax Theatres“. Open House International 43, Nr. 4 (01.12.2018): 41–51. http://dx.doi.org/10.1108/ohi-04-2018-b0006.

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The movie substitutes such as home cinema, video on demand (VOD), and plasma televisions leaded to a declining attendance of patrons to movie theatres, which urged the invention of IMAX theatre to call movie lovers back to cinemas. Many cinemas plan to renovate their regular digital theatre auditoriums into IMAX theatre auditoriums, but there lack of study for built environmental variations between regular and IMAX theatres. Through the combination of a questionnaire survey and a case study on a leading cinema company in Malaysia, the Tanjong Golden Village Cinemas (TGV), this paper aims to identify the structural and architectural differences between regular digital theatre auditorium and IMAX theatre auditorium in the perspectives of acoustic and visual experiences. The most significant factor influencing the satisfaction of visualization in IMAX is “immersive of picture” followed by “sharpness of colour” and “feels as part of the picture”. The most significant indicators for audio experience in IMAX is “direction of object”, which enable an audience to trace the direction and position of an object on the screen without looking at it. The built environmental variations between regular and IMAX theatres in terms of screen, camera and projection methods, seating, architectural layout, wall design, and sound system arrangement were thoroughly compared in the case study.

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DUTT, BISHNUPRIYA. „Introduction“. Theatre Research International 42, Nr. 3 (Oktober 2017): 323–26. http://dx.doi.org/10.1017/s030788331700061x.

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These three essays on distinct research areas and case studies cover a broad history of educational institutions in India, their focus on theatre and cultural education, and their role in creating citizens active in the public sphere and civic communities. The common point of reference for all the three essays is the historical transition from pre- to post-independence India, and they represent three dominant genres of Indian theatre practice: the amateur progressive theatre emerging out of sociopolitical movements; the State Drama School, which has remained at the core of the state's policy and vision of a national theatre; and college theatre, which comprises the field from which the National School of Drama sources its acting students, as well as new audiences for urban theatres.

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Kladaki, Maria, und Kostantinos Mastrothanasis. „Shakespeare’s Plays at the Royal Theatre in Athens in the Early 20th Century“. European Journal of Language and Culture Studies 1, Nr. 6 (19.12.2022): 52–58. http://dx.doi.org/10.24018/ejlang.2022.1.6.53.

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In the early 20th century, the idea of creating a state theatre in Greece matured, that was responsible for establishing the foundation of a national dramatic tradition, as well as of the art of histrionics which until that time was characterized by amateurism. The Royal Theatre opened its doors to the public in 1900 and was based on the model of German Court theatres. In other words, theatre was considered a superior form of art that had to be kept away from the lower social classes. The absence of a powerful urban class and the lack of cohesion between the urban class and the lower classes favored the role of the Court, which was influenced by Drama when it comes on shaping its public guise and consolidate its dominance, by ensuring that a specific theatre style, aesthetics and ideology were preserved. Shakespeare’s performances in Greece were based on uncritical copying of practices applied in Europe in the light of the country’s agonizing struggle to build a new national and urban class identity. The audience of the Royal Theatre was seeking its own identity within that phantasmagorical ambience; that is for points of convergence with the western model, so as to receive social recognition and feel self-justified, as participation in such events were classified as “cultured persons”. The theatrical environment itself and the utilization of works of the English poet's works played a role in solidifying the idea in Greece that Shakespeare’s plays are the exclusive privilege of the urban class.

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Settimo, Teatro. „A Theatre for Urban Renewal“. New Theatre Quarterly 7, Nr. 25 (Februar 1991): 27–34. http://dx.doi.org/10.1017/s0266464x00005169.

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Teatro Settimo is a theatre group which was created in the Italian industrial city of Turin in 1979 by a group of theatre-making friends who wished to discover a kind of left-wing theatre that would respond directly to the problems of an urban environment. Their story is one of institutionalized success achieved – and then deliberately rejected, as the problems of administering that success, with all its attendant bureaucracy, threatened to stifle the original impulses behind the company. Their most recent production, Stabat Mater, was presented at the ‘Divina’ conference held in Turin in June 1990, as described elsewhere in this issue. Lizbeth Goodman and Gabriella Giannachi spoke there to members of the group, which has since brought Stabat Mater to the ‘Theatre under Threat’ conference in Cambridge last October.

