Academic literature on the topic 'DAS DA-Theater'
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Journal articles on the topic "DAS DA-Theater"
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Bianchi, Paloma. "Corporeidades dissonantes: reflexões sobre o espetáculo Disabled Theater." Sala Preta 16, no. 2 (December 21, 2016): 145. http://dx.doi.org/10.11606/issn.2238-3867.v16i2p145-156.
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Este artigo traz reflexões sobre o trabalho Disabled Theater da companhia suíça Theater HORA, dirigido por Jérôme Bel, apresentada em Belo Horizonte (MG) em 2014. Ao colocar em cena artistas com diferentes deficiências de aprendizagem, Disabled Theater discute temas como corporeidade, normalidade, normatividade e ética. A reflexão aqui apresentada decorre da trama entre teorias de pesquisadores como José Antonio Sánchez, Óscar Cornago e Francisco Ortega.
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Silva dos Santos, Ivaneide, and Laiane Oliveira dos Santos. "INTERAÇÕES ENTRE TEATRO E GEOGRAFIA NA PRÁTICA DA EDUCAÇÃO GEOGRÁFICA." Revista Brasileira de Educação em Geografia 10, no. 20 (December 31, 2020): 475–97. http://dx.doi.org/10.46789/edugeo.v10i20.762.
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O artigo discute a contribuição do teatro para a prática da educação geográfica em diversos contextos sociais, por considerar que a linguagem teatral interage com a Geografia, sendo importante para a leitura e compreensão da realidade em suas múltiplas dimensões, auxiliando-nos a percebermos nosso papel na construção e transformação do mundo. O texto resulta de uma pesquisa de graduação realizada no curso de licenciatura em Geografia da Universidade do Estado da Bahia, Campus IV, Jacobina, que objetivou analisar as contribuições do teatro para a apreensão de temas emergentes da Geografia, tendo como lócus de investigação o grupo de teatro Artefato, de uma cidade do interior da Bahia. A metodologia da pesquisa foi qualitativa de caráter exploratório. Também foi feita pesquisa bibliográfica, observação in loco, entrevistas, grupos focais compostos por homens, mulheres e jovens, bem com análise documental, por meio de fotografias do referido grupo de teatro. Os resultados da pesquisa nos revelam que o teatro, ao discutir temas geográficos por meio de sua ludicidade nos espetáculos, contribui para a leitura geográfica da realidade e proporciona a prática da educação geográfica, com o desenvolvimento do raciocínio e pensamento espacial, assim como a formação cidadã. PALAVRAS-CHAVE Teatro, Educação, Geografia, Conhecimento, Linguagens. INTERACTIONS BETWEEN THEATER AND GEOGRAPHY IN THE PRACTICE OF GEOGRAPHIC EDUCATION ABSTRACT The article discusses the contribution of theater to the practice of geographic education in different social contexts, considering that theatrical language interacts with Geography, being important for reading and understanding reality in its multiple dimensions, helping us to perceive our role in the construction and transformation of the world. The text is the result of an undergraduate research carried out in the degree course in Geography at the Universidade do Estado da Bahia, Campus IV, Jacobina, which aimed to analyze the contributions of the theater to the apprehension of emerging themes in Geography, having as a locus of investigation the group of theater Artifact, of a city in the interior of Bahia. The research methodology was qualitative and exploratory. Bibliographic research, on-site observation, interviews, focus groups composed of men, women and young people were also carried out, as well as documentary analysis, using photographs of the aforementioned theater group. The results of the research reveal that the theater, when discussing geographic themes through its playfulness in the shows, contributes to the geographic reading of reality and provides the practice of geographic education, with the development of spatial reasoning and thinking, as well as citizen formation. KEYWORDS Theater, Education, Geography, Knowledge, Languages.
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Abel, Iris. "Freischütz auf dem Wasser." Bühnentechnische Rundschau 116, no. 5 (2022): 24–27. http://dx.doi.org/10.5771/0007-3091-2022-5-024.
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Ein Theater nah am Hafen gelegen – da bietet sich eine schwimmende Bühne regelrecht an. Das Wolfgang-Borchert-Theater in Münster hat sein diesjähriges Open-Air-Spektakel „The Black Rider – The Casting of the Magic Bullets“ von Mai bis Juli wieder auf eine Spielfläche mit Seegang verlegt. Erstmalig wurden dafür ausschließlich LED-Scheinwerfer eingesetzt. von Iris Abel
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Oliveira, Rosa Adelina Sampaio. "“O mistério das ovelhas”: montagem de espetáculo teatral como instrumento de educação do campo no Assentamento Poço Longe / "O mistério das ovelhas": the production of a theater spectacle as a countryside education instrument in Poço Longe..." Cadernos CIMEAC 9, no. 2 (October 22, 2019): 167. http://dx.doi.org/10.18554/cimeac.v9i2.2874.
