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Journal articles on the topic 'Environmental Theatre'
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1
Wang, Chen, and Heng Li. "Built Environmental Variations Between Regular and Imax Theatres." Open House International 43, no. 4 (December 1, 2018): 41–51. http://dx.doi.org/10.1108/ohi-04-2018-b0006.
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The movie substitutes such as home cinema, video on demand (VOD), and plasma televisions leaded to a declining attendance of patrons to movie theatres, which urged the invention of IMAX theatre to call movie lovers back to cinemas. Many cinemas plan to renovate their regular digital theatre auditoriums into IMAX theatre auditoriums, but there lack of study for built environmental variations between regular and IMAX theatres. Through the combination of a questionnaire survey and a case study on a leading cinema company in Malaysia, the Tanjong Golden Village Cinemas (TGV), this paper aims to identify the structural and architectural differences between regular digital theatre auditorium and IMAX theatre auditorium in the perspectives of acoustic and visual experiences. The most significant factor influencing the satisfaction of visualization in IMAX is “immersive of picture” followed by “sharpness of colour” and “feels as part of the picture”. The most significant indicators for audio experience in IMAX is “direction of object”, which enable an audience to trace the direction and position of an object on the screen without looking at it. The built environmental variations between regular and IMAX theatres in terms of screen, camera and projection methods, seating, architectural layout, wall design, and sound system arrangement were thoroughly compared in the case study.
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Abdulkahar, Ismaeil Mohammed, Haider N. Mohammed, and Sabeeha Abdulla Mansour. "The Effect of Applying the International Guidelines for Clean Surgery on Infection Control of Patient's Close Intimate Environments." Science Journal of University of Zakho 5, no. 2 (June 30, 2017): 147. http://dx.doi.org/10.25271/2017.5.2.358.
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Surgical site infections are the most common cause of hospital acquired nosocomial infections. To evaluate the effects of applying and following the international standard guidelines for clean surgery on the final infection control in operation theatres, a comparative study was designed and carried out during the period from May 2014 to February 2015, at two operating theatres, the general surgical and the gynaecological theatre at Azadi teaching hospital – Duhok city – Kurdistan region. A total number of 492 samples (swabs and settles plate) were taken from different sites of intimate contact with the patients and were divided into two parts, pre (part I) and post (part II) samples. They were taken in a periodic day to day, and collected periodically three days of the week (Saturday -Monday- Wednesday) for a period of one month. Swabs were taken from different places were streaked on Blood and Mac-Conkey agar plates and incubated at 37°C under aerobic conditions for 24 hours. After incubation, the bacterial colonies were counted and diagnosed by Phoenix. The concentration of bacteria was expressed as colony forming units. The rates of bacterial contamination in places of close contact with patients of both theatres before the application of the WHO guidelines were as following: out of 348 samples collected from the surgical theatre in the first part; 105 (30.1%) showed significant growth in comparison to 32/144(22.2%) that showed significant growth from the gynaecological theatre, while all samples in part II from the surgical theatre showed no significant growth that 100%, in comparison to141/144(97.92%) in the gynaecological theatre in the second part after application of the WHO guidelines. As a conclusion there are 3 factors which have an effect on the result of surgical site infections namely patients, staff and environmental factors. The environmental factors have the greatest impact which are indirectly related to the degree of application of WHO standards of operation theaters.
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Bibi, Ambreen, Saimaan Ashfaq, Qazi Muhammad Saeed Ullah, and Naseem Abbas. "Ajoka Theatre as an Icon of Liberal Humanist Values." Review of Education, Administration & LAW 4, no. 1 (March 31, 2021): 279–86. http://dx.doi.org/10.47067/real.v4i1.135.
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There are multiple ways of transferring human values, cultures and history from one generation to another. Literature, Art, Paintings and Theatrical performances are the real reflection of any civilization. In the history of subcontinent, theatres played a vital role in promoting the Pakistani and Indian history; Mughal culture and traditions. Pakistani theatre, “Ajoka” played significant role to propagate positive, humanitarian and liberal humanist values. This research aims to investigate the transformation in the history of Pakistani theatre specifically the “Ajoka” theatre that was established under the government of military dictatorship in Pakistan in the late nineteenth century. It was not a compromising time for the celebration of liberal humanist values in Pakistan as the country was under the rules of military dictatorship. The present study is intended to explore the dissemination of liberal humanist values in the plays and performances of “Ajoka” theatre. The research is meant to highlight the struggle of “Ajoka” theatre for enhancing the message of love, tolerance, peace and other humanist values in such crucial time.
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Chandra Uniyal,, Dr Bipin. "Grotowski´s Poor Theatre: An Experiment in Theatre." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 14. http://dx.doi.org/10.24113/ijellh.v7i12.10240.
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This research paper is about Grotowski´s poor theatre. Before Grotowski´s there were many theatre, but these theatre were not suitable for Grotowski´s purpose. Before Grotowski´s theatre there were Schechner´s Environmental theatre, Stainslavaski´s Experimental theatre, Meyerhold´s Avant-grade theatre, Alexander Tiraov´s Kamerney theatre, Brecht´s Epic theatre, Judith Malina and Tulian Beck´s Living theatre, Bread and Puppet theatre by Peter Schumana. During the 1960´s a voice of deploration came by a number of persons, who demanded the abandonment of every element of the theatre borrowed from other media and not really required. This leading exponent was Jerzy Grotowski´s Poor theatre.
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Nelson, Steve. "Redecorating the Fourth Wall: Environmental Theatre Today." TDR (1988-) 33, no. 3 (1989): 72. http://dx.doi.org/10.2307/1145988.
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Rao, Nancy Yunhwa. "Inside Chinese Theatre: Cantonese Opera in Canada." Intersections 38, no. 1-2 (September 28, 2020): 81–104. http://dx.doi.org/10.7202/1071675ar.