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Wooden, Isaiah Matthew. „Macelle Mahala. Black Theater, City Life: African American Arts Institutions and Urban Cultural Ecologies“. Modern Drama 66, Nr. 4 (01.12.2023): 577–79. http://dx.doi.org/10.3138/md-66-4-rev7.

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Macelle Mahala’s Black Theater, City Life: African American Art Institutions and Urban Cultural Ecologies demonstrates how the Black theatre companies and institutions it explores have transformed their respective communities into important sites of civic and artistic engagement.

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Haddad, Naif Adel, Leen Adeeb Fakhoury und Talal S. Akasheh. „Notes on anthropogenic risks mitigation management and recovery of ancient theatres’ heritage“. Journal of Cultural Heritage Management and Sustainable Development 8, Nr. 3 (20.08.2018): 222–56. http://dx.doi.org/10.1108/jchmsd-11-2016-0062.

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Purpose Ancient theatres and odea are one of the most significant and creative socio-cultural edutainment centres of human history that are still in use. They stood and served as huge multi-functional structures for social, religious, propaganda and political meeting space. Meanwhile, ancient theatres’ sites have an intrinsic value for all people, and as a vital basis for cultural diversity, social and economic development, they should continue to be a source of information for future generations. Though, all places with ancient theatre heritage should be assessed as to their potential risk from any anthropogenic or natural process. The paper aims to discuss these issues. Design/methodology/approach The main paper’s objective is to discuss mainly the anthropogenic and technical risks, vulnerability and impact issues on the ancient classical theatres. While elaborating on relevant recent studies, where the authors were involved in ERATO and ATHENA European projects for ancient theatres and odea, this paper provides a brief overview of the main aspects of the anthropogenic qualitative risks and related issues for selected classical antiquity theatres. Some relevant cases are critically presented and investigated in order to examine and clarify the main risk mitigation issues as an essential prerequisite for theatre heritage preservation and its interface with heritage reuse. Findings Theatre risk mitigation is an ongoing and challenging task. By preventive conservation, theatre anthropogenic qualitative risks’ management can provide a framework for decision making. The needed related guidelines and recommendations that provide a systematic approach for sustainable management and planning in relation mainly to “ancient theatre compatible use” and “theatre technical risks” are analysed and presented. This is based on identification, classification and assessment of the theatre risk causes and contributing factors and their mitigation. Originality/value The paper also suggests a new methodological approach for the theatre anthropogenic qualitative risk assessment and mitigation management, and develop some recommendations that provide a systematic approach for theatre site managers and heritage experts to understand, assess, and mitigate risks mainly due to anthropogenic and technical threats.

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Fink, Ben. „Secular Communion in the Coalfields: The Populist Aesthetic and Practice of Roadside Theater“. TDR/The Drama Review 64, Nr. 4 (Dezember 2020): 16–43. http://dx.doi.org/10.1162/dram_a_00963.

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Roadside Theater is a populist theatre company. Refusing liberal elitism, activist vanguardism, and the authoritarian pseudo-populism of Donald Trump, Roadside works in grassroots partnerships that cross racial, political, and rural-urban lines. Combining theatre production, community organizing, and economic development, this work creates the conditions for residents of the Appalachian coalfields and neighbors nationwide to confront exploitative power structures and divisive culture wars, tell their own stories, build shared power and wealth, and create a future where “We Own What We Make.”

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Starzyk, Agnieszka, Kinga Rybak-Niedziółka, Janusz Marchwiński, Ewa Rykała und Elena Lucchi. „Spatial Relations between the Theatre and Its Surroundings: An Assessment Protocol on the Example of Warsaw (Poland)“. Land 12, Nr. 6 (13.06.2023): 1225. http://dx.doi.org/10.3390/land12061225.

