Journal articles on the topic 'Community theatre'
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1
Vojnović, Milica. "Arts marketing: Choice criteria of theatre visitors." Marketing 54, no. 4 (2023): 264–70. http://dx.doi.org/10.5937/mkng2304264v.
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The purpose of this research is to identify key choice criteria of theater visitors in Serbia. The method used to conduct the research was the survey method, with statistical analysis of the obtained results. Key results suggest that the most important choice criteria of theatres are the plot of the play, personal recommendations and the genre of the play. A special focus was set on examining if there are differences in evaluation of observed criteria between respondents from generational cohorts X and Z, as well as between rare and frequent decision makers. In both cases, differences between the observed groups were discovered. Results of this research are useful for better understanding of consumer behavior of theater visitors and the way they make decisions. This can be helpful for decision-makers in theatre organizations for creating theatre marketing strategies to attract different market segments.
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Pekkala, Laura, and Riku Roihankorpi. "An Artistic Community and a Workplace." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 115–43. http://dx.doi.org/10.7146/nts.v30i1.106926.
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The article analyzes how money interacts with the practices and organizational activities of independent theatres in Finland in the 2010s. It discusses what kind of development the interaction entails or favors in the wider context of Finnish cultural policy. We share the results of Visio (2015-16), an empirical study and development project funded by the Ministry of Education and Culture and carried out with four professional independent theatres, which originated as group theatres, but are now institutionalized and operate with discretionary state subsidies. During the development project supported by Theatre Centre Finland, the study observed aspects of organizational development and learning as well as sustainable work in the said theatres. This was done via ethnographic and multiple case study methodologies. The study defined a theatre organization as a community for artistic work and a workplace for a diverse group of theatre professionals. The cases and the ethnographies were then reflected against current Finnish cultural policy.As descendants of the group theatre movement – arising from artistic ambition and opposition to commercialism – Finnish independent theatres have developed in different directions in their ideas of theatre, artistic visions, objectives, production models, and positioning in the field. Yet, there is a tendency to define independent theatres in opposition to theatres subsidized by law (the so-called VOS theatres), instead of laying stress on their specific artistic or operational visions or characteristics. This emphasis is present in public discussions, but also in the self-definitions of independent theatres. Money, and the economic affairs it underlines, strongly interact with the development, organizational learning, and working culture of Finnish independent theatres. Theoretically, we promote a Simmelian framework that stresses the socio-cultural dimension of money. Thus, we examine how the practices of the monetary economy are present in the practices and the development of independent theatres, and how this reflects their position within the current cultural policy and funding systems. Based on the above, the article suggests a more versatile approach to artistic independent theatres – one that emphasizes recognizing the heterogeneity of their operating models and artistic orientations, and their roles as diverse artistic communities aside from workplaces.
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Bird, Kym, and Ed Nyman. "Quipping Against the Pricks: Comedy, Community and Popular Theatre." Canadian Theatre Review 77 (December 1993): 8–12. http://dx.doi.org/10.3138/ctr.77.002.
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The Company of Sirens and the Workman Theatre Project are only two of the many members of the Canadian Popular Theatre Alliance who are using theatre, as Brecht did, to change political and social consciousness while entertaining audiences. Liberal humanist notions of “art” (of greatness, genius, the masterpiece) have caused many to denigrate popular theatre for its political agenda, as though other theatres can be free from the political and ideological conditions under which they are produced. Most popular theatre workers, however, accept that all cultural labour is ideologically committed and yet must live with the threat of alienating sponsors and audiences and with the challenge of working out a vision with artistic integrity.
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Johnston, Denis. "Directors in Vancouver: The New Community." Canadian Theatre Review 76 (September 1993): 25–30. http://dx.doi.org/10.3138/ctr.76.006.
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As far as stage directors are concerned, the community in Vancouver is comprised of a few mainstream theatres, a couple of layers of alternative companies, and some individual artists. Among the alternative theatres are several artistic directors whose body of work has drawn a good deal of attention here. Since these directors run their own companies, and sometimes their own spaces too, they probably have more latitude in play selection than either free-lance directors or mainstream companies. The kinds of plays they choose, in turn, largely determine their role in the theatre community. Despite their broad impact on theatre locally, however, these directors are not well known outside Vancouver. This article is intended to introduce you to five of them.
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HAENNI, SABINE. "‘A Community of Consumers’: Legitimate Hybridity, German American Theatre, and the American Public." Theatre Research International 28, no. 3 (October 2003): 267–88. http://dx.doi.org/10.1017/s0307883303001135.
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German American theatre in late nineteenth- and early twentieth-century New York City became a model for both a national American theatre and other diasporic theatres in the US. This theatre aspired to an autonomous, class-free, universal culture, which was seen as the legacy of a German Enlightenment tradition epitomized by Schiller's national(izing) theatre. German Americans were thus exceptionally positioned to claim the ideology of a universal culture as a national characteristic. At the same time, however, the theatre was structured by market demands and the need to appeal to a diverse German American constituency. This oscillation between idealistic and commercial culture made the German American theatre attractive. In the end, the theatre not only helped legitimize New York City's cultural periphery, but became a model when a new American ‘national’ culture, the national theatre, was being imagined, which ultimately illustrates the importance of the concept of legitimacy for hybrid public cultures.
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Patonay, Anita. "The Development of Children’s and Youth Theatre in Hungary: the Path of Institutionalization and Beyond the Professional Sphere (1949–1989/1992)." Theatron 17, no. 4 (2023): 40–52. http://dx.doi.org/10.55502/the.2023.4.40.
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It was after the Second World War and the nationalisations that autonomous theatres for children and youth and theatre performances targeting this age group were first established in Hungary. In my study, I will present the institutional history of children’s and youth theatres in the period 1949–1989/1992 and the children’s and youth theatre-makers who were amateur theatre-makers alongside the institutionalised theatres. I will give an insight into the productions that were produced during this period, the problems faced by the children’s and youth theatre community, and the contradictions that creators had to face during the period of state socialism. I will look at decisions, decrees, and laws on the medium of children’s and youth theatre productions from 1949 to 1989/1992, in order to gain a better understanding of the cultural context in which amateur theatre groups produced performances in the context of children’s and youth theatre culture, alongside the institutionalised children’s and youth theatres.