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Opera theatre forms an important part of Chinese Canadian cultural history. Since first appearing in Victoria in the 1860s, Chinese theatres were woven into the community’s everyday life, performing Cantonese opera, the regional genre known to the majority of Chinese immigrants who came from the Pearl River Delta of southern China. A brief survey of historical city maps from the late nineteenth and early twentieth century shows their central role in Chinese Canadian community of the Pacific Northwest. Recent discovery of a Chinese theatrical company’s daily business receipts provides a window into the performance culture and daily operations of a Chinese theatre between 1916 and 1918 in Vancouver. This vibrant period of the 1910s paved the way for full-fledged theatre operation in the following decade that brought about a new era of Chinese opera performance in Canada.
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Mitra, Shayoni. "Badal Sircar: Scripting a Movement." TDR/The Drama Review 48, no. 3 (September 2004): 59–78. http://dx.doi.org/10.1162/1054204041667730.
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Et. al., Sakshi Srivastav,. "Fuzzy Logic Based Environment Control of Operation Theatre." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 1S (April 11, 2021): 220–32. http://dx.doi.org/10.17762/turcomat.v12i1s.1761.
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It is very critical and important to maintain the appropriate climatic conditions in the operation theatre. In paper, we present an approach to control total environmental conditions for the operation theatre. Generally for environmental control of operation theatre air conditioning system is installed. In operation theatre environmental parameters like humidity, temperature, oxygen and particles etc. have to be controlled precisely. All the environmental parameters are of nonlinear nature hence, difficult to control or model with the help of conventional control systems. Keeping in mind the complexity and nonlinearity of these parameters as fuzzy logic controller (FLC) for controlling all the environment of operation theatre has been designed. For this fuzzy logic control system temperature, micro particles, humidity & oxygen have been taken as input parameters and based on these parameters speed of AC motor as well as the speed of exhaust motor are controlled. The control system is implemented with the help of different fuzzy rules and their membership functions derived from actual conditions. The performance of the system for control of operation theatre was studied and it has been observed that the result obtained with the fuzzy logic control system provides more effective and economical control. The fuzzy logic control system has been implemented using fuzzy Tech development tool.
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Wiley, Eric. "Wilderness Theatre: Environmental Tourism and Cajun Swamp Tours." TDR/The Drama Review 46, no. 3 (September 2002): 118–31. http://dx.doi.org/10.1162/105420402320351512.
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Watch out for that alligator! Louisiana swamp tours led by Cajun raconteurs are both cooked up and authentic; they are trips through the “natural” environment but also something devised to snare tourist dollars. What show are the tourists seeing? Has the natural environment taken to performing daily, twice on weekends? How “pristine,” “primitive,” and “untamed” are the swamps?
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Sullivan, John, Sharon Petronella, Edward Brooks, Maria Murillo, Loree Primeau, and Jonathan Ward. "Theatre of the Oppressed and Environmental Justice Communities." Journal of Health Psychology 13, no. 2 (March 2008): 166–79. http://dx.doi.org/10.1177/1359105307086710.
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Mliless, Mohamed, and Handoko Handoko. "Green Pantomime When Silence Speaks out Environmental Issues." Andalas International Journal of Socio-Humanities 3, no. 1 (July 15, 2021): 11–37. http://dx.doi.org/10.25077/aijosh.v3i1.16.
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Green Pantomime Theater (GPT) is a tool for promoting children environmental awareness and activism. This paper provides insight into how environmental issues can be embedded in green performances and consequently offers a model of socio-environmental change. In Morocco, GPT performances aim to change children behavior, enhance their environmental awareness, and develop their abilities to act as protectors of the environment. The status of PGT upon children has considerably changed within the Moroccan theatre context. The ‘Creativity Association for the Development of Educational Work’, under Arabic name of ‘جمعية إبداعات لتنمية العمل التربوي ’, is a Moroccan non-governmental association that employs GPT to promote environmental awareness and activism. The study examines a 45 minutes show performed by ‘the Joker’ theatre group titled ‘هجرة البيئة: Environment Migration’. Within the framework of ecocriticism (Bracke & Corporaal, 2010) and visual grammar (Kress & van Leeuwen, 2006), the present work attempts to explain how silence, gestures, and visuals mirror the themes of the show. The study argues that environmental themes adopted in the performance strongly point to the Anthropocene's responsibility in destroying nature. For example, scenes on pollution, deforestation, the killing of species, and unreported and unregulated fishing (UUF) show that man has been dramatically affecting the environment. To make of the show a success, participating actors have meticulously used signs and gestures to silently express their views about a highly sophisticated issue. They have made of this show a universal performance in that anyone anywhere can perceive. Eventually, GPTs are highly recommended to identify lines of confrontation that man has with nature. Also, GPTs are important in that they represent man’s practices through gestures and signs and may provide responses for inspiring socio-ecological change.
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Mliless, Mohamed, and Handoko Handoko. "Green Pantomime When Silence Speaks out Environmental Issues." Andalas International Journal of Socio-Humanities 3, no. 1 (July 15, 2021): 11–37. http://dx.doi.org/10.25077/aijosh.v3i1.16.
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Green Pantomime Theater (GPT) is a tool for promoting children environmental awareness and activism. This paper provides insight into how environmental issues can be embedded in green performances and consequently offers a model of socio-environmental change. In Morocco, GPT performances aim to change children behavior, enhance their environmental awareness, and develop their abilities to act as protectors of the environment. The status of PGT upon children has considerably changed within the Moroccan theatre context. The ‘Creativity Association for the Development of Educational Work’, under Arabic name of ‘جمعية إبداعات لتنمية العمل التربوي ’, is a Moroccan non-governmental association that employs GPT to promote environmental awareness and activism. The study examines a 45 minutes show performed by ‘the Joker’ theatre group titled ‘هجرة البيئة: Environment Migration’. Within the framework of ecocriticism (Bracke & Corporaal, 2010) and visual grammar (Kress & van Leeuwen, 2006), the present work attempts to explain how silence, gestures, and visuals mirror the themes of the show. The study argues that environmental themes adopted in the performance strongly point to the Anthropocene's responsibility in destroying nature. For example, scenes on pollution, deforestation, the killing of species, and unreported and unregulated fishing (UUF) show that man has been dramatically affecting the environment. To make of the show a success, participating actors have meticulously used signs and gestures to silently express their views about a highly sophisticated issue. They have made of this show a universal performance in that anyone anywhere can perceive. Eventually, GPTs are highly recommended to identify lines of confrontation that man has with nature. Also, GPTs are important in that they represent man’s practices through gestures and signs and may provide responses for inspiring socio-ecological change.