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Theater as a place, but also as a field of human and team activity involving the creation of performances performed in the presence of the viewer, has a centuries-old history. This study aims at examining the links between theatre architecture/space and public spaces, trying to answer to what extent these objects have become attractors in its space and how they affect the activity of cultural and social life. The subjects of the study are Warsaw theatres, both historical and contemporary, in the context of their impact on the surrounding public spaces. A specific methodology was elaborated to evaluate potential impacts. According to the spatial relations between the theatre and its surroundings, they are clustered in the following typologies: emanation, isolation, and interference theatre. The research methods applied for defining and solving the scientific problem are: (i) critical analysis, (ii) comparative analysis, (iii) observation without intervention, and (iv) intuitive method based on the author’s personal experience. The conclusions are based on empirical research, with particular emphasis on the research material obtained by field research. The results of the research allow one to draw conclusions regarding the influence of theatrical places on public spaces in the city structure. The mission of the theater is changed, activating events and building social bonds. Theater space and its surroundings are shaped in accordance with these new standards and social expectations to be transformed into a public space of a cultural nature. Thus, presently, urban theatrical space is a site for spectacle, with a social and cultural mission. Theater space and its surroundings should be shaped in accordance with changing standards and social expectations, and it should be a public space of a cultural nature.

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Dissertationen zum Thema "Urban theatre"

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Wessels, Anton. „STDC State Theatre dance centre“. Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10122006-121626.

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王樂賢 und Lok-yin Lloyd Wong. „Theatre, matrix of urban space: community's focus on Gough Street“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986869.

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Wong, Lok-yin Lloyd. „Theatre, matrix of urban space : community's focus on Gough Street /“. Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25954635.

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Reisin, Vanessa Raquel. „theatre: analogy of the city reflected inward“. Thesis, Virginia Tech, 2012. http://hdl.handle.net/10919/34834.

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this thesis is an exploration of rational architectural forms and urban ideas. reflections of density, circulation, rhythm, pattern, and punctuation. the formal consequence of two ideas, city and spectacle, manifest in a theatre for the acrobatic performing arts. on the exterior, an autonomous construction where the architecture is a confrontation to the urban world. internally, a world where spectator and spectacle exist playfully through drawing, modeling, and collage. the project brings the structure of the city to the structure of the theatre. theatre as analogy, a city turned inward.
Master of Architecture

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Syron, Liza-Mare. „Ephemera Aboriginality, reconciliation, urban perspectives ; Artistic practice in contemporary Aboriginal theatre /“. Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060220.155544/index.html.

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Kigombe, Novetha [Verfasser]. „On the management of Theatre Groups in Urban Tanzania / Novetha Kigombe“. Berlin : Freie Universität Berlin, 2016. http://d-nb.info/1117028410/34.

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Feinberg, Matthew Isaiah. „LAVAPIÉS, MADRID AS TWENTY-FIRST CENTURY URBAN SPECTACLE“. UKnowledge, 2011. http://uknowledge.uky.edu/gradschool_diss/216.

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Informed by the theories of Henri Lefebvre regarding the production of space and the theories of scale found in current scholarship in Cultural Geography, my methodology analyzes both dramatic texts and theater spaces to investigate how cultural production and capital converge in the “spectacle” of urban space. While employing this term “spectacle” to describe how dramatic texts, theater productions, and modern architecture transform the urban landscape into a metaphoric theater space for the production of local, national, and global identities, this project examines the relationship between theater and urban change in Lavapiés, an iconic, multicultural, and oftenunderserved neighborhood located in the Embajadores district of Madrid, Spain. Against the historical backdrop of the neighborhood’s long and important relationship with theater and theater spaces from the seventeenth century onwards, I analyze a range of urban spectacles taking place in Madrid between 1997 and 2006. This analysis includes close readings of contemporary plays that represent the urban space of Lavapiés and Madrid, an analysis of the architecture of power articulated in the the municipal government’s Plan General de Ordenación Urbana de Madrid 1997 [Plan for Urban Development for Madrid 1997] and the recently constructed Teatro Valle-Inclán Centro Dramático Nacional [National Drama Center]. Finally, I look at the cultural activities of the squatters (okupas) of the Laboratorio 03 who between 2002 and 2003 transformed an abandoned warehouse into a space for art, theater, and cyber resistance that sought to shatter the illusion of capitalist spectacle projected by the gleaming steel and glass of the new condominiums and cultural institutions represented by the aforementioned Teatro Valle-Inclán. Overall, this project looks to this range of traditional and nontraditional texts to illustrate how Madrid’s historical dynamic between urban space, power, and theater continues to be manifested in the contemporary spectacle of Lavapiés.