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O presente artigo visa apresentar o início dos trabalhos de teatro e Educação do Campo desenvolvidos através de ação cultural no Assentamento de Reforma Agrária Poço Longe, no sertão baiano, a partir da análise e descrição do processo de montagem do espetáculo "O mistério das ovelhas". Serão apresentadas as bases e escolhas conceituais e cênicas, as metodologias e didáticas desenvolvidas por dois anos, a partir do teatro, do riso, do teatro de máscaras e da Commedia dell´Arte, com crianças e jovens do assentamento, para a análise acerca da montagem do espetáculo e seus aspectos de recepção.Palavras-chave: Educação do campo; Teatro em comunidade; Assentamento; Pedagogia do teatro; Ação Cultural. This paper aims to present the beginning of working processes in theater and Rural Education, both developed through cultural actions in Poço Longe, an agrarian reform settlement located in Bahia’s countryside, from an analysis and description about the production of the play "O mistério das Ovelhas". In addition to the bases, as well as conceptual and scenic choices that will be presented, methodologies and didactics involving acting, laughter, theater of masks and Commedia dell’arte, all developed in the course of two years with children and young people of the agrarian reform settlement, in order to analyse the production of the spectacle and its reception’s aspects.Keywords: Countryside education; Community theater; Agrarian reform settlement; Theater pedagogy; Cultural action.
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De Oliveira, José Luís. "A relação da literatura de cordel na antroponímia dos fantoches populares portugueses." Jangada: crítica | literatura | artes, no. 10 (April 7, 2018): 4–18. http://dx.doi.org/10.35921/jangada.v0i10.77.
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RESUMO: O mundo do teatro de bonecos em Portugal está envolto numa bruma, devido, em parte, a algum desinteresse da classe teatreira, mas principalmente, à escassa documentação sobre esta arte ancestral. O teatro de marionetas popular era pouco palavroso, em oposição ao teatro de atores de carne e osso, onde o verbo era fundamental. O repertório de texto diminuto, transmitido por via oral, levou à perda substancial de um entretenimento que fez os encantos de miúdos e graúdos ao longo dos séculos. Uma das lacunas é a génese dos próprios apodos pelos quais os bonifrates eram conhecidos. Atualmente encontra-se vulgarizado o cognome Dom Roberto (conhecido até 1962 por robertos) para designar os bonecos de luva populares portugueses. Este evoluiu a partir do drama de cordel adaptado da lenda medieval Roberto do diabo e que fez parte do repertório do teatro de bonecos populares portugueses.
PALAVRAS-CHAVE: Teatro de bonecos, literatura de cordel, folhetos volantes.
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ABSTRACT: The world of puppet theater in Portugal is shrouded in mist, partly due to some disinterest in theater professionals, but mainly due to the scarce documentation about this ancestral art. The popular puppet theater was of few text, as opposed to the actors theater, where the verb was fundamental. The diminutive repertoire of orally transmitted text has led to the substantial loss of entertainment that has made the charms of kids and adults over the centuries. One of the gaps is the genesis of the nicknames for which puppets were known. At the moment the name Dom Roberto (known until 1962 by robertos) is popularized to designate the Portuguese glove popular puppets. This evolved from the chapbook drama adapted from the medieval legend Robert the devil and that was part of the repertoire of Portuguese popular puppet theatre.
KEYWORDS: Puppet theater, chapbooks.
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Vasconcelos, Mauricio Salles. "Zé Celso e o teatro do mundo." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 126–34. http://dx.doi.org/10.17851/2317-2096.7..126-134.
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Resumo: Este ensaio é sobre o teatro brasileiro contemporâneo, baseado nas possibilidades de renovação da dramaturgia, tal como aponta José Celso Martinez Corrêa em Cacilda!, a mais recente produção do Teatro Oficina.Palavras-chave: teatro brasileiro; Cacilda!; linguagem contemporânea.Abstract: This essay is about the Brazilian contemporary theater, based on the possibilities of renovation of the playwriting as José Celso Martinez Corrêa points out in Cacilda!, Teatro Oficina’s latest production.Keywords: Brazilian theater; Cacilda!; contemporary language.
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Repertório, Teatro &. Dança. "CIRCO-TEATRO NO SEMIÁRIDO BAIANO (1911-1942) [Reginaldo Carvalho]." REPERTÓRIO, no. 15 (July 7, 2010): 40. http://dx.doi.org/10.9771/r.v0i15.5211.