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Filewod, Alan. "Popular Theatre." Canadian Theatre Review 53 (December 1987): 3. http://dx.doi.org/10.3138/ctr.53.fm.
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Only recently has the phrase “popular theatre” won acceptance in Canada to describe theatre for social action and community development. Ever since Kam Theatre’s Bread & Circuses Festival in Thunder Bay in 1981, where representatives of a dozen companies founded the Canadian Popular Theatre Alliance, the idea of theatre as a tool of development has made increasing inroads among educators, development agencies, and of course, in the theatre profession itself. Three successive CPTA festivals (Bread & Roses, Edmonton 1983, Bread & Dreams, Winnipeg 1985, and Standin’ the Gaff, Sydney 1987) have done much to legitimize the work of Canadian popular theatres.
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Markovic-Bozovic, Ksenija. "Theatre audience development as a social function of contemporary theatres." Zbornik Matice srpske za drustvene nauke, no. 175 (2020): 437–51. http://dx.doi.org/10.2298/zmsdn2075437m.
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From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize its cultural-emancipatory, social-inclusive, social-cohesive, educational, and other similar potentials. Extensive research of the functional type, which combines the analysis of the process of theatre production, distribution and reception, and sheds light on the ways in which theatre functions in the community, has not been conducted in Serbia so far. However, for many years, there have been conducted researches that provide sufficiently relevant answers, analysing this topic from individual aspects of the audience, marketing activities, cultural policy and theatre management. Their overall conclusion is that theatres in Serbia must (re)orient themselves to the external environment - (re)define their social mission and actively approach the process of diversification of the audience. However, the practical implementation of such recommendations is still lacking, theatre organizations find it difficult to adopt the idea that changes must be initiated by themselves, which brings us to the question of the attitudes on which these organizations establish their work. In this regard, the paper maps of and analyzes the opinions of managers and employees of Belgrade theatres on the topic of the role of theatre in the audience development and generation of the ?additional? social value, contextualizing the opinions in relation to the current circumstances, i. e. specific practices of these institutions. In conclusion, an original theoretical model of ?two-way adaptation of public city theatres? is developed, recognizing the importance of strategic action in culture both ?bottom-up? and ?top-down?, and proposing exact activities and approaches to theatre and cultural policy in the field of theater audience development.
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Jovanov, Lazar. "Theatre City and Identity: Narodno pozorište-Nepszίnház-KPGT." Issues in Ethnology and Anthropology 11, no. 1 (April 18, 2016): 63. http://dx.doi.org/10.21301/eap.v11i1.3.
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This study considers the concept of Theatre City and its role in the formation of the desired identity of a community. More specifically, the research is at a crossroads of sociological and anthropological use of this theater form, in a function of the reconstruction of the community, examining the relationship between theater and the city, as a functional European theater concept, which has the potential to generate multiple socio-cultural values, participating in the formation of the so-called free spaces, free theater, which rejects the idea of elitism because it is intended for the wider population.In this regard, the subject of this research is the concept of Subotica Theatre City established by National Theater-Nepszίnház-KPGT in the context of creating a (multicultural) identity of the community, while the focus is on socio-anthropological, philosophical and aesthetic analyse of the play Madach, the comments, which was the inaugural project of the new aesthetic and cultural policy of the city of Subotica in the former Yugoslavia in 1985.
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Skene, Rick. "Winnipeg Close-ups / 4, PRIMUS Theatre Training for Independence." Canadian Theatre Review 66 (March 1991): 32–35. http://dx.doi.org/10.3138/ctr.66.006.
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Founded in 1988, primus is one of several small theatre companies that have sprung up in Winnipeg. Fickle subscription audiences have made times tough for larger theatres, and recent cuts to arts funding have seen the Manitoba Arts Council cancel operations funding for three small companies: Agassiz Theatre, Forty Below Mime and the Manitoba Puppet Theatre. Although the mac claims that specific circumstances demanded the cuts in each case, we have not seen any new grants of operations funding awarded to small theatres since. Nonetheless, small companies continue to struggle into existence and provide essential artistic vitality to Winnipeg’s theatrical community.
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King, Barnaby. "The African-Caribbean Identity and the English Stage." New Theatre Quarterly 16, no. 2 (May 2000): 131–36. http://dx.doi.org/10.1017/s0266464x00013646.
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In the first of two essays employing academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, published in NTQ 61, Barnaby King analyzed the relationship between Asian arts and mainstream arts in Britain on both a professional and a community level. In this second essay he takes a similar approach towards African–Caribbean theatre in Britain, comparing the Black theatre initiatives of the regional theatres with the experiences of theatre workers themselves based in Black communities. He shows how work which relates to a specific ‘other’ culture has to struggle to get funding, while work which brings Black Arts into a mainstream ‘multicultural’ programme has fewer problems. In the process, he specifically qualifies the claim that the West Yorkshire Playhouse provides for Black communities as well as many others, while exploring the alternative, community-based projects of ‘Culturebox’, based in the deprived Chapeltown district of Leeds. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in
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Nogueira, Marcia P., Renaldo M. Goncalves, and Carina Scheibe. "Community Theatre in Florianópolis." Research in Drama Education: The Journal of Applied Theatre and Performance 1, no. 1 (February 1996): 121–28. http://dx.doi.org/10.1080/1356978960010111.
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Habel, Ivan. "Implementing Agreements." Canadian Theatre Review 123 (June 2005): 11–14. http://dx.doi.org/10.3138/ctr.123.003.
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In discussing working conditions in the professional theatre in Canada, it is important to understand the diversity of practices that exist in the theatre community. Theatre is produced using a range of models, including the conventional model of a play mounted by a company; but theatre can be created by collectives or by an individual. The theatre, also, no longer reflects just the Anglo-American tradition of drama but has expanded to reflect the storytelling, physical and visual traditions of theatrical practice derived largely from outside the European tradition. This expansion in the methods and practice of professional theatre presents an incredible challenge in trying to create uniform working conditions to suit all artists and theatres alike.