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Gomes, Fausto. „São Paulo: An Ecological View Of A Theatre For Modernity“. Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2850.

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Future challenges for human civilization, especially in the developing world, will increasingly be characterized by both an urban and global condition. What will be the response by design in the face of the implications of this unprecedented scale of development? The thesis is a speculative analysis of the essential nature of the phenomenon of the global mega-city, and is a necessary first step in creating a framework to answer this question. The Brazilian city of São Paulo is chosen as this thesis case study because it is a 'matured' version of this Modern urban phenomenon. Underlying and guiding the creation of this picture of the mega-city is the assertion that the fundamantal nature of the phenomenon of São Paulo is essentially an ecological one. Like any other ecological analysis, the first stage of the inquiry is to identify the motivating force that orders the system and propels the change of the urban ecology. In the case of São Paulo, the thesis develope a picture of an urban agglomeration that has been driven by the unrestrained forces of the aspirations of global Modernism and the exploitation of growing urban multitudes by the personal avarice of capitalism. São Paulo is seen as an urban experiment that rests in the tacit gamble that the economic aspirations underlying São Paulo are limitless in the face of the obvious limits of the city' and globe's biosphere. This relationship between urban organism and host ecology is characterized as parasitic and like the economic and social propelling forces of Modernity, forms the fundamental underlying relationships of the ecology of São Paulo. These relationships in juxtaposition with the propellant force of Modernism, form the sketch of a framework that the thesis proposes for a responsible position for design in the mega-city. In light of this ecological sketch of São Paulo, the underlying perpective for design in the mega-city seeks to strike a balance between economy, ecology and should be founded on a view of the city as an investment that can be evaluated for its performance in providing the context for human flourishing in relations to its use of natural resources.

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Hofmeyr, Andreas Murray. „(Inter-) facing space : a forum-based theatre inside an indeterminate urban site“. Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/29804.

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The study will investigate a design intervention that attempts to respond to the condition of spatial indeterminacy in the Sammy Marks precinct of Pretoria, where this condition is heavily pronounced in the form of disused public squares, inactive edges and inner-block voids. The study suggests that developing these spaces as cultural interfaces can provide a foothold for emergent city life and cultural activities. The specific project intervention will take the form of a theatrical interface that will serve as a platform for public interactive theatre events and a theatre school. The client is the State Theatre, in collaboration with the Department of Public Works. The site of the intervention is located in close proximity to the State Theatre. An investigation of the site and its surrounding context will generate opportunities for specific intervention.
Dissertation (MArch(Prof))--University of Pretoria, 2011.
Architecture
unrestricted

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Roy, Sylee. „'City plays' : a study of urban theatre in India since the 1970s“. Thesis, University of North Bengal, 2021. http://ir.nbu.ac.in/handle/123456789/4801.

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Bücher zum Thema "Urban theatre"

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Kogler, Leopold, und Karla Starecek. Martin Veigl: Urban theatre. Bad Traunstein: Steinverlag, 2016.

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1942-, Cole Robert Reed, Hrsg. Joseph Urban: Architecture, theatre, opera, film. New York: Abberville Press, 1992.

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Strietman, Elsa, und Peter Happé, Hrsg. Urban Theatre in the Low Countries. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.tcne-eb.6.09070802050003050107000001.

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City stages: Theatre and urban space in a global city. Toronto: University of Toronto Press, 2007.

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Elsa, Strietman, und Happé Peter, Hrsg. Urban theatre in the Low Countries, 1400-1625. Turnhout: Brepols, 2006.

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Brenner, Klaus Theo. Stadttheater: Manifeste für eine stillose Architektur = Urban theatre : manifesto for a style-free architecture. Berlin: Ernst & Sohn, 1994.

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Group, Urban Design, State University of New York at Buffalo. Urban Design Project. und Niagara Falls (N.Y.), Hrsg. Niagara Falls, New York, East Falls Street theatre district: Planning and urban design strategies for East Falls Street. Buffalo, N.Y: Urban Design Project, State University of New York at Buffalo, 1993.

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1872-1933, Urban Joseph, Ostergard Derek E, Smith Matthew Wilson und Wallach Art Gallery, Hrsg. Architect of dreams: The theatrical vision of Joseph Urban. New York: Miriam and Ira D. Wallach Art Gallery, Columbia University, 2000.