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Bunzli, James. "The Geography of Creation: Décalage as Impulse, Process, and Outcome in the Theatre of Robert Lepage." TDR/The Drama Review 43, no. 1 (March 1999): 79–103. http://dx.doi.org/10.1162/105420499320582178.
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Pawlicka, Kama. "Wdrażanie założeń zrównoważonego rozwoju w praktyce działań polskich teatrów." Kultura a wyzwania zrównoważonego rozwoju cz. 2 22, no. 4 (February 5, 2022): 405–18. http://dx.doi.org/10.4467/20843976zk.21.025.15226.
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Implementation of the Principles of Sustainable Development in the Practice of Polish Theaters The aim of the paper is to present how Polish theatres implement the principles of sustainable development in practice in their day-to-day operations. The background for the considerations involves the evolution of the approach to sustainable development observed from the perspective of international documents discussing this concept. The author’s own empirical research consisted of the preliminary survey of the information available on the websites and social media of selected Polish theatres and the questionnaire sent to the theatres in the first half of 2021. The research has made it possible to distinguish four main types of activities undertaken in this respect by the theatres: 1) the content of performances and other artistic endeavours; 2) the day-to-day functioning of the institution; 3) the theatre building and its surroundings, and 4) co-creation and participation in broader initiatives for sustainable development. The questionnaire results indicate that the dynamics of activities in this domain has nothing to do with the size of the urban area in which a given theatre operates, but it is more associated with the fact that the theatres align themselves with the environmental policy of their local governments, and with the possibility of obtaining funds for such initiatives. Furthermore, and perhaps above all, it depends on the theatre’s strategy determining how it operates in the local milieu. Building upgrades involve savings and help theatres build an image of an environmentally-friendly organisation.
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Fien, John, and Steve Passingham. "Pacific Star: Community Theatre as Environmental Learning in Vanuatu." Australian Journal of Environmental Education 18 (January 2002): 63–70. http://dx.doi.org/10.1017/s0814062600001130.
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Sánchez-Vizcaíno, Elena F. "Eco-Teatro y concienciación medioambiental de la comunidad: La aplicación del teatro para la prevención de incendios forestales // Eco-theatre and Environmental Awareness in the Community: Theatre as a Tool to Prevent Forest Fires." Ecozon@: European Journal of Literature, Culture and Environment 6, no. 1 (February 16, 2015): 151–66. http://dx.doi.org/10.37536/ecozona.2015.6.1.644.
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En este artículo se estudia el papel del teatro como herramienta de sensibilización y prevención de incendios forestales. Para ello, se analiza el movimiento artístico denominado eco-teatro y se relaciona con la campaña de teatro realizada por el Ministerio de Agricultura, Alimentación y Medio Ambiente (MAGRAMA) durante los años 2009, 2010 y 2011. La campaña se realizó en 161 localidades donde el riesgo de incendios forestales era elevado. Los resultados del análisis y de las encuestas recogidas muestran que, al menos a corto plazo, el público aumentó sus conocimientos acerca de esta problemática gracias a la representación teatral a la que asistió y, por tanto, se postula la utilidad del teatro como herramienta de concienciación y sensibilización medioambiental. Abstract This essay studies the role of theatre as a tool for awareness and forest fire prevention. To achieve this goal, the artistic movement called eco-theater has been analyzed and related to a theatre campaign conducted by the Ministry of Agriculture, Food and Environment (MAGRAMA) during the years 2009, 2010 and 2011 in Spain. The campaign took a theatrical production to 161 small towns in areas where the risk of forest fires was particularly high. The results of the analysis and surveys collected show that, at least for a short term period, the audience increased their knowledge regarding this environmental problem thanks to the theatrical representation. The article concludes that eco-theater can be a very useful tool in increasing environmental awareness.
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Diamond, Catherine. "Empathetic Exchange of Censored Scenes: Southeast Asian Theatre’s Bold Experiment." New Theatre Quarterly 38, no. 4 (October 18, 2022): 346–61. http://dx.doi.org/10.1017/s0266464x22000252.
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At the 2021 Bangkok International Performing Arts Meeting (BIPAM), Southeast Asian dramatists presented new works that combined personal histories with the overarching political struggles in the region. One presentation, Deleted Scenes in SEA: Ownership Under Censorship, not only took up the issues of censorship and self-censorship but also entangled the distinct cultural identities of three countries – Singapore, Indonesia, and Thailand – by reprising scenes formerly banned in them. The new versions were directed and performed in a language of one of the other countries. Adapting each other’s censored scenes, and re-enacting their similar experiences in countering political repression, required empathetic imagination, and could be a new theatrical platform for creating a sense of regional solidarity. Catherine Diamond is a Professor of Theatre and Environmental Literature at Soochow University, Taiwan. She is the author of Communities of Imagination: Contemporary Southeast Asian Theatres (University of Hawai’i Press, 2012) and the playwright/director of the Kinnari Ecological Theatre Project (KETEP) in Southeast Asia.
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Pufahl, Jeffrey, Camilo Reina-Munoz, and Hannah Bayne. "Theatre Connect: Key Strategies for Facilitating LGBTQQ Youth Theatre Programs." Health Promotion Practice 22, no. 1_suppl (May 2021): 31S—34S. http://dx.doi.org/10.1177/1524839921996290.