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Wittes, Carla, and Paul Leonard. "Behind the Scenes … A Guide to Canadian Non-profit Professional Theatres and Theatre-related Resources." Canadian Theatre Review 49 (December 1986): 138–40. http://dx.doi.org/10.3138/ctr.49.019.
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As the theatre community in Canada continues to grow, a single central source of information about where theatres are, what they do, and who they work with is becoming essential. Fortunately, the Professional Association of Canadian Theatres (PACT) has recently created a new division, the PACT Communications Centre, which has a mandate to publish works like Behind the Scenes, the first of which will be a variety of publications of interest to people involved in Canadian theatre.
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Pukelytė, Ina. "Reconstructing a Nomadic Network: Itineraries of Jewish Actors during the First Lithuanian Independence." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 78. http://dx.doi.org/10.7146/nts.v27i1.24241.
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This article discusses the phenomenon of openness and its nomadic nature in the activities of Jewish actors performing in Kaunas during the first Lithuanian independence. Jewish theatre between the two world wars had an active and intense life in Kaunas. Two to four independent theatres existed at one time and international stars were often touring in Lithuania. Nevertheless, Lithuanian Jewish theatre life was never regarded by Lithuanian or European theatre society as significant since Jewish theatre never had sufficient ambition and resources to become such. On the one hand, Jewish theatre organized itself in a nomadic way, that is, Jewish actors and directors were constantly on the road, touring from one country to another. On the other hand, there was a tense competition between the local Jewish theatres both for subsidies and for audiences. This competition did not allow the Jewish community to create a theatre that could represent Jewish culture convincingly. Being a theatre of an ethnic minority, Jewish theatre did not enjoy the same attention from the state that was given to the Lithuanian National Theatre. The nomadic nature of the Jewish theatre is shown through the perspective of the concept of nomadic as developed by Deleuze and Guattari.
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McDonnell, Bill. "Sheffield’s tenants’ theatres in the 1980s: theatre, community and activism." Studies in Theatre and Performance 40, no. 1 (November 8, 2019): 8–20. http://dx.doi.org/10.1080/14682761.2019.1689737.
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Burton, Rebecca. "Dispelling the Myth of Equality: A Report on the Status of Women in Canadian Theatre." Canadian Theatre Review 132 (December 2007): 3–8. http://dx.doi.org/10.3138/ctr.132.001.
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In 2003, the Women’s Caucus of the Playwrights Guild of Canada partnered with Nightwood Theatre to support a new study on the status of women in Canadian theatre. The discouraging findings of preliminary investigations, the passionate responses encountered at community events, the added involvement of organizations like the Professional Association of Canadian Theatres (PACT) and the support of the Canada Council for the Arts led to the launch, in the following year, of Equity in Canadian Theatre: The Women’s Initiative. Modelling its efforts on Rina Fraticelli’s landmark report, “The Status of Women in the Canadian Theatre” (1982), the Initiative developed a two-fold mandate: to assess the status of women in Canadian theatre and to create social action plans to help eliminate remaining obstacles. To gather the necessary information, in the summer of 2005, the Initiative sent a survey on employment and production practices to Canadian theatres, the results of which form the backbone of the research study, posted on line in the final report, “Adding It Up: The Status of Women in Canadian Theatre” (2006).1
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Lev-Aladgem, Shulamith. "Public Theatre, Community Theatre, and Collaboration: Two Case Studies." New Theatre Quarterly 26, no. 4 (November 2010): 369–82. http://dx.doi.org/10.1017/s0266464x10000679.
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In 1986 professional theatre practitioners working in two underprivileged neighbourhoods in greater Tel Aviv in Israel created in collaboration with the local residents two large-scale productions. In this article Shulamith Lev-Aladgem studies these rare encounters between professional public theatre and amateur, community-based theatre in Israel, employing a method similar to that of the historian who employs micro-history in order to reveal the excluded past of muted groups in a given society. Both productions – including the intentions of their creators and participants, the power struggles, and the results – serve as an historical record rich in information regarding Israeli society; and through the micro-history presented here the social and cultural role of the institutional theatre in general, and in Israel in particular, is also explored. Shulamith Lev-Aladgem is a senior lecturer, researcher, and practitioner, chair of the Faculty MA Program of Expressivity and Creativity in the Arts, and Head of Community-Based Theatre Studies in the Theatre Department of Tel Aviv University. She is also a community-based theatre facilitator/director and a trained actress who uses her acting experience in her research and teaching. Her recent publications include articles in Theatre Research International, Theory and Criticism, Social Identities, Israeli Sociology, and Research in Drama Education, and the full-length studies, Standing Front Stage: Resistance, Celebration and Subversion in Israeli Community-Based Theatre (Haifa University Press, 2010) and Theatre in Co-Communities: Articulating Power (Palgrave Macmillan, 2010).
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Watt, David. "“Excellence / Access” and “Nation / Community”." Canadian Theatre Review 74 (March 1993): 7–11. http://dx.doi.org/10.3138/ctr.74.002.
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Like the work produced within the ambit of the Canadian Popular Theatre Alliance, Australian community theatre had its origins in the radical theatre of the 1960s and 1970s. The two most productive and influential groupings were those formed within and around the Australian Performing Group (APG) in Melbourne, formed in the late 1960s, and the Popular Theatre Troupe (PTT) in Brisbane, formed in the early 1970s. The initial nucleus of the APG was a group of activists from the most radical of the university campuses, Monash University, which, through avid reading of The Drama Review, threw together an odd, and not always happy, amalgam of US agitprop, Grotowski, and a concern with popular performance styles, to produce a broadly left-wing theatre which veered between the populist and the avant-garde. The Popular Theatre Troupe drew much of its original inspiration from the work of British director and animateur Albert Hunt, who was invited to Brisbane and assisted in establishing the venture. Hunt’s work gave the early ventures of the PTT a style built around large scale outdoor events of a participatory nature, although the company eventually moved towards a small nucleus performing touring agitprop shows. In the case of both companies, their legacies lie at least as much in the energy they generated around their edges as in the shows they produced: alumni of both were important in establishing many of the community theatre companies which began to appear towards the end of the 1970s.