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1938-, Bianchi Ruggero, und Ferrero Richi 1951-, Hrsg. Richi Ferrero and il gran teatro urbano: Theatre, theatricality, and the theatricalisation of the arts from the stage to the urban scene. Torino: CELID, 2001.

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Staging the slums, slumming the stage: Class, poverty, ethnicity, and sexuality in American theatre, 1890-1916. New York, NY: Palgrave Macmillan, 2014.

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Buchteile zum Thema "Urban theatre"

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Clemente, Susanna. „Theatre as Solidification“. In The Urban Book Series, 51–74. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-89968-4_3.

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Clemente, Susanna. „Theatre as Recast“. In The Urban Book Series, 75–95. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-89968-4_4.

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Clemente, Susanna. „Theatre as Urban Knot“. In The Urban Book Series, 97–128. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-89968-4_5.

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Clemente, Susanna. „The Evolution of Theatre Features“. In The Urban Book Series, 129–58. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-89968-4_6.

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Stecher, Anna. „Teaching, Therapy, and Tourism: Infrastructural Transformations in Contemporary Chinese Theatre“. In Urban Infrastructuring, 53–70. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-8352-7_4.

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Aronson, Arnold. „[Carl Maria Georg] Joseph Urban (1872–1933)∗“. In Fifty Key Theatre Designers, 92–97. New York: Routledge, 2023. http://dx.doi.org/10.4324/9780429277856-15.

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Ramakers, Bart. „Dutch Allegorical Theatre: Tradition and Conceptual Approach“. In Urban Theatre in the Low Countries, 127–47. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.tcne-eb.3.2780.

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Knight, Alan E. „Guild Pageants and Urban Stability in Lille“. In Urban Theatre in the Low Countries, 187–208. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.tcne-eb.3.2783.

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Strietman, Elsa, und Peter Happé. „Introduction (with Timeline and Maps of the Low Countries)“. In Urban Theatre in the Low Countries, 1–33. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.tcne-eb.3.2774.

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Dauven-van Knippenberg, Carla. „Borderline Texts: The Case of the Maastricht (Ripuarian) Passion Play“. In Urban Theatre in the Low Countries, 37–52. Turnhout: Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.tcne-eb.3.2776.

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Konferenzberichte zum Thema "Urban theatre"

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Abdulkadir, K. A. „Theatre audience crisis and suitable solutions“. In First International Symposium on Urban Development. Southampton, UK: WIT Press, 2013. http://dx.doi.org/10.2495/isud130261.

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Jara Calabuig, Aaron. „Urban stages: when cities and architecture become a theatre“. In 3rd Valencia International Biennial of Research in Architecture, VIBRArch. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/vibrarch2022.2022.15109.

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Throughout history, the theatre has played a decisive part in urban space configuration, not only because of the location of theatre buildings within the city. Outdoor performances in squares, streets and community facilities have also assumed an essential role in the organisation of public space. In this sense, touring theatre must be understood as a resource for transforming and revitalising cities. Festivals such as Avignon, Bilbao and Tàrrega are clear examples of how theatre can appropriate the urban or architectural context and generate new atmospheres. The study of these three cases aims to show how performing practice finds or makes its place in the city, adapting itself to existing urban structures and enhancing their value. In addition, the purpose is also to analyse some buildings and public places that have been designed with an evident scenographic vocation. From Piazza di Sant’Ignazio (Rome) to Can Sau (Olot, Girona), several constructions are conceived as street stages, where everyday life becomes a live performance.

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Uscinowicz, Jerzy. „In Dialogue of Symbols - Adaptation and Development of the Centre for Theatre Practices in Gardzienice“. In Urban Heritage: Research, Interpretation, Education. Vilnius, Lithuania: Vilnius Gediminas Technical University Publishing House Technika, 2007. http://dx.doi.org/10.3846/uh20070925.90-97.

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Malinina, Elena. „Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community“. In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.

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Ceastina, Ala. „The outstanding architect Alexander Iosifovich Bernardazzi (1831–1907)“. In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.20.