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Youth who identify as lesbian, gay, bisexual, transgender, queer, or questioning (LGBTQQ) often experience heterosexism, homophobia, prejudice, and bullying in addition to the typical demands of adolescent development. Applied theatre programs have been shown to empower youth, improve mental health and well-being, and create positive identity and interpersonal relationships and, as such, have the potential to strengthen a range of protective factors for LGBTQQ youth. However, when programs engage participants in personal narratives, practitioners must be prepared to deftly navigate between the two domains of theatre in health and drama therapy. Since 2017, the University of Florida’s (UF) Center for Arts in Medicine has offered an afterschool theatre program for LGBTQQ youth in partnership with clinicians from UF Health’s Youth Gender Clinic and faculty in the Mental Health Counseling training program in the College of Education. Theatre practitioners lead the program in partnership with mental health professionals, who participate in sessions and are “on call” for participants. Program facilitators have developed a set of guidelines for organizations attempting to start LGBTQQ or other youth theatre programs in their local communities, which include the following recommendations: (1) prioritize safe and ethical practice through creating sustainable partnerships between mental health counsellors, experienced theatre practitioners, and local LGBTQQ organizations; (2) develop a clear contract between participants and facilitators regarding program goals; (3) utilize Baim’s drama spiral as a conceptual tool and limit program activities to the first four spiral rings; (4) emphasize “play” and skill building rather than LGBTQQ topics.
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Рой, Уляна. "До історії постановки драми Війт заламейський на сцені українського народно- го театру товариства „Руська Бесіда” (переробка Івана Франка з п’єси Педро Кальдерона Саламейський алькальд)." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 1, no. 1 (2015): 123–36. http://dx.doi.org/10.15804/pomi201508.
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To the Hixtory of Staging The Mayor of Zalamea on the Stage of Rux’ (Uhrainian) National Theater of the Society „Ruska Besida" (the Rehash of Franko from the Play of Pedro Calderon The Mayor of Zalamea). Ukrainian theater of the society Ruska Besida was one of the essenfial components in the development of Ukrainian culture in Eastern Galicia. Cultural development was also provided by the acfivifies of Ivan Franko. His work for the theater was often underesfimated and superficially studied. This was especially true when the rehash of Ivan Franko The Mayor of Zalamea appeared in the repertoire. The history of staging of this play is important to the history of Ukrainian theatre.
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Yang, Di. "Report of the Russell Square Theatre." Innovation in Science and Technology 1, no. 3 (October 2022): 19–42. http://dx.doi.org/10.56397/ist.2022.10.03.
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Design of a low-energy, passively ventilated, healthy and comfortable theatre building for Russell Square in the London area. The project utilizes analytical tools—IES VE and CIBS EAM10—to assist in the design of building performance simulations and to analyze and test the effectiveness of building and environmental strategies. The project maximizes the natural ventilation and passive cooling of the theatre, and the building performance simulation is iterated over time to achieve the required environmental objectives for the building’s volume flow and CO2 concentration. The building was optimized through the use of solar energy, natural wind and geographical topography, high performance building maintenance structures and good airtightness and shading adjustable technologies to enhance the use of passive technologies, ultimately providing a quality building that meets the project objectives of health and comfort.
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Curtis, David J., Mark Howden, Fran Curtis, Ian McColm, Juliet Scrine, Thor Blomfield, Ian Reeve, and Tara Ryan. "Drama and Environment: Joining Forces to Engage Children and Young People in Environmental Education." Australian Journal of Environmental Education 29, no. 2 (December 2013): 182–201. http://dx.doi.org/10.1017/aee.2014.5.
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AbstractEngaging and exciting students about the environment remains a challenge in contemporary society, even while objective measures show the rapid state of the world's environment declining. To illuminate the integration of drama and environmental education as a means of engaging students in environmental issues, the work of performance companies Evergreen Theatre, Leapfish and Eaton Gorge Theatre Company, the ecological oratorio Plague and the Moonflower, and a school-based trial of play-building were examined through survey data and participant observations. These case studies employed drama in different ways — theatre-in-education, play-building, and large-scale performance event. The four case studies provide quantitative and qualitative evidence for drama-based activities leading to an improvement in knowledge about the environment and understandings about the consequences of one's actions. In observing and participating in these case studies, we reflect that drama is a means of synthesising and presenting scientific research in ways that are creative and multi-layered, and which excite students, helping maintain their attention and facilitating their engagement.
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Lachko, Olga. "THE ENVIRONMENTAL THEATRE IN THE CONTEXT OF CONTEMPORARY THEATRICAL CULTURE." European philosophical and historical discourse 7, no. 1 (2021): 73–77. http://dx.doi.org/10.46340/ephd.2021.7.1.10.
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González Chacón, María del Mar. "Theatre That Speaks to Its Moment: Melt (2017) by Shane Mac an Bhaird." Estudios Irlandeses, no. 17 (March 17, 2022): 16–27. http://dx.doi.org/10.24162/ei2022-10705.
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In Melt (2017), by Shane Mac an Bhaird, two Irish scientists struggle in the Antarctic to reach glory from their research while Veba, a female creature found in the subglacial lake, questions the reality or fantasy of the episode. The study carried out in this article considers, first, the context of creation of the play through the presentation of the concept of new Irish theatres in the millennium, which involves the appearance of companies and social activism movements that challenge the notion of what theatre means. This is followed by an analysis of Ireland and the Anthropocene, to contextualise the play themes and include other social justice activisms, in the form of cultural projects, which encourage the reduction of the environmental impact and provide a backdrop against which Melt emerged. The approach to the play from these perspectives will lead to the conclusions, which aim to show why Mac an Bhaird’s work offers and confirms new perspectives in contemporary Irish theatre. Furthermore, the study aims to contribute to the deserving scholarship for this play, which has not yet received much critical attention.
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Kalinauskas, Justinas. "Audience Participation in Contemporary Lithuanian Theatre: A Conflicted Adaptation of the Western Tradition." Art History & Criticism 15, no. 1 (December 1, 2019): 103–15. http://dx.doi.org/10.2478/mik-2019-0008.