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Knowles, Ric, and Skip Shand. "Editorial." Canadian Theatre Review 108 (October 2001): 3. http://dx.doi.org/10.3138/ctr.108.fm.
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Tours, remounts and co-productions constitute an increasing percentage of theatrical activity in Canada, cutting across traditional distinctions between commercial and not-for-profit theatre, professional, educational and “community” theatre, even regional, Regional, national and international theatrical production. At one end of the scale, large-scale commercial producers such as David Mirvish are remounting, co-producing and touring such successful shows as The Drawer Boy, Two Pianos, Four Hands and Zaidie’s Shoes, shows that have emerged from small, not-for-profit play-development houses such as Theatre Passe Muraille and Tarragon, or are arranging co-productions in advance with subsidized classical rep companies such as Soulpepper. In the mid-range, branch-plant “Regional” theatres such as the Vancouver Playhouse, Manitoba Theatre Centre and the National Arts Centre are meeting their budgets and fulfilling their mandates by collaborating on productions that are too big for one theatre to take on alone. From another angle, independent not-for-profit production companies such as Autumn Leaf Performance, da da kamera and Ex Machina are funding their work in advance by soliciting co-productions (leading to international tours) with companies, conglomerates and festivals across the country and overseas. Even small-scale, lowercase “regional” companies such as Nova Scotia’s Mulgrave Road Theatre and Theatre Antigonish are getting into the act by providing development opportunities to artists from elsewhere for the creation of new work while simultaneously enhancing the range of experiences available to their own audiences. Community theatres and summer festivals have also hopped on the co-production bandwagon: if you missed the show last week in Port Dover, you might catch it next week at another port down the road.
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Parekh, Pratham, and Mahalaxmi Tiwari. "Folk Theatre as a Mean of Resistance and Social Change: A Sociological Inquiry About Inception and Need for Revitalization of Bhavai." ECS Transactions 107, no. 1 (April 24, 2022): 1933–42. http://dx.doi.org/10.1149/10701.1933ecst.
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Bhavai is a unique folk art theatre of Gujarat that originated in 1360 AD. It is believed to be initiated by ‘outcaste’ nomads. Marginalization made this form of theatre to be more satirized against the stigma imposed by the caste system. Instead of protesting exclusion, this art form provided ground for tenacious, long-lasting, and zestful ways of expressing subjective feelings of the marginalized. The study tries to investigate how folk theatres can become a way of expressing resistance and project desired directions for community development. It also traces periodical changes that occurred since the inception of Bhavai. An attempt is made to find out how recent commercialization diluted the original essence of Bhavai. The study sociologically approaches to understand the deterioration of this folk theatre. This form of theatre has now been reduced to the symbolic identity. Efforts of the state community to retain originality to Bhavai can be deleteriously observed. Address SDG No. 16.
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Vois, Michel, and Kevin Eistob. "JEU, #70 mars 1994, Prornethée Enchaîné, Carta de Ajuste ou Nous N’Avons Plus Besoin de Calendrier, Original Soundtracks of Theatrical Performances." Canadian Theatre Review 85 (December 1995): 79–80. http://dx.doi.org/10.3138/ctr.85.017.
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Over the past decade, translations of plays by Michel Tremblay and Robert Lepage have given Québécois theatre a firm international foothold. The Guid Sisters(the Scots translation of Tremblay’s Les Belles Soeurs) earned critical praise at the Edinburgh Festival (1987); equally enthusiastic reviews supported Lepage’s Dragon Trilogy at the Los Angeles Theatre Festival (1990) and his Needles and Opium at the Chicago International Theatre Festival (1994). As the renown of this identity-conscious region’s dramatic repertoire has grown abroad, Quebec’s theatres have been producing plays by overseas authors and artists from Quebec’s international and immigrant communities. The recent Festival de Theatre des Ameriques brought theatre professionals from five continents to Montreal. Far from abdicating its noteworthy support for homegrown dramatic talent, Quebec’s theatre community is striving to nurture its own as it evolves towards new ethnic and global crossroads.
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Plastow, Jane. "The Eritrea Community-Based Theatre Project." New Theatre Quarterly 13, no. 52 (November 1997): 386–95. http://dx.doi.org/10.1017/s0266464x00011544.
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Following Jane Plastow's contextual history of Eritrean theatre in NTQ50, Paul Warwick gave an account in the following issue of its previously undocumented role during the thirty-year Eritrean struggle for independence, describing the efforts of the freedom fighters to create theatre for the first time in a rural context. The Eritrean People's Liberation Front not only deployed theatre as a propaganda weapon, but also recognized its value as an agent for educating the people in matters ranging from women's rights to the benefits of modern medicine and farming methods: and with victory came measures further to stimulate the growth and development of theatre as part of Eritrean culture. Jane Plastow, in this third and concluding article, takes up the story with the invitation issued by the new government to her and her colleagues to initiate the ‘Eritrea Community-Based Theatre Project’, in an attempt both to widen the perspectives of Eritrean actors and to draw upon all relevant traditions, African and European, in developing a popular but distinctive theatre for the people. In addition to her role as director of the project, Jane Plastow is a lecturer at Leeds University, having worked in theatre for some years in a number of other African nations.
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Chen, Chen. "Theatre as Memory Site: Cultural Activities, Imaginaries, and Theatrical Things of a Regional Xiqu Theatre in Contemporary China." Asian Theatre Journal 41, no. 1 (March 2024): 50–79. http://dx.doi.org/10.1353/atj.2024.a927713.