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This year marks the 190th birthday of the famous Swiss architect of Italian origin A.I. Bernardazzi, who is also known for creating various historic buildings in Ukraine, Bessarabia and Poland. Archival documents were an evidence of the beginning of architectural career of Bernardazzi, when the Bessarabian Road and Construction Commission appointed him as the technician for urban planning of Akkerman and Bendery in 1853 and also for building some bridges and causeways in those districts. He took part in the organization of the third market in the Forest Square in Kishinev in September of 1855. This was the first mission of his creativity in Kishinev. Alexander Bernardazzi executed his duty as municipal architect from 1856 to 1878 having taken the place of another architect Luca Zaushkevich. All his subsequent monumental buildings became the best examples of European architecture by their style, shape, and quality. . In Bessarabia, he participated in the design and construction of many buildings such as the temporal theatre, the Lutheran school, the railway station, the Greek Church, the Manuk-Bei’s palace, etc. As for Kishinev, the architect Bernardazzi performed the beautification of paving many streets, the construction of urban water supply and the cast-iron railing in the city park. Also, he participated in many architects’ meetings where he submitted interesting reports referring to the theater, some windows, fire safety of buildings and so on. After his arrival to Odessa in 1878, Alexander Bernardazzi continued to participate in designing social and civil buildings in Bessarabia. For his enormous creative contribution to urban development, he was appreciated with the title of honorable citizen of Kishinev and appointed member of the Bessarabian department of the Imperial Russian Technical Society.

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Chitra, Banu, Minakshi Jain und Faiz Ahmed. „Analyzing the Soundscape of an Urban Park: A Case of Semmozhi Poonga“. In ASME 2018 Noise Control and Acoustics Division Session presented at INTERNOISE 2018. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/ncad2018-6137.

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This paper investigates the soundscape of a designed urban park in Chennai. Acoustic measurements and subjective evaluations of the soundscape were conducted at various locations in the identified case. The park was divided into nine zones for conducting the primary survey, such as parking area, entrance court, tree court, children’s play, herbal garden, butterfly garden, open-air theatre, duck pond, and mound. Fourteen different sounds were mapped based on the pilot survey that affected the users. Totally thirty responses were collected from each zone. The observed sounds include traffic sound, honking of vehicles, screaming of people & children, chuckling of children, the chirping of birds, ringing of the mobile phone, crowd talking, rustling of leaves, wind sound, play equipment sound, splashing of water, flowing of water, and machine sound. From the subjective survey, it is found that the individual soundscape preference collected from each space have no correlation with the overall soundscape experience of the same space. Based on the measurement data, the individual and the overall experience on soundscape perception were examined.

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Gurusamy Naidu, Kribanandan. „Innovative Upgrading of Heritage Buildings: Structural Case Studies“. In IABSE Conference, Kuala Lumpur 2018: Engineering the Developing World. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2018. http://dx.doi.org/10.2749/kualalumpur.2018.0435.

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<p>The challenge of integrating old and new in the development of urban spaces is constrained by commercial realities and an ignorance of the value of maintaining historical relevance as society develops. Malaysia has had its fair share of such historical gems being destroyed without much consideration for heritage but there also exists significant projects where proper design and engineering have been applied for conservation and adaptive reuse.</p><p>In this paper innovative options for structural upgrading of masonry buildings is considered using techniques which provide a basis for achieving structural integrity without compromising the visual appearance and historical value. This includes examples of a shop house upgraded following significant settlement due to adjacent construction and an adaptive reuse of a school which was converted into a theatre.</p>

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Wrana, Jan, und Agnieszka Fitta-Spelina. „Return to a coherent city: on the example of Lublin“. In Virtual City and Territory. Barcelona: Centre de Política de Sòl i Valoracions, 2016. http://dx.doi.org/10.5821/ctv.8088.