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Summary This article explores how audience participation practices were introduced into Lithuanian theatre in the last three decades (between the early ‘90s and the late 2010s) and how the audience participation methods of the 1960s Western theatre are/were being implemented into contemporary Lithuanian theatre projects. The key goal of this article is to examine the evolution of audience participation and collective theatre tradition in Lithuanian theatre by analysing the preconditions for participatory practices in the country’s theatre scene and defining the scope and contradictions of participation in the latest examples of contemporary Lithuanian theatre practices. These contradictions are also apparent in contemporary Western performative practices, which have already distanced themselves from the collective theatre movement of the ‘60s and the ‘70s and the political agenda of the performances of that time, selectively retaining only limited participatory aspects of the environmental theatre culture as a new form of entertainment. Similar limited levels of participation in Lithuanian theatre can be based on a different premise—that changes in spectators’ habitude cannot catch up with the newly (re)introduced theatrical ideas after the 1990s, and that theatre creators are still trying to cautiously synchronise conventional observation tactics and modern theatre hierarchies with the interactive ones, thus slowing down changes in staging and spectatorship strategies as well. The article focuses on academic texts by Lithuanian theatre researchers Ramunė Balevičiūtė, Rasa Vasinauskaitė, Rūta Mažeikienė, Jurgita Staniškytė, Vaidas Jauniškis, Lina Michelkevičė, and others to illustrate the discourse of audience participation analysis and to present different stages of the participatory tradition in the historiography of Lithuanian theatre. For international context, history, and mechanics of audience participation, texts by Erika Fischer-Lichte, Michael Kirby, Richard Schechner, Gareth White, Gay McAuley, Johan Huizinga, and others are used.
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Andreasen, John. "The Third Manifesto: ‘We Shall Come to See’." New Theatre Quarterly 4, no. 14 (May 1988): 120–21. http://dx.doi.org/10.1017/s0266464x00002657.
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In June 1985, a fortnight's discussions on ‘The Theatre in the Future’ were held as part of the Fools' Festival in Copenhagen. The seminars discussed the position of theatre and its possibilities in a rapidly changing society, often from deeply opposed positions – socially engaged versus wildly avant-garde, verbal versus imagistic, anthropological versus robotic, and so on. Participants were an exciting mix of professional performers of many kinds, plus theatre critics and ‘ordinary’ engaged people, who for two weeks exchanged experiences and visions of theatre in conjunction with other art forms, and with science and politics. The manifesto below was the contribution to these seminars of John Andreasen, a veteran of ‘sixties happenings, who has subsequently concentrated on street and environmental theatre, and for the past twelve years has taught and directed in the Drama Department of the University of Aarhus.
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Reading, Kerrie. "Navigating New Approaches for Grassroot Community Theatre in a (Post-)Covid World." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 163. http://dx.doi.org/10.14198/raei.2021.35.08.
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The cultural revolution of 1968 paved the way for many artists to reconsider how and where theatre was made. Community theatre gained currency and one company who became prominent during this cultural shift was Welfare State, later Welfare State International. They were one of the theatre companies who focused not only on a community theatre aesthetic but a grassroot one. I examine the radicality of community theatre and consider the efficacy of the historical approaches to engaging with communities in a (Post-)Covid world. I acknowledge and explore the shifting understanding of communities and assert that a deeper engagement is needed to foster collectivity (Tannahill 2016; Fişek 2019; Weston 2020; Bartley 2021). To reconsider the role that theatre may play in the future, I focus on a grassroot approach to community-led work and posit that location will be a key component to how theatre is made as we emerge from a pandemic.
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Schechner, Richard. "Theory and Practice of the Indeterminate Theatre." New Theatre Quarterly 5, no. 20 (November 1989): 348–60. http://dx.doi.org/10.1017/s0266464x00003663.
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Richard Schechner has recently come full circle back to the editorship of The Drama Review, which he earlier transformed from a quietly respected academic journal into the voice of American avant-garde theatre between 1962 and 1969. By this time, he had also joined the Drama faculty of New York University, where he still teaches, and created the Performance Group, for whom his productions included Dionysus in '69, Makbeth. The Tooth of Crime. Oedipus, and The Balcony. His early advocacy of environmental theatre, celebrated in his book of that name in 1973, developed into his present concern with theatre anthropology, the focus of his recent study. Between Theatre and Anthropology, discussed by Eugenio Barba in NTQ10 (1987). In October 1988 Schechner contributed to the Leicester conference ‘Points of Contact: Theatre. Anthropology, and Theatre Anthropology’, and there Nick Kaye discussed with him the relationship between his practical and theoretical work, its evolution, and the influences upon it–also looking in more detail at his most recent production, a performance combining Don Juan and Don Giovanni.
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Spinozzi, Paola, and Thunc Anh Cao Xuan. "Theatre as a Platform for Ecological Critique." Le Simplegadi 19, no. 21 (November 2021): 41–54. http://dx.doi.org/10.17456/simple-172.
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This article on ecotheatre with a focus on Vietnam pursues two goals. Firstly, it discusses how theatre can address ecological concerns, utilising ancient cultural sources. Secondly, it focuses on how these concerns are dramatised in the satirical comedy Gặp nhau cuối năm (Year-End Gathering), first broadcast on Vietnamese television in 2003. The main theoretical question is how and whether theatre, and specifically television theatre, can raise awareness of the climate crisis and generate a cultural shift. While addressing the crisis, theatre does not necessarily aim at breaking conventions. It can play with rhetorical strategies to convey the complexity of the interactions between humans and nature. It can stimulate internalist factors and intrinsic motivations leading to individual or collective social and political action. Gặp nhau cuối năm is a rewriting of the legend of the three Kitchen Gods who supervise every household and present their report to the Jade Emperor, the ruler of the world. Using satire and parody to convey praise and critique, the play stimulates reflection on the social and environmental crisis and occasional indifference of the Gods. Considering the impact that the TV has on public opinion in Vietnam and the popularity reached by Gặp nhau cuối năm, it becomes clear that theatre encapsulating entertainment and critique can respond to environmental concerns, stimulate ecological thought and generate change
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Steuernagel, Marcos. "Here We Are Again: Performing the Temporality of the Brazilian Transition." TDR/The Drama Review 61, no. 4 (December 2017): 9–21. http://dx.doi.org/10.1162/dram_a_00712.