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Abstract: This paper explores how the theatre of a Chinese regional opera, as a memory site and an actor, enunciates stories, theatrical experiences, and imaginaries of xiqu (traditional Chinese theatre) communities. The material presences of theatres ensure the continuities of cultural activities of xiqu traditions in Chinese society today. The institutionalized opera activities that emerged in the 1950s national xiqu reform campaign have molded the Chinese xiqu theatres toward an “enduring site” for constantly revamping regional cultures into the rubrics of national culture coherently. However, to the regional xiqu communities, a particular theatrical form, such as lüju (Shandong opera), intertwines with stories and embodied meanings in their quotidian practices. Drawing on the ethnographic observations of the Lüju Baihua Theatre, this article illustrates that Chinese xiqu theatres traffic the shared past, multi-generational memories, and regional stories that are communicable to the community members who resonate with them. It problematizes the perception of Chinese opera theatres as “static or disembodied sites” by unfolding how theatre as cultural activity constantly facilitates embodied knowledge to carve the contours of the group identity and imaginaries of the xiqu communities in contemporary China .
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Wright, Heather. "Francophone Theatre in Ontario: On n’est plus loin deToronto." Canadian Theatre Review 46 (March 1986): 42–49. http://dx.doi.org/10.3138/ctr.46.005.
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Like so many of the audience, Helen Stone is attending the production of Michel Tremblay’s Hosanna at Toronto’s Théâtre du P’tit Bonheur for professional reasons: she works in French Services in the provincial government and needs to maintain her French. Hosanna’s process of self-exposure and self-discovery, culminating in his powerful nude scene with his lover, Cuirette, leaves her squirming. But she has no choice: if she wants to go to French theatre, this is the only game in town. Miles from Toronto, a typical spectator at a production by Théâtre du Nouvel-Ontario yields a very different profile. TNO’s Sudbury audience consists largely of members of the community that this theatre has carefully nurtured over the years-retirees, students, unemployed francophones, and their friends and families-all living in the moulin-à-fleur district. Currently these two theatres define the opposite extremes of the Franco-Ontarian theatre community. Contrasting and comparing them, an overview of the issues and opportunities within this community begins to emerge.
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Jones, Robert W. "Competition and Community: Mary Tickell and the Management of Sheridan's Drury Lane." Theatre Survey 54, no. 2 (April 22, 2013): 187–206. http://dx.doi.org/10.1017/s0040557413000021.
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Despite considerable advances in scholarship—achievements on which this essay builds—our knowledge of how eighteenth-century theatres were run remains worryingly thin. The managerial enterprise of theatre production, especially its daily practicalities, is largely obscure, though the facts of performance history are well documented. Knowledge of practice is not our only lacuna. Accounts of the interfaces among performances, institutional theatre practices, and the wider culture of the eighteenth century are too few, though wonderful work has been produced by Jane Moody, Felicity Nussbaum, and Gillian Russell, among others. This meager situation has arisen in part, as Robert D. Hume has argued, because scholars have yet to fully engage with those sources that have survived, although problems of missing evidence are serious and sometimes insurmountable. A related problem is that theatre historians are often averse to conceptualizing what they discover, as if analysis and certain modes of theoretical interpretation were the responsibility or more distinctly the failing of literary critics. But the discovery or reappraisal of an archive will only advance scholarship so far. New information about rehearsals, performances, finances, or contracts is vital, but it does not explain the motives or institutional momentum that animated theatre production. We need to know why some actors were favored by management while others seem to have been less well supported. It would also be useful to understand more precisely why some plays were performed repeatedly whereas others appeared only sporadically. The information contained in theLondon Stageshould be crucial for theatre history, yet the repertoire of the patent theatres remains understudied. The impetus it gave to managers is too often ignored, while its political significance is barely understood, prompting justified complaint from Daniel O'Quinn. Great care will be necessary when addressing these issues. Overly general or prescriptive claims are probably best avoided; there are simply too many local factors. We should also recollect that theatrical production is necessarily a collective endeavor, a process in which many voices might be heard. Yet patterns and purposes can be found, even when what is most apparent is what Michel de Certeau terms the “‘polytheism’ of scattered practices.”
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Lev-Aladgem, Shulamith. "From Object to Subject: Israeli Theatres of the Battered Women." New Theatre Quarterly 19, no. 2 (May 2003): 139–49. http://dx.doi.org/10.1017/s0266464x03000058.
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Israeli institutional theatre has only just begun to toy with the idea of ‘feminist theatre’ and, despite a demonstrable increase in violence against women in Israel, with increased visibility in the mass media, the subject has yet to be confronted in mainstream theatres. However, women's creation has been longer at the frontier of theatre activities, and the issue of battered women has been a central theme of several community-based performances over the past two decades. In this article Shulamith Lev-Aladgem offers an overview of these plays – the first performed by professional actresses who had just graduated from university, and who were mostly Ashkenaziyot (of European origin); the two following produced by community amateur actresses who were Mizrahi (of Arabic origin) – women from a low social stratum who, although being acquainted with domestic violence, had wished to avoid being regarded as battered women; and the last performed by a group of amateur actresses who came from more heterogeneous backgrounds, but who were all being treated in one of the centres for prevention and treatment of domestic violence. The author argues that in the first performance the battered woman was articulated by another, distant woman; in the next two she was presented by a more closely, identifying relative; while only in the fourth production did she publicly represent herself by herself, articulating her own voice through the symbolic system of theatre. The author proceeds to analyze in detail the first and the last of these performances, which clearly present the process of passage from acting woman-as-object to acting woman-as-subject. Shulamith Lev-Aladgem is a lecturer, researcher and practitioner in the Community Educational Unit of the Theatre Department at Tel-Aviv University in Israel, who trained and worked as an actress and community theatre animator/director for many years. Her writings in areas of play theory, and performance and cultural studies, and their relation to community theatre, educational drama, drama therapy, and feminist theatre, have been published in numerous periodicals in the USA, Europe, and Israel, and her article ‘Ethnicity, Class, and Gender’ is forthcoming in Theatre Research International.
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Staniškytė, Jurgita. "Reinstalling the Fourth Wall: Digital Performance and Spectatorship in (Post-)Pandemic Era." Art History & Criticism 19, no. 1 (November 30, 2023): 31–38. http://dx.doi.org/10.2478/mik-2023-0003.