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<div>O presente artigo refl ete sobre a historiografia do teatro baiano e traz elementos da história do circo-teatro no semi-árido da Bahia, entre os anos de 1911 e 1942, com foco na cidade de Senhor do Bonfim, através da apresentação de 21 companhias circenses que passaram pelo interior do estado na primeira metade do século XX.<br><br />This article reflects on the historiography of theater made in Bahia and brings elements of the history of the circus-theater in the semi-arid region of Bahia, between the years 1911 and 1942, focusing on the city of Senhor do Bonfim, by presenting 21 companies circus that passed through the countryside in the first half of the twentieth century.</div>
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Suárez Rey, María Carmen. "Interpretación da obra "Auto do prisioneiro", de Ricardo Carvalho Calero." Revista de lenguas y literaturas catalana, gallega y vasca 25 (November 17, 2020): 85. http://dx.doi.org/10.5944/rllcgv.vol.25.2020.28901.
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Tocante ao teatro, Ricardo Carvalho Calero pódese considerar un inestimable contribuidor á creación e renovación do teatro galego do século XX, na etapa de posguerra. No seu teatro, sen adscrición a ningunha corrente literaria, podemos atopar dende propostas clásicas ata as máis modernas e mesmo algunhas moi próximas ao simbolismo e ao expresionismo. Auto do prisioneiro é a súa obra preferida e unha das máis representativas. Tematicamente, relicte un «problema existencial humano», cunha visión próxima ao teatro do absurdo e cargada de expresionismo e simbolismo. Unha obra da que cabe facer unha interpretación plural. As for Carvalho Calero’s playwrights, they can be considered an invaluable contributor to the creation and renewal of Galician theater in the twentieth century, in the postwar period. In his theater, without ascription to any literary current, we can ind from classical proposals to the most modern and even some very close to symbolism and expressionism. Auto do prisioneiro is his favorite work and one of the most representative. Thematically, it relects a «human existential problem», with a vision close to the theater of the absurd and laden with expressionism and symbolism. A work that can be interpreted in a plural way.
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Ibs, Torben. "Empowerment und Hausverbote." Theater heute 64, no. 2 (2023): 50–52. http://dx.doi.org/10.5771/0040-5507-2023-2-050.
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Noack, Bernd. "«Die Zuschauer sollen auf keinen Fall frieren»." Theater heute 63, no. 11 (2022): 48–51. http://dx.doi.org/10.5771/0040-5507-2022-11-048.
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Im Energiekrisenszenario stehen die Häuser am besten da, die sich schon früh mit Nachhaltigkeit beschäftigt haben. Man rechnet mit drastischen Kostensteigerungen: ein Rundgang durch deutsche Theater Von Bernd Noack
Dissertations / Theses on the topic "DAS DA-Theater"
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OLTOLINI, MARIA CHIARA. "Da romanzi per l'infanzia a serie animate per la TV: il giapponese "World Masterpiece Theater"." Doctoral thesis, Università Cattolica del Sacro Cuore, 2020. http://hdl.handle.net/10280/70987.
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Questa tesi si concentra sulla pratica giapponese di creare adattamenti animati a partire da opere letterarie di origine straniera, prendendo in esame il caso del World Masterpiece Theater (WMT), un’antologia di serie d’animazione prodotte dalla Nippon Animation dagli anni Settanta, ma rappresentativa di una tendenza—quella di tradurre classici mondiali per l’infanzia in anime per la TV—cominciata almeno un decennio prima.
L’analisi del contesto storico, ma anche dei legami tra la nascente industria degli anime e il sistema editoriale nipponico, permette di identificare il WMT come l’erede televisivo degli zenshū (“raccolte”) di libri per bambini appartenenti alla tradizione occidentale, pubblicati nel Paese dal periodo prebellico. Come gli zenshū, le serie del WMT associano i concetti di serialità e narrativa giovanile occidentale, hanno un intento educativo, e si presentano come esempi di un canone letterario di prestigio, reso alla portata di tutti grazie all’impiego di media popolari.
Particolare attenzione è stata dedicata alla disamina di "Anne of Green Gables" e "A Little Princess", e dei corrispettivi animati "Akage no An" (1979) e "Shōkōjo Sēra" (1985). Ciò ha permesso di identificare alcuni topoi del genere WMT, il ruolo dello staff dietro agli adattamenti, e l’influenza della “cultura delle ragazze” sull’animazione giapponese.This thesis focuses on the Japanese practice of adapting foreign literary works into animation, considering the case of World Masterpiece Theater (WMT), an anthology of TV series produced by Nippon Animation since the mid-1970s, which epitomises a trend—Japanese studios approaching novels for children from the whole world, to turn them into long-running anime for television—started at least a decade before. The analysis of the historical context, as well as of the ties between the anime industry and the publishing system, allows to identify WMT as the televisive heir of zenshū (“collected works”) of foreign children’s books published in the country since the prewar period. Both zenshū and WMT series associate western literature with serialisation, have an educational function, and are marked with the cultural reputation of “classics” accessible to all thanks to popular medias. The adaptations of "Anne of Green Gables" and "A Little Princess"—as, respectively, "Akage no An" (1979) and "Shōkōjo Sēra" (1985)—have been given detailed consideration. Results of the examination are useful to pinpoint some patterns of the WMT as a genre, but also the role of the staff working on the series, and the increasingly importance of girls’ culture in Japanese animation.