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In 2011, Brazilian theatre group Ói Nóis Aqui Traveiz staged an environmental production of Ariel Dorfman’s play Widows on an island that held political prisoners during the country’s military regime. In Viúvas-Performance sobre a ausência, Ói Nóis Aqui Traveiz, one of the most politically engaged theatre groups in the country, discloses relationships between disappearance, memory, and resistance in both politics and performance.
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Diamond, Catherine. "Silent Cicadas and Noisy Burrowers: Kafka Inside Out in Thailand." New Theatre Quarterly 36, no. 2 (May 2020): 149–59. http://dx.doi.org/10.1017/s0266464x20000214.
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In 2015, the Unfolding Kafka Festival was initiated by Thai dancer/choreographer Jitti Chompee, exploring the writings of Franz Kafka as a source of creativity for performers in Thailand and the Southeast Asian region. Three of the presented artworks focus on the concept of metamorphosis, and the body’s interaction with the environments it both creates and inhabits. Inspired by Isabelle Schad’s dance Der Bau (The Burrow), Chompee and visual artist/scenographer Yoko Seyama created Silence of the Insects, which adopted the cicada as a model of bodily transformation. Together, the two dances and the installation form an assemblage that can be considered under the rubric of Una Chaudhuri’s concept of a ‘theatre of species’. Catherine Diamond is Professor of Theatre and Environmental Literature at Soochow University in Taiwan, and is the director/playwright of the Kinnari Ecological Theatre Project, creating new plays addressing environmental issues in Southeast Asia.
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Zhilina, Anastasia V. "Bibliographic Information in the Theatre Magazine Artist." RUDN Journal of Studies in Literature and Journalism 26, no. 3 (December 15, 2021): 558–69. http://dx.doi.org/10.22363/2312-9220-2021-26-3-558-569.
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The theatre magazine Artist has repeatedly become an object of scientific research. However, despite the wealth of works with a focus on structure of the magazine, the bibliographic section of Artist remains insufficiently studied. The bibliographic information of the journal has not yet become an object of subject-specific research. The empirical basis of the study is a complete set of publications of the theater magazine Artist for the entire period of its existence. Primary attention is paid to the bibliographic section of the journal and the appendix. Research methods are theoretical and historical analysis, generalization and systematization of the results obtained. In the proposed article, the author describes and comprehends the main forms of latent bibliographic information in the theatrical magazine Artist, first of all, the independent section Bibliography. The study defines main thematic areas of the section, its structure and main genres. The author also analyzes the types of bibliographic advertising in the journal: alphabetical directories of plays allowed to be performed, index of plays suitable for amateur shows, announcements on subscription from magazine editors, advertising of new books, ads for subscriptions to other print media. The author comes to the conclusion that along with educational intentions, the magazine staff solved specific selling tasks (sale of the magazine and books distributed through the publishers office). The latent bibliographic information of Artist can be useful for specialists interested in history of literature, journalism and theatre.
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Pasetto, Roberto, and Giulia Innocenti Malini. "Promoting environmental justice in contaminated areas by combining environmental public health and community theatre practices." Futures 142 (September 2022): 103011. http://dx.doi.org/10.1016/j.futures.2022.103011.
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Vince, Gaia. "Theatre: Flying past tipping points." Nature Climate Change 1, no. 6 (August 7, 2011): 285. http://dx.doi.org/10.1038/nclimate1192.
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Balcare, Kitija. "ECOTHEATRE: CHANGING PERSPECTIVE FROM WHO WE ARE TOWARDS WHERE WE ARE." Culture Crossroads 21 (December 28, 2022): 56–65. http://dx.doi.org/10.55877/cc.vol21.271.
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Looking from the perspective of Anthropocene, there is an urgency of environmental concerns which is growing day by day. While there is an emphasis on environmental education made by NGOs, it is important to analyze what is the role of the performing arts, especially, theatre, to raise awareness of environmental issues among society.
The article focuses on the development of ecotheatre on a global perspective and also highlights local examples of ecodramaturgy in the performing arts in Latvia.
This article lets to conclude that in the last years (2019-2022) there is a growing trend in Latvia reflecting on environmental topics through medium of theatrical performance and an essential raise in original ecodramaturgy. Also there is a development of various forms in performing arts related to environmental issues. Ecotheatre becomes the form of environmental activism or, so called artivism, of theatre practitioners in Latvia.
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Death, Carl. "Summit theatre: exemplary governmentality and environmental diplomacy in Johannesburg and Copenhagen." Environmental Politics 20, no. 1 (January 18, 2011): 1–19. http://dx.doi.org/10.1080/09644016.2011.538161.
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Howard, Tony, and Tomasz Łubienski. "The Theatres of Józef Szajna." New Theatre Quarterly 5, no. 19 (August 1989): 240–63. http://dx.doi.org/10.1017/s0266464x00003328.
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In the summer of 1988 two events focused British attention on the great Polish scenographer Józef Szajna: he participated in an ambitious seminar at the Young Vic on the legacy of the absurd, and in a BBC documentary on the art produced by holocaust victims and survivors. After the war, Szajna emerged as a central figure for Polish theatre and then for the international avant-garde. He became a stage designer, sculptor, director, environmental artist, manager, scenarist and teacher. In the 1970s, Szajna created his famous series of dramatic ‘open theatre’ spectacles inspired by the lives and art of Witkiewicz, Dante, Cervantes, Mayakovsky - and Szajna. For Józef Szajna's biography has been extraordinary, harrowing, and iconic. His work has questioned the functions of theatre after Auschwitz and Hiroshima. In his Warsaw flat-cum-studio and at the Studio Theatre, he surveyed forty years of work for New Theatre Quarterly, in conversation with the playwright Tomasz Lubienski - from a more literary theatrical tradition - and with Tony Howard, who here compiles a collage portrait of his career. The translations are by Barbara Plebanek.