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Summary Theatre can be interpreted as a place where various modes of participation in the community or patterns of citizen behaviour can be rehearsed. In pre-pandemic Lithuanian theatre (as well as theatres of other Baltic countries) various forms of audience engagement were conspicuously emerging, ranging from physical co-creation practices to interactive forms of entertainment. After the global lockdown of theatre institutions the emerging forms of “virtual theatre”, ranging from performance recordings to zoom theatre, redefined the role of theatre spectatorship, in particular the notions of “active”, “passive”, “collective”, “individual”, fundamental for the understanding of the role of publics. Analysing the abundant examples of “pandemic theatre” one starts to think about the return of the digital “fourth wall”, where audiences are becoming distant spectators. This poses important questions to theatre research: whether these forms of theatre are strengthening the feeling of passivity and isolation, serve as platforms for much-needed psychological escapism or offer a critical revaluation of the essential principles of theatre art. With the help of two case studies, this paper will define and analyse the prevailing practices of pandemic Lithuanian theatre and will outline whether and how the fundamental categories associated with the spectator’s experience of theatre have changed in the post-pandemic era.
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Klivis, Edgaras. "Inside Frozen Geographies." Nordic Theatre Studies 32, no. 2 (January 22, 2021): 138–55. http://dx.doi.org/10.7146/nts.v32i2.124357.
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After the annexation of the Crimean Peninsula by the Russian Federation in 2014, the attitude of Baltic theatre producers and artists towards cultural and institutional partnerships with Russian theatres and their involvement in the mutual artistic exchanges, tours, common projects, and networking changed; not only due to these exchanges becoming a controversial issue in the public eye, but also due to the polarization they caused in the artistic community itself. Some artists, like Latvian stage director Alvis Hermanis, have decisively terminated all their previous creative partnerships, arrangements and tours, calling also other theatre artists “to take sides”. Others, like Russian stage and film director Kirill Serebrennikov who, for years, had been involved with Baltic theatres, would regard taking sides as a disastrous yielding of culture to the logic of war – theatre should be kept as the last link between societies gradually separated by reciprocal propaganda insanity. Building upon these conflicts describing the changes in intercultural theatrical cooperation between Russian and Baltic theatres, the article focuses on the analysis of three productions: Dreams of Rainis by Kirill Serebrennikov at the Latvian National Theatre (2015), Alexander Pushkin’s play Boris Godunov directed by Eimuntas Nekrošius at the Lithuanian National Drama Theatre (2015) and Brodsky/Baryshnikov staged by Alvis Hermanis at the New Riga Theatre in 2016. All of the performances refused to stay inside the frameworks marked for them by the regimes of propaganda wars, public diplomacy, or dispositif of security, but focused instead on the possibilities of intellectual disobedience.
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Kapadocha, Christina. "Community as soma: Reflections on a community-conscious theatre gathering." Journal of Arts & Communities 12, no. 1 (June 1, 2021): 7–21. http://dx.doi.org/10.1386/jaac_00020_1.
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Taking as a point of departure the ongoing and ever-evolving interaction between theatre arts and communities, this article expands upon ideas on bodies and communities bringing together somatic, theatre and community studies. It uses as a case study a somatically inspired theatre praxis gathering that took place in the village of Kato Garouna (Corfu, Greece) during summer 2018 (23‐26 August). The gathering is identified as a ‘community-conscious’ project, which led to the awareness of ‘community as soma’. This approach to community inquiry, supported by the openness of somatic and practice-research methodologies, allows the integration of embodied differences and dualities within creative co-presence. It also prompts the emergence of new interactive possibilities between newly shaped and existing groups through critical and ethical attention to invitations. Reflecting upon the methods that underlined the gathering process, communities are examined in relation to the invitations that developed them and their critical implications.
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Wooster, Roger. "Creative inclusion in community theatre: a journey with Odyssey Theatre." Research in Drama Education: The Journal of Applied Theatre and Performance 14, no. 1 (February 2009): 79–90. http://dx.doi.org/10.1080/13569780802655814.
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Skjoldager-Nielsen, Daria. "Theatre Talks." Nordic Theatre Studies 33, no. 2 (June 17, 2022): 58–71. http://dx.doi.org/10.7146/nts.v33i2.132872.
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Almost each year, the pop-cultural world is buzzing with a “new” Nordic word that can bring a piece of Nordic life to every home. Lagom, fika, fredagsmys or hygge - they all refer to slowness, break, taking a moment to feel good and happy, being considerate. Those concepts are believed to be a Nordic approach to life - and a very desirable one.When I think of theatre in this context, one Nordic invention comes to my mind: theatre talks, which emerged as an audience reception research method in Sweden. They proved to be an effective audience development practice (even for non-theatregoers) in Australia (Scollen), Denmark (Hansen; Lindelof), and Poland (Rapior) because (among other things) they bring the element of pleasure, community building, and feeling safe into the theatre experience especially for non-attenders.In this article I will focus on looking at theatre as a possible “oasis of deceleration” in the constantly accelerating world, using Hartmut Rosa’s theory of social acceleration. By going through the development of theatre talks, I will demonstrate what theatres can gain from using this method - both in attendance and image. I will deliberate on how theatre can become a metaphorically “hyggelig” place for anybody during times when everybody ought to live faster and faster.
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Nyatepeh Nyatuame, Promise, and Akosua Abdallah. "Youth Theatre and Community Empowerment in Ghana." Theatre and Community 9, no. 2021-1 (June 30, 2021): 122–49. http://dx.doi.org/10.51937/amfiteater-2021-1/122-149.
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As contemporary theatre and new production models are now being evaluated with more regard to community empowerment, the importance of proper tools for evaluation of the process has increased. The article explored the community youth theatre practices of the Community Youth Cultural Centre (CYCC) of the National Commission on Culture (NCC) in Ghana. We examined the role of the youth theatre at CYCC in the light of community empowerment. Using the qualitative case study design, six artists with a minimum of five years and a maximum of thirty years of work experience with the CYCC were interviewed. Performance activities and documents of the CYCC were also observed and analysed. The findings revealed four themes: Objectives of the centre; Youth theatre practices; Abibigoro/puppetry theatre models; and non-formal and cultural education. It was found that staff and artists at the CYCC employed diverse theatrical modes to facilitate community empowerment processes. The study recommends that cultural and creative centres in Ghana should harness the potentials of the community youth theatre, develop community-specific and context-driven performance models to support artistic- aesthetic-cultural and non-formal education processes to enhance our collective strive for community empowerment in Ghana.