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Haderchpek, Robson Carlos. "A poetica da direção teatral : o diretor-pedagogo e a arte de conduzir processos." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284693.
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Orientador: Marcio Aurelio Pires de AlmeidaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-13T21:09:16Z (GMT). No. of bitstreams: 1 Haderchpek_RobsonCarlos_D.pdf: 5885076 bytes, checksum: 7f24f20f444b9955dd526b9896a56476 (MD5) Previous issue date: 2009
Resumo: Esta pesquisa de doutorado se deu a partir de uma investigação sobre a arte da direção teatral. Nosso objetivo principal foi averiguar a possibilidade de se estabelecer um modelo referencial que pudesse ser utilizado como base na condução de um processo criativo. A partir de uma metodologia empírica, que se utilizou da análise de experiências práticas - espetáculos teatrais e atividades docentes -, e de rigorosa pesquisa bibliográfica, pudemos investigar a figura do diretor-pedagogo e propor o que chamamos de poética da direção teatral.Palavras-chave: Teatro; Poética da Direção Teatral; Pedagogia Teatral; Diretor-Pedagogo
Abstract: This PhD research happen since then an inquiry on the art of the theater direction. Our main objective was to inquire the possibility of establishing a reference model that could be used as base in the conduction of a creative process. From an empirical methodology, that it was used of the analysis of practical experiences - theaters spectacles and teaching activities -, and of rigorous bibliographical research, we could investigate the figure of the directorteacher and consider what we call poetical one of the theater direction.Key Words: Theater; Poetical of Theater Direction's; Education of Theater; Director-Teacher
Doutorado
Doutor em Artes
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Merkin, Ros. "The theatre of the organised working class 1830-1930." Thesis, University of Warwick, 1993. http://wrap.warwick.ac.uk/4166/.
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This study of the theatre of the British Labour Movement had its roots in 1985 when History Workshop published a collection of documents relating to the Workers' Theatre Movements in Britain and America between 1880 and 1935. In his introductory essay in Theatres of the Left, Raphael Samuel concludes that there are no traditions in British Labour Theatre except those which have been broken or lost, that There is no continuous history of socialist or alternative history to be discovered, rather a succession of moments separated from one another by a rupture (1). Since this conclusion was reached, others have repeated Samuel's assertion in varying forms. So, Andrew Davies talks of "scanty Chartist theatrical activity" and of the mainstream lab6ur movement in the 1920s remaining "uninterested in cultural matters" and Ian Saville asserts that the conception of a partisan, organised theatre devoted to spreading the socialist message throughout the working classes only began to take shape in Britain in the mid-1920s (2). Yet a cursory glance at the theatre which preceded the Workers' Theatre Movement, a glance which Raphael Samuel provides in his introductory essay on theatre and socialism in Britain, reveals I a plethora of activity in the labour movement. From the Chartists and the Owlenites in the nineteenth century, through the Socialist Sunday Schools and the Socialist League to the Clarion movement, the Independent Labour Party and the Labour Party, the theatrical activity pointed to by Samuel is startling in comparison to anything we can see today. What follows is an attempt to look at some of those moments, to look at the plays they produced and at both how and why working class political organisations looked to the theatre, to try to ascertain if they were indeed no more than broken threads and if so to try to account for why this may be the case. It is also an attempt to re-examine some of our notions of what is political theatre, for since the discovery of the work of the Workers' Theatre Movement and subsequently of the Actresses Franchise League much has been made of these as the starting point of political theatre in Britain. Yet, for a country with one of the longest traditions of organised working class movements, such assertions seem at best strange, at worst dishonest. One clue as to the reason for such claims can be found in the characterisation of the theatre of the organised working class prior to the Workers' Theatre Movement which has become common currency. It was, in the words of Colin Chambers, primarily of ethical and anti-militarist rather than directly political", or in the words of Raphael Samuel: First, the belief that it is their mission to bring the working class into contact with "great" art (ie capitalist art) and second, the tendency to produce plays which may deal with the misery of the workerss may even deal with the class struggleg but which show no way out, and which therefore spread a feeling of defeat and despair (3). Such definitions of what is (or rather what is not) political theatre rest very heavily on a notion that political is most importantly propaganda. If the theatre that existed in connection with political organisations prior to 1926 was not propagandist then it follows for some that it was not political. What follows is therefore also an attempt to uncover a different approach, by looking at the groups own justifications for their involvement in theatrical ventures as part of the struggle for socialism.