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Clark, R. P., P. J. Reed, D. V. Seal, and M. L. Stephenson. "Ventilation conditions and air-borne bacteria and particles in operating theatres: proposed safe economies." Journal of Hygiene 95, no. 2 (October 1985): 325–35. http://dx.doi.org/10.1017/s0022172400062744.
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SUMMARYConcentrations of air-borne bacteria and particles have been measured in turbulently ventilated operating theatres in full flow, half flow and zero flow conditions. Increased air-borne challenge produced by human activity and by mechanical cleaning procedures is demonstrated: die-away of this contamination is shown to be related to the ventilation rate. Ventilation can be reduced or turned off at night and during weekends, and cleaning can also be carried out, without increased risk of infection if full flow is restored one hour prior to preparation for surgery. Areas surrounding the theatres should remain at positive pressure with regard to the general hospital environment during low or no flow periods. The implementation of such energy-saving policies will substantially reduce theatre running costs without introducing infection hazards.
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Dębowski, Marek. "A HUNDRED YEARS OF RESEARCH ON THE 18TH‑CENTURY THEATRE IN POLAND AND FRANCE." Wiek Oświecenia, no. 38 (September 25, 2022): 57–69. http://dx.doi.org/10.31338/0137-6942.wo.38.4.
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Among the modern researchers conducting studies on the 18th century, there is a widespread belief that research on Polish theatre of that era did not develop until the turn of the 1950s and 1960s. It is only part of the truth. The apogee of theatrical research coincided with those years, resulting from the 200th anniversary of the National Theatre, which was widely promoted by the authorities. However, the first diagnoses of Polish theatre scientists dealing with the 18th century are much earlier. Suffice it to recall Ludwik Bernacki’s monumental work, “Theatre, Drama and Music under Stanislaw August”, which the researcher published in Lviv in 1925. Bernacki’s research was closely related to the work of French theatre scientists, who conducted research on the scene and drama of the 18th century before the First World War. This article analyses and chronologically presents the last century of theatrical research and its methodological changes on the example of Polish and French history of 18th-century theatre.
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Mattsson, Erik. "Who Are ‘We’ in a Nuclear Disaster?" Nordic Theatre Studies 32, no. 1 (May 31, 2020): 82–98. http://dx.doi.org/10.7146/nts.v32i1.120409.
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This article explores a major but largely forgotten event at the intersection of the environmental movement and the movement of independent theatre groups in Sweden. Eko-positivet, a ritualistic mass-performance about nuclear power, was performed in Stockholm in May 1977 by 300-400 participants in front of around 4 000 spectators. In contrast to the discourse on class that dominated the political theatre of the time, the mass-spectacle enacted other kinds of collective, political identities, e.g. populist and biological ones. The established independent theatre groups did not participate in the event. In the article, it is argued that this reluctance can be explained by conflicting views on the political ‘we’.
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McKendrick, DRA, LJ Snedden, R. Bunch, and H. McGregor. "Pragmatic Recycling of Paper and Cardboard in the Operating Theatre: An Audit." Journal of Perioperative Practice 27, no. 3 (March 2017): 43–49. http://dx.doi.org/10.1177/175045891702700302.
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Despite recent legislation introduced in Scotland and motivated recycling at home, very little recycling exists within theatre environments. This study audited the introduction of recycling of paper and cardboard. All waste within a single operating theatre was collected by a dedicated team for 20 surgical cases. The collection of clean paper and cardboard packaging was limited to the theatre preparation room (TPR) and anaesthetic room (AR). No waste segregation was attempted within the operating theatre itself. The results showed that the AR produced a mean weight of 1.3kg of waste per patient (50% paper and cardboard), and the TPR produced 3.05kg per patient (33% general waste; 44% paper; 23% cardboard). Recycling saved a mean of £0.51 per case. The 54kg of recycled bags produced during the study saved 25kg CO2 emissions. This study describes a pragmatic method to recycle paper and cardboard within the TPR and AR. There are significant potential financial and environmental savings to be achieved.
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Harrison, Klisala. "Indigenous Cosmopolitanisms of Music in Sámi Theatre." Etnomusikologian vuosikirja 33 (December 8, 2021): 119–46. http://dx.doi.org/10.23985/evk.102997.
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Which kinds of Sáminess are expressed and engaged with music in Sámi theatre? Through descriptions of the kinds of musical genres and sounds presented, the article argue that the music of Sámi theatre can typically be described as cosmopolitan. As the musical expressions and engagements convey what is Sáminess, they present cosmopolitan versions of Sáminess. The author interprets performance moments as presenting types of Indigenous cosmopolitanism, in other words, Indigenous cosmopolitanisms. The article approaches music as musicking, which refers to all of the social interactions that go into creating a musical experience. Because this is theatre, this includes the social processes of staging other theatre values that relate with the music during theatrical performances. Other theatre values include costumes, set design, props, lighting, sound effects beyond music and movement such as dance and blocking. Overall, the productions perform a dynamic and fluid Sáminess that incorporates sounds, sights and movements from around the world, while often being “rooted” in what it is to be Sámi today and historically. Although most productions include identifiably Sámi music genres such as joik, it is worthwhile to note that some don’t. In these productions, the author identifies specific varieties of cosmopolitanism, such as vernacular cosmopolitanism, different forms of rooted cosmopolitanism and pan-Indigenous cosmopolitanism. The article examines case studies from Sámi theatre companies in Norway, Beaivváš Sámi Našunálateáhter and Åarjelhsaemien Teatere. The cases, among other productions, are the joik operas The Frost Haired and the Dream Seer and Allaq; the dance theatre productions Eatnemen Vuelieh and Gïeje; and the stage plays Silbajárviand Almmiriika.
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Barbier, O., L. Mathieu, A. Bertani, F. Pons, and D. Ollat. "Pediatrics activity in military theatre." Médecine et Santé Tropicales 25, no. 2 (April 2015): 122–24. http://dx.doi.org/10.1684/mst.2015.0481.
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Bevilacqua, Antonella, Sara Francesca Gelati, and Francesca Merli. "Indoor environmental quality of the Valli Theatre: outcomes on sound, light and thermo-hygrometry." E3S Web of Conferences 312 (2021): 12005. http://dx.doi.org/10.1051/e3sconf/202131212005.