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This article discusses a very important and current problem of the loss of integrity in Lublin. It also contains suggestions for the improvement of present situation and preventing the problem in the future. The paper is a continuation of research conducted by J. Wrana as part of habilitation thesis entitled “The role and importance of architecture in the process of integrating the spatial structure of the city – on the example of Lublin”. One of the methods of integrating urban spatial structure is conscious creation of architectural forms, and their increasing significance in the formation of “synergy” relations. The binder of “re-integration” city could be the “integration architecture” - buildings of high quality, socially attractive features, located in the important nodal points, which improve the consistency of the environment. Supplementing the city with such facilities greatly increases its aesthetics, also associated with consistency. Their functions are not only the classic ones (services, education, etc.) as in various ways, they also influence city landscapes. They complete street frontages, integrate campuses and housing estates, create composition axes, integrate surroundings, and enrich the services. The authors focus on the example of Lublin – a centuries-old city with rich and fascinating history, nowadays dealing with its post-industrial heritage and facing spatial problems. The city is regaining its lost integrity through architecture: it has become a place where a number of noteworthy integrating projects have been realised. The examples of integration architecture in Lublin are, among others: Centre for the Meeting of Cultures “Theatre in Construction” and Eastern Innovation Centre of Architecture (Lublin University of Technology).

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Barría Catalán, Tirza, und Leonel Pérez Bustamante. „LA CONSTRUCCIÓN DE LA CIUDAD REPUBLICANA. Estudio sobre las primeras formas y adaptaciones de la trama urbana de las ciudades de la Araucanía, Chile. 1880-1900“. In Seminario Internacional de Investigación en Urbanismo. Universitat Politècnica de Catalunya, Grup de Recerca en Urbanisme, 2024. http://dx.doi.org/10.5821/siiu.12738.

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The republican cities of Araucanía, a region located in the south of Chile, emerged after the end of the "pacification of Araucanía" (1862-1883). Following the presidential decrees of 1885 and 1889, which established provisions for the founding of towns, plans were drawn up and executed by the engineers in charge of colonization. These cities were projected according to the checkerboard grid, whose general outlines are defined in their first urban plans. Early on, variations and formal adaptations were generated in the layout of streets and blocks due to the geographical conditions of the location and variations in the distribution of state and civil enclosures. However, buildings such as the Fire Station, the Social Club, the Theater, and the Municipality, together formed a new urban facade of the main square, which contributed to the urban identity through its architecture. Keywords: founding of cities, urban plans, architecture, Araucania, Araucanía Las ciudades republicanas de la Araucanía, región ubicada al sur de Chile, surgen tras el término de la “pacificación de La Araucanía” (1862-1883). A partir de los decretos presidenciales de 1885 y 1889 que establecieron disposiciones para la fundación de poblaciones, se llevaron a cabo sus planos siendo ejecutados por los ingenieros a cargo de la colonización. Estas ciudades se proyectaron en función de la retícula de damero, cuyos lineamientos generales se definen en sus primeros planos urbanos. Tempranamente se generaron variaciones y adaptaciones formales en el trazado de calles y manzanas por las condiciones geográficas del emplazamiento y variaciones en la distribución de los recintos estatales y civiles. Sin embargo, edificios como el Cuartel del Bomberos, el Club Social, el Teatro, y el Municipio, conformaron en conjunto una nueva fachada urbana de la plaza principal, los cuales contribuyeron a la identidad urbana mediante su arquitectura. Palabras clave: fundación de ciudades, planos urbanos, arquitectura, Araucanía

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BELOVA, D. A., und E. A. MALOVINSKAYA. „THE INFLUENCE OF THE THEATER BUILDING ON THE FORMATION OF URBAN SPACE“. In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2021. http://dx.doi.org/10.22250/iss.2021.29.

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Berichte der Organisationen zum Thema "Urban theatre"

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On with the Show!: A Celebration of the 100th Anniversary and Restoration of the Teatro Colón in Buenos Aires, Argentina. Inter-American Development Bank, August 2008. http://dx.doi.org/10.18235/0006423.

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The process of upgrading the Teatro Colón infrastructure began eight years ago with the design and unveiling of a Master Plan. Included will be the completion of several of its urban components left partially unfinished, and the restoration of the many architectural features and artistic treasures, both inside and out, while maintaining the integrity and character of the structure; this process is expected to be fully completed by 2012. The Inter-American Development Bank has been an important partner in this effort of preparing the theater to actively continue with its role as beacon of Argentine culture for at least another one hundred years, not to mention the economic and social implications a vibrant restored opera house will have for the City of Buenos Aires ¿nationally and internationally, and for the country at large. To that effect, the IDB has provided significant financing, helping the city authorities attempt and succeed in such an extraordinary undertaking, and many of the results can be seen in this exhibition.

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