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Challinor, Jennie Rose. "Staging the court : the theatrical season of 1670-71." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6963/.
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My thesis explores Restoration repertory theatre in the 1670-71 season, examining all of the new and revived works performed, including the premières of plays by dramatists such as Behn, Dryden, Shadwell, and Wycherley. These canonical writers are studied alongside the lesser-known works of playwrights including John Crowne, Edward Howard, Elizabeth Polwhele, and Elkanah Settle. Offering new readings of neglected plays by resituating them within their theatrical, literary, and political contexts, I use contemporary evidence from diaries, letters, pamphlets, and parliamentary records to demonstrate how theatre was inextricably bound with wider circumstances. Tracing the interaction between the playhouses, print, manuscript, and court cultures, my thesis argues that it was in this season that drama became evermore focused on King Charles II and his court, as playwrights looked for answers to increasingly pressing dramatic and political questions and offered cautious, and often cautionary, comments on the monarch. Analysing the main anxieties and impulses evident within drama, including the political influence of the royal mistresses, the emergence of female playwrights, worry about the succession, and the contentious influence of libertine ideology, my thesis concludes with a discussion of Buckingham’s The Rehearsal, a play that looks back to, and reflects on, the 1670-71 season.
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Clifford, Catherine Rebecca. "Performance spaces in English royal palaces, 1509-1642." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4658/.
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This thesis investigates the relationship between dramatic performance and space at English royal palaces between 1509 and 1642. I argue that palatial performance spaces, including, but not limited to, great halls, great chambers, banqueting houses, and tiltyards, created meaning in relation to one another. Underlying the history and evolution of the performance spaces I examine is the pressing notion that spaces represented different sites of meaning for spectators already accustomed to the spatial languages of palaces and great households. The venues/rooms/chambers themselves performed for inhabitants, and as court drama developed throughout this period, so did their spaces. Part one examines performance spaces in palaces understood to be the “greater” palaces of the realm and in those maintained primarily by consorts and royal children. Part two focuses primarily on how banqueting houses evolved into essential royal buildings in England. As these buildings became performance sites, court presentations of drama shifted from household-based indicators of hospitality to representations of prestige by the monarch. The final section, chapters five and six, examines how all of the architectural and dramatic frameworks discussed in the first four chapters were exemplified at Whitehall, the most important palatial venue of the period.
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Francis, Michael Barrie. "Victorian values and the Victorian theatre." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/59427/.
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I contend that 'morality, respectability, and decorum', were Victorian values trumpeted particularly loudly in Birmingham because of the local dominance of Nonconformism. Nonconformists had materially delayed the granting of a licence to Birmingham's playhouse, and continued actively hostile to its existence. Their influence on the prevailing 'official' moral climate is apparent in the reluctance of the local magistracy to grant music hall licence applications. Theatre managers here, then, laboured under an added imperative to maintain tranquil, well-conducted houses, presenting wholesome fare, and with strong community links. II My contention is that the theatre embraced and, occasionally, stimulated technological innovation. I also argue that Birmingham industrialists played a crucial role in materially changing both the functioning and the appearance of playhouses and music halls. That the revolution in mobility was the overriding factor in the contemporary mushrooming of playhouses and music halls is, I suggest, too apparent to be gainsaid. I focus closely on the transformation of Birmingham's transport links, both externally and within the town, and the readiness of local promoters and managers of theatres to exploit the new opportunities to attract audiences. III I suggest that if cultural imperialism operated more subtly than the political brand, imperialism it remained. The relationship with the fledgling United States displayed the classic characteristics of paternalism and condescension, not unmixed with arrogance, on . the part of the metropolitan power, and a general deference, giving way to fits of resentment, pique, and sometimes open rebellion, on the part of the erstwhile colonials. Minstrelsy and the cult of the 'Wild West' represent the beginnings of a reversal of the hitherto one-way cultural traffic, mirroring changes in the transatlantic political balance. I argue that the advent of steam navigation was a key factor in the expanding and vibrant Anglo-American exchange, with Birmingham playing a full role in that exchange.
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Tames, Elizabeth A. "Playing Monopoly : actor/manager Robert William Elliston (1774-1831) and the struggle for a Free Stage in London 1802-32." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19403/.