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Lacko, Ivan. "Imaginative Communities: The Role, Practice and Outreach of Community–Based Theatre." Ars Aeterna 6, no. 2 (December 1, 2014): 21–27. http://dx.doi.org/10.2478/aa-2014-0010.
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Abstract In recent years, the artistic representation of communities (e.g. in community-based theatres) has found its source in the realm of the imagination (documentary drama, verbatim theatre, post-dramatic performance, etc.), addressing issues that are important and relevant not only for the communities themselves but also for the wider society. In this presentation I will use Zygmunt Bauman’s notion of the “seductive lightness of being” - or the transitory nature of our virtual experience - to talk about the role of selected community-based theatres in the United States and about their imaginative depiction and discussion of issues which are of vital importance for any community: identity, the personal vs. the political, a sense of belonging, progressiveness, social awareness and the capability of coexistence.
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Walker, Gwen, Max Chernin, Eliana Rubin, Jonah Schwartz, and Becca Suskauer. "MTEA Diversity, Equity, and Inclusion Committee Focus Group Series: Addressing Anti-Semitism Inclusive Musical Theatre Pedagogy." Musical Theatre Educators Alliance Journal 5, no. 2024 (January 1, 2024): 8–15. http://dx.doi.org/10.62392/mcqn9899.
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As an ongoing effort to support inclusive musical theater training within our musical theater educational community, the MTEA Diversity, Equity, and ELIANA RUBIN, Inclusion Committee hosts a Focus Group Series. On July 29th, 2023, Vice IONAH SCHWARTZ., AND President of the MTEA DEI Committee Gwen Walker convened a focus group BECCA SUSKAUER to discuss rising anti-Semitism and what musical theatre educators can do to address it. Included in our discussion from our community is an established professional, an educator, a young professional, and a student currently in an academic musical theater program.
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Fink, Ben. "Secular Communion in the Coalfields: The Populist Aesthetic and Practice of Roadside Theater." TDR/The Drama Review 64, no. 4 (December 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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McConachie, Bruce. "Local Acts: Community-Based Performance in the United States." Theatre Survey 47, no. 1 (April 13, 2006): 140–42. http://dx.doi.org/10.1017/s0040557406350090.
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Theatre historians and practitioners in the academy have been slow to recognize the validity and significance of the community-based theatre movement in the United States. With the exception of a few books and articles, most of the scholarly literature on community-based theatre remains squirreled away in local reports, unpublished dissertations, and Web sites infrequently visited (at least by theatre academics). Perhaps this should not be surprising; compared to Australia, Latin America, and most of Europe, community-based theatre in the United States is scandalously underfunded and unknown. Among its many virtues, Jan Cohen-Cruz's Local Acts will raise the profile of community-based performance in the academy and perhaps spark more books in the field as well as courses and community-related projects in theatre and performance departments.
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Andreasen, John. "Community Plays—A Search for Identity." Theatre Research International 21, no. 1 (1996): 72–78. http://dx.doi.org/10.1017/s0307883300012724.
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During the last twenty years the number of community plays has grown enormously in Scandinavia and Great Britain. In Denmark, on average, some twenty new plays are produced annually. From the early 1970s to 1993, I have registered more than 300 Danish productions; these include about sixty of the 140 plays which celebrate the two-hundredth anniversary of abolition of adscription in 1988. ‘Community plays’ are known by a number of different names. In Scandinavia they are called ‘lokalspil’, ‘egnsspil’, ‘bygdespel’, ‘krönikespel’, ‘arbetarspel’, and so on. It is important to distinguish ‘community theatre’ from ‘community play’. Community theatre is any kind of performance organized by ordinary people in a given area with or without support from theatre professionals. It may be totally amateur or it may include professional guest performances by theatre practitioners from outside the area.
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Paavolainen, Teemu. "Poor Theatre, Rich Theatre." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 144–64. http://dx.doi.org/10.7146/nts.v30i1.106927.
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The article analyzes two Finnish theatre adaptations of Fanny och Alexander, by Ingmar Bergman, and Rauta-aika, by Paavo Haavikko, premiered in 2010 and 2011 respectively. The key question is, how the two works brought the filmic originals’ wealth of material to theatrically manageable proportions, and how the themes of poverty and prosperity were developed by their scenic machineries – a question of theatricality, but also, if you will, of a sort of theatrical exchange: “golden age” to exile or decline in the story-worlds, lavish film to theatrical constraint in production. The first two sections take a specifically economic perspective on the original TV projects and their central storylines; the two final sections address how these storylines were locally woven by the revolving stage and the revolving auditorium used in the theatre productions. On various levels, a playfully “monetary” distinction of metonymy and metaphor is suggested in which metonymic contiguity stands for contextual prosperity (as experience, community, immediacy), metaphoric substitution for relative deprivation (as distance, abstraction, exchange).
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Cohen-Cruz, Jan. "A Hyphenated Field: Community-Based Theatre in the USA." New Theatre Quarterly 16, no. 4 (November 2000): 364–78. http://dx.doi.org/10.1017/s0266464x00014111.