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This study reveals the complexity of relationships inherent in a system of theatre governance shaped by exclusive rights. Royal patents granted in 1662 entrusted sole guardianship of the ‘national’ or ‘regular’ drama to two ‘patent’ or ‘legitimate’ theatres (ultimately, established as The Theatres Royal Drury Lane and Covent Garden). These held privileged access to the traditional canon of serious, literary drama, including Shakespeare. The monopoly regime’s power, re-affirmed in The Theatre Licensing Act 1737, prevented all other playhouses, labelled ‘minor’, from producing the national corpus of plays, and from employing ‘the spoken word’: continuous speech unaccompanied by music. ‘Minor’ theatres were restricted to exhibitions of movement, music, and rhyme, commonly termed ‘burletta’. By the early 1800s a consensus held the ‘patent’ regime responsible for degrading rather than preserving dramatic standards. Actor/manager Robert William Elliston purchased his first London ‘minor’ theatre in February 1809. From that moment he began a largely self-interested campaign to overthrow the monopoly. Seeking an equitable footing, Elliston made a series of formal challenges, but when they failed he abandoned official channels. Thereafter, while remaining within the law, he adopted subversive means to gain his goal of a free stage. The Times’s review of Elliston’s first circumvention of the law in August 1809, an innovative ‘burletta’-ized Macbeth, lauded his ‘irregular’ production, while recognizing this novel version as a landmark incursion into the ‘legitimate’ canon. Elliston’s pioneering role in the struggle for reform, recorded in 1926, has been little researched since. The thesis re-evaluates Elliston’s agency in the ‘patent’ cartel’s demise, so contributing to a re-assessment of the narrative of the monopoly regime, and the ideological and social significance of its abolition. Once free competition was achieved, the theatre became a space in which the ‘legitimate’ canon could be accessed by every class of theatre-goer.
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Cattell, Tracy Catherine. "The living language of stage management : an interpretative study of the history and development of professional stage management in the United Kingdom, 1567-1968." Thesis, University of Warwick, 2015. http://wrap.warwick.ac.uk/70968/.
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Stage management is a professional, technical craft which is essential to the product of the professional British theatre. Yet with no dedicated academic study into its development and no published resources chronicling its history, stage managers of the present age have no means of accessing their professional heritage. As a profession committed to practising and preserving theatrical traditions within their daily activities, it is anomalous that its practitioners have not the means to explore and understand the roots of many aspects of their daily practice, and regrettable that scholarship has not access to an academic study of its evolution or the contextual catalysts for its development in order to inform the wider body of research into British theatre history. This study aims to address this complete absence of scholarship in the field by providing the first dedicated academic research into the development of professional stage management in Britain. It will draw upon the primary evidence of stage management documents such as prompt manuscripts and interpret them from the perspective of a professional practitioner, tracing the development of stage management from the support offered to the early modern companies of the Elizabethan age to the professionalisation and unionisation of stage management which emerged in the second half of the twentieth century. By so doing, this thesis constitutes an entirely original contribution to knowledge in relation to this important yet neglected aspect of the history of the British theatre, and will enable professional practitioners to access their professional heritage for the first time.
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Fracalanza, Narahan Dib. "O teatro experimental da Socìetas Raffaello Sanzio: percurso e linguagem. Da palavra-imagem ao corpo-palavra." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-19082015-144315/.
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A presente dissertação é parte da pesquisa que se propõe investigar o discurso da materialidade cênica do grupo italiano Socìetas Raffaello Sanzio. O foco central neste primeiro momento é sua trajetória e as experiências daí decorrentes. Através da analise de seu percurso, procura-se estabelecer nesta pesquisa uma reflexão sobre as práticas contemporâneas do espetáculo que marcam uma ruptura com o modelo dramático tradicional ao propor novos paradigmas na construção da escritura cênica.This dissertation is part of the research that aims to investigate the discourse of materiality scenic of the Italian group Socìetas Raffaello Sanzio. The central focus in this first time is its history and experiences resulting. Through analysis of its trajectory, it aims to establish this research a study of the contemporary practice of the show that marks a dramatic break with the traditional model to propose new paradigms in the construction of the writing stage.
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Barnett, David. "'Literatur ist dazu da, dem theater widerstand zu leisten' : textual problems and theatrical realizations in the later plays of Heiner Mueller." Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307561.
Full textBooks on the topic "DAS DA-Theater"
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Sílvia, Fernandes, Audio Roberto, Carvalho Bernardo 1960-, and Teatro da Vertigem, eds. BR-3: Teatro da Vertigem. São Paulo: Perspectiva, 2006.
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Weber, Ulrich, and Elio Pellin. "Wir stehen da, gefesselte Betrachter": Theater und Gesellschaft. Göttingen: Wallstein, 2010.
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Silva, Antonio Carlos de Araújo. A gênese da vertigem: O processo de criação de O paraíso perdido. São Paulo, SP, Brasil: FAPESP, 2011.
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Ribas, Tomaz. O Teatro da Trindade: 125 anos de vida. Porto: Lello & Irmão Editores, 1993.
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Casa da Comédia (1946-1975): Um palco para uma ideia de teatro. Lisboa: Imprensa Nacional-Casa da Moeda, 2009.
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Rosenblat, Nestrovski Arthur, and Teatro da Vertigem, eds. Trilogia bíblica. São Paulo: PubliFolha, 2002.
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Matos, Fernando Curado. Espaço cénico. Amadora [Portugal]: Amascultura, 1993.
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Kommt herbei! Eintritt frei: Comœdianten sind da : ich erzähle Euch die Geschichte vom Dario Fo-Theater in den Arbeiterbezirken. Wien]: Mandelbaum, 2009.
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Bernardina Maria Juvenal Freire de Oliveira. Afonso Pereira e o teatro do estudante da Paraíba: Educando pela arte dramática. João Pessoa [Brazil]: Ideia, 2010.
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Zózimo, A. A Hora da Criança que eu vivi. Salvador: Secretaria da Cultura e Turismo do Estado da Bahia, 1998.
Find full textBook chapters on the topic "DAS DA-Theater"
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Zoll, Rainer, Henri Bents, Heinz Brauer, Jutta Flieger, Enno Neumann, and Mechtild Oechsle. "„Theater, Tanz, Akrobatik, Therapie. Da hätte ich Lust zu“ — Vom Facharbeiter zum Gestalttherapeuten (Ulrich)." In „Nicht so wie unsere Eltern!“, 177–92. Wiesbaden: VS Verlag für Sozialwissenschaften, 1989. http://dx.doi.org/10.1007/978-3-322-91922-9_17.
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Cachinho, Herculano. "Consumer Culture and the Fashion Retail in the City of Lisbon: Avenida da Liberdade as Stage and Theater." In Urban Change in the Iberian Peninsula, 205–20. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-59679-7_13.
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Zanirato, Tatiana Franca Rodrigues. "Is the Word Alive? An Inquiry into Poetics and Theater in As Aves da Noite (Nightbirds) by Hilda Hilst." In Essays on Hilda Hilst, 33–55. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-56318-3_3.
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Paranhos, Kátia Rodrigues. "Companhia Teatro Moderno de Lisboa (TML): engagement, resistance and cultural creation in the 1960s." In DEVELOPMENT AND ITS APPLICATIONS IN SCIENTIFIC KNOWLEDGE. Seven Editora, 2023. http://dx.doi.org/10.56238/devopinterscie-081.
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Social theatre and politically engaged theatre are two designations that gained acceptance amid a lively debate that went on throughout the late 19th century and consolidated in the 20th century. Its turning point lay in the structure of the relations between theatre and politics or even between theatre and propaganda. This text addresses what resistance and political-cultural protest meant to Grupo Teatro Moderno de Lisboa (TML), from Lisbon/Portugal, in the 1960s, based on the interviews and discourses about their collective creation processes, theoretical research, and social intervention. According to many interpreters, the Group broke with the theater establishment of 1960 and came out as one generation's great movement. It only lasted for 4 years, from 1961 to 1965. During this time, TML staged theatrical texts by Carlos Muniz, Dostoyevsky, Miguel Mihura, John Steinbeck, Luiz Francisco Rebello, William Shakespeare, and José Carlos Pires. These artists made up and remade different universes according to their purposes and wishes. By reading the above authors' texts in the 1960s, these Portuguese artists gave new meanings to the present and to the past itself – recalling here Brecht's "past and present in one". The political and aesthetic issues in the plays were updated through debates between the theater group and the audience —quite a difficult task in a period when a political-cultural protest against the "Estado Novo" dictatorship was increasingly strong and constant, and in which official censorship, always vigilant against heterodox artistic manifestations, was stifling. Being active in the politically engaged theater then meant looking for different staging places and other points of view on the years of lead. Utilizing its actions, it is a ground principle, and its practices, TML would sow the seeds of the independent theatre group movement, having taken the first steps in the pathway toward an intervention theater that, later on, these groups took upon themselves to continue with. Despite adversities, theatrical experiments that go against the grain of prevailing thoughts are still tenaciously current on the agenda. Doing theater amid commercial pressure is, undoubtedly, a form of provocation, of insubordination to the "hit parade" market, to which Comuna – Teatro Pesquisa, Teatro da Cornucópia, O Bando, Casa da Comédia, A Barraca, the Évora Culture Center and SeivaTrupestill resort.
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Bernardo, Helena, Jorge Sampaio, and Marta Borges. "- As muitas vidas de um edifício urbano: História, Arqueologia e Antropologia no antigo Recreatório Paroquial de Penafiel." In Arqueologia em Portugal 2020 - Estado da Questão - Textos, 2021–34. Associação dos Arqueólogos Portugueses e CITCEM, 2020. http://dx.doi.org/10.21747/978-989-8970-25-1/arqa151.