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Jan Cohen-Cruz argues that in the hyphen separating community theatre from community-based theatre lies a world of difference – of intention as of realization. Where community theatre tends to assemble the more self-confident members of a majority group to emulate successes from the Broadway repertoire, community-based theatre prefers to draw upon minority and deprived groups in an attempt to create original modes of performance that help the participants make sense of and improve their society. Drawing upon her own experiences and those of other community-based theatre practitioners over a period extending back to the heady days of the 'sixties, Jan Cohen-Cruz identifies weaknesses and failures as well as strengths – as also the ambiguous area where the success of the product may carry dangers of compromise or unhappy collaboration. Associate Professor of Drama Jan Cohen-Cruz co-edited Playing Boal: Theatre, Therapy, Activism, and edited Radical Street Performance: an International Anthology. Her articles have appeared in TDR, High Performance, American Theatre, Urban Resources, Women and Performance, The Mime Journal, African Theatre, and the anthology But Is It Art? From 1995 to 1997 Cohen-Cruz co-directed NYU Tisch School of the Arts AmeriCorps project – President Clinton's domestic Peace Corps – focusing on violence reduction through the arts. She has since co-directed Urban Ensemble, through which Tisch School of the Arts students undertake community-based art internships.
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Harbuziuk, Maiia. "“We Could Have Ventured in the Opposite Direction”: Exploring the Legacy of Polish Theatre on the Festival Map of Independent Ukraine." Pamiętnik Teatralny 72, no. 4 (December 16, 2023): 57–80. http://dx.doi.org/10.36744/pt.1550.
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This article examines the representation of Polish theatre on the Ukrainian festival map. This study includes key stages, events, and trends, and aims to uncover both positive developments and underlying problems. The research is based on sources such as published material, information resources, and my experience as a theatre critic. The periods of individual “breakthroughs” (1992–2000), “local encounters” (2001–2011), and “dramaturgical and performative landing forces” (from 2011) are identified and briefly characterized. The article outlines a broad geographical and genre-specific range of festivals in which Polish theatres participate and highlights their contribution. It also discusses the reception of individual performances by Polish theatres in Ukrainian criticism. The author focuses on the absence of iconic plays of Polish theatre on the posters of Ukrainian festivals (the exception is Bzik tropikalny (The Tropical Craze) by Witkacy, directed by Grzegorz Jarzyna, 1998). This resulted in the fact that the most important achievements of Polish theatre remained unknown to the Ukrainian audiences, and the professional community gravitated more towards Russia than towards the West. Given the more than four-hundred-year history of Polish–Ukrainian relations, it is essential that steps be taken to restore Polish–Ukrainian theatrical communication in order to ensure that Ukrainian theatre is connected to the European cultural space.
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Zibokere, Ebinepere, and Ekiyokere Ekiye. "Theatre as an Agent of Change: Mobilising Against Marijuana Addiction in Tombia Ekpetiama Community in Bayelsa State." East African Journal of Interdisciplinary Studies 2, no. 1 (May 18, 2020): 1–11. http://dx.doi.org/10.37284/eajis.2.1.155.
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This paper posits community theatre as an agent of change and argues that community theatre possesses the technicalities to bring awareness to the members of a community to the social and cultural issues affecting them via their exploration in drama or performance, thereby causing changes in their mindset, action and socialisation patterns. With a focus on marijuana addiction amongst the youths in Tombia, Ekpetiama, the paper critically analyses the effectiveness of community theatre in mobilising, sensitising, entertaining and educating the community members on the dangers of drug abuse. Marijuana addiction is a challenge worldwide and theatre practitioners have engaged several community theatre projects in order to sensitise addicts on the need to do away with drugs. This work used focus group interactions, participant observation and in-depth interviews methods to record the opinions of the people of Tombia community on issues of concern evolving from marijuana abuse. Adopting performance analysis schemata, the responses recorded were structured as thematic strands analysed and interpreted in line with the research objectives. Findings showed that community theatre is a viable avenue within which Tombia, Ekpetiama community became aware and knowledgeable about the social challenges of marijuana addiction. This in turn influenced the resolve of the youths to change by shunning marijuana smoking while the community elders were prompted to put progressive local measures in place in order to checkmate the youths and boost practices that strengthen development. Therefore, it was concluded that, community theatre is indeed an ideal agent for the mobilisation of people at the grassroots level as it encourages village or community participation to open room for them to assess their problems and proffer solutions via the implementation of meaningful changes that aid community development. The study contributes to the understanding of community theatre and exposes its efficacy, as an additional strategy; to fight against drug abuse in communities in Nigeria.
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Friedman, Dan. "Theatre, Community, and Development: The Performance Activism of the Castillo Theatre." TDR/The Drama Review 60, no. 4 (December 2016): 68–91. http://dx.doi.org/10.1162/dram_a_00596.
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The Castillo Theatre’s three decades of making theatre as part of an ongoing politically progressive community-building project in New York City is a new concept/practice of political theatre. Its radical statement is located not primarily in what’s presented onstage, but with those who make the theatre collaboratively, approaching social change activism performatively rather than ideologically.
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MALAN, EUNICE. "THEATRE AND THE ENVIRONMENT: THE EXAMPLE OF SOUTH AMERICAN COMMUNITY THEATRE." South African Theatre Journal 4, no. 2 (January 1990): 80–86. http://dx.doi.org/10.1080/10137548.1990.9688013.
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Gindt, Dirk. "Ola Johansson: Community Theatre and AIDS." Nordic Theatre Studies 24, no. 1 (July 1, 2019): 142–44. http://dx.doi.org/10.7146/nts.v24i1.114931.
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Julien, Martin. "Community, Viability: Theatre Past and Present." Canadian Theatre Review 169 (January 2017): 78–83. http://dx.doi.org/10.3138/ctr.169.013.
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Kuftinec, Sonja. "A Cornerstone for Rethinking Community Theatre." Theatre Topics 6, no. 1 (1996): 91–104. http://dx.doi.org/10.1353/tt.1996.0004.
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Lee, Edward. "CENSORSHIP IN COMMUNITY COLLEGE THEATRE PROGRAMS." Community College Journal of Research and Practice 22, no. 5 (January 1998): 469–78. http://dx.doi.org/10.1080/1066892980220501.
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Mažeikienė, Rūta. "Collective Narratives: Community Based Theatre Practices." Art History & Criticism 11 (2015): 34–45. http://dx.doi.org/10.7220/2335-8769.11.3.
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McKenna, Jennifer. "Creating community theatre for social change." Studies in Theatre and Performance 34, no. 1 (January 2, 2014): 84–89. http://dx.doi.org/10.1080/14682761.2013.875721.
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