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The work presented here summarizes the results of the archaeological intervention carried out between October 2018 and April 2019, within the Recovery and Restoration Project of the Recreatório Paroquial Penafidelense (parish and municipality of Penafiel, district of Porto), located in the primitive nucleus of the place Arrifana de Sousa, in the old parish of S. Martinho de Moazares, today in the heart of the Historic of the city of Penafiel. The building is a particular patrimonial interest due to the varied set of functions that were assigned to it between the 14th century (?) and today: hostel/hospital, chapel, headquarters of the Irmandade da Misericórdia and theater.
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Budasz, Rogério. "Musical Sources and Archives." In Opera in the Tropics, 112–56. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190215828.003.0004.
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This chapter examines the nature and uses of music in early Luso-Brazilian theater from the eighteenth to the early nineteenth century. The first part considers the processes and choices that determined the formation of a theatrical music repertory during the late colonial period. The second part describes the extant musical sources of theatrical music once performed in Portuguese America and now at libraries and archives in Portugal (Paço Ducal de Vila Viçosa, Biblioteca do Palácio da Ajuda) and Brazil (Acervo Curt Lange, Biblioteca da UFRJ, Museu da Música de Mariana), as well as those that have disappeared but can be identified through nonmusical sources. The chapter closes with a discussion ofthe first examples of sung-through Italian operas composed in Brazil.
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Vescovo, Piermario. "‘Per parti’ e ‘a voce sola’." In «Un viaggio realmente avvenuto». Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-344-1/018.
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The contribution is dedicated to the ‘teatro da camera’ of Annibale Ruccello (1956-86), thirty years after his death, recognized as one of the greatest Italian playwrights of the late twentieth century. ‘Teatro da camera’ in the dual sense of writing for a few characters (up to the monologue) and of performing in the constrained space of a ‘room’, even in comparison with other great examples of the drama that precedes and follows, from Harold Pinter to Mario Vargas Llosa (Al pie del Tàmesis, 2008). The ‘camera’ is of particular interest – even in comparison to these names – with a theater of personified mental space and ways of representing temporal experience.
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Budasz, Rogério. "Venues." In Opera in the Tropics, 157–223. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190215828.003.0005.
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This chapter considers the emergence of theatrical spaces in the main captaincies of Portuguese America. The first part examines the typology of such constructions (tablados, pátios de comédias, and casas da ópera) and explores the role played by the accelerated urbanization of the colony and the inconsistent application of enlightened policies in the second half of the eighteenth century. The second part examines the most important constructions, considering the individuals, processes, and ideologies that determined their creation, with an emphasis on the alleged function of the theater as a school of customs. It also argues that a number of theaters in Belém, Rio de Janeiro, São Paulo, and Ouro Preto were conceived, and for a period of time even managed, as extensions of the state politico-ideological apparatus. The chapter concludes with a discussion of the early-nineteenth-century concept of theater as monument, a place of overlap between the civic and political spheres.
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Gennaro, Liza. "Broadway Dance." In Making Broadway Dance, 182–217. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190631093.003.0008.
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Acknowledging the 1980s HIV/AIDS crisis and the deaths of hundreds of would-be choreographers, this chapter explores the trauma experienced by the dance and theater communities as a defining moment in the history of Broadway dance. I examine the advent of Broadway outsiders, post-modernist Bill T. Jones (Spring Awakening [2006]) and physical theatre practitioner, Steven Hoggett (American Idiot [2010] [2012], Once [2012], The Last Ship [2014]) onto Broadway and assess the diminishment of systems created by de Mille and Robbins. I also analyze Broadway insiders Savion Glover (Bring In ‘Da Noise, Bring in ‘Da Funk [1996], Shuffle Along, The Making of the Musical Sensation of 1921 And All That Followed [2016]), Andy Blankenbuehler (In the Heights [2008], Hamilton [2015]), Sergio Trujillo (Memphis [2009], Hands on a Hardbody [2013]), and Lorin Latarro (Waitress [2016]). I investigate how these four negotiate the systems of Robbins and Fosse while at the same time absorbing the influx of ideas coming from physical theatre Finally, the chapter looks at contemporary dance choreographer Camille Brown, who possesses an exceptional ability to discover fresh interpretations of time-worn dance vocabularies and to tell stories with invented movement. I contend that Brown is the latest choreographer using Broadway as a vehicle for inventive dance and setting a new standard of dance excellence and innovation in musical theater.
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"Da kann ja jeder kommen!?" In Theater und Migration, 123–34. transcript-Verlag, 2011. http://dx.doi.org/10.14361/transcript.9783839418444.123.
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