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The characteristics of a performing arts space have a great influence on the experience that both artists and audiences have during a show. Therefore, it is of great importance to understand the sound field behaviour, the lighting, and the thermo-hygrometry of the ambient conditions existing inside this cultural heritage. The aim of this paper is the presentation of a complete assessment in relation to the comfort of an Opera theatre on its whole. As such, it has been undertaken a study in relation to the acoustic listening situations other than to the parameters related to the light level and temperature comfort of the Valli Theatre of Reggio Emilia. The acoustic characterization has been undertaken in line with the ISO 3382 standard measurements procedure by capturing the room impulse response (RIR), while the light intensity has been studied by using the lux meter. In addition, the thermo-hygrometer has been used to photograph the comfort related to temperature and relative humidity inside the main hall.
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Kacwin-Duman, Marta. "Opowieści dzieci wojny – peregrynacje teatrów niezależnych współczesnej Ukrainy." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 3, no. 1 (2017): 63–79. http://dx.doi.org/10.15804/ppusn.2017.03.05.
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The Tales of the Children of War – Ukrainian Independent Modern Theatre The author examines the theme of war in contemporary Ukrainian theatre. Starting with a brief description of the representation of Ukrainian topics in plays directed by Poles, the author puts Polish theatre in contrast with the contemporary Ukrainian drama and stage projects presented by the youngest generation of Ukrainian artists. Focusing on plays by Vorozhbyt, Jurov, and Arie, as well as directorial projects-concepts of Brama, Displaced Theatre or the freak-cabaret Dakh Daughters, the author tries to show the diversity of narratives and perspectives of the textual and formal forms. According to Ukrainians, the war is not a narrative story, but it brings attention to some more complex problems of the Ukrainian society.
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Spalink, Angenette. "Theresa J. May. Earth Matters on Stage: Ecology and Environment in American Theater." Modern Drama 64, no. 4 (December 1, 2021): 508–10. http://dx.doi.org/10.3138/md.64.4.br4.
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In Earth Matters on Stage, Theresa J. May explores a range of significant plays and productions from crucial moments in the United States’ environmental history to demonstrate the myriad ways that American theatre has represented, challenged, and been complicit in environmental imperialism.
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Cushley, Claire, Tom Knight, Helen Murray, and Lawrence Kidd. "Writing’s on the wall: improving the WHO Surgical Safety Checklist." BMJ Open Quality 10, no. 1 (January 2021): e001086. http://dx.doi.org/10.1136/bmjoq-2020-001086.
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Background and problemThe WHO Surgical Safety Checklist has been shown to improve patient safety as well as improving teamwork and communication in theatres. In 2009, it was made a mandatory requirement for all NHS hospitals in England and Wales. The WHO checklist is intended to be adapted to suit local settings and was modified for use in Gloucestershire Hospitals NHS Foundation Trust. In 2018, it was decided to review the use of the adapted WHO checklist and determine whether improvements in compliance and engagement could be achieved.AimThe aim was to achieve 90% compliance and engagement with the WHO Surgical Safety Checklist by April 2019.MethodsIn April 2018, a prospective observational audit and online survey took place. The results showed compliance for the ‘Sign In’ section of the checklist was 55% and for the ‘Time Out’ section was 91%. Engagement by the entire theatre team was measured at 58%. It was proposed to move from a paper checklist to a wall-mounted checklist, to review and refine the items in the checklist and to change the timing of ‘Time Out’ to ensure it was done immediately prior to knife-to-skin.ResultsFollowing its introduction in September 2018, the new wall-mounted checklist was reaudited. Compliance improved to 91% for ‘Sign In’ and to 94% for ‘Time Out’. Engagement by the entire theatre team was achieved 100% of the time. Feedback was collected, adjustments made and the new checklist was rolled out in stages across all theatres. A reaudit in December 2018 showed compliance improved further, to 99% with ‘Sign In’ and to 100% with ‘Time Out’. Engagement was maintained at 100%.ConclusionsThe aim of the project was met and exceeded. Since April 2019, the new checklist is being used across all theatres in the Trust.
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Imiti, Aghogho Lucky. "Nigerian theatre in a digital era and environment." International Journal of Arts and Humanities 2, no. 1 (2022): 93–100. http://dx.doi.org/10.25082/ijah.2022.01.002.
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Theatre, the earliest form of entertainment and enlightenment in Nigeria, is becoming a ghost of itself as a result of its inability to take on the colouration of the times. Some scholars are of the view that there should be a revival of the theatre by establishing more theatre while it remains bonded to its functional root, the live stage, because of its uniqueness. This study examined the likelihood of this renaissance and its survival in the face of the deluge of other media of entertainment in a digitally advanced era and environment. The study relied on the Media Displacement Theory, MDT, which explains a paradigm shift in an individual's use of new media by discarding the preceding one. Using in-depth interviews and Focus Group Discussions, FGD, the study revealed that live theatre-going culture has become unpopular with the Nigerian audience as a result of digital technology and sundry circumstances in recent times, which include insecurity and the COVID-19 outbreak that negates public gathering. The paper advanced that Nigerian theatre cannot afford to remain glued to its roots in a technologically digitalised environment or society, but has to evolve.
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Maguire, Tom. "Human beings in a theatre made for them: the child�s voice in contemporary theatre for young audiences." Journal of the British Academy 8s4 (2021): 017–27. http://dx.doi.org/10.5871/jba/008s4.017.
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This article explores the challenges of including the child�s voice in an artform dedicated to children, Theatre for Young Audiences. In 2020, The International Association of Theatre for Children and Young People, ASSITEJ, launched a manifesto to bring the voices of children and artists to every country in the world. However, the experience of children of this theatre made for them is often that their rights are elided with or subordinated to those of adults. A model for addressing this and some examples of practice suggest possibilities for change. This article examines the capacity and capability required to realise such possibilities within a precarious industry. Committing to hearing children makes demands on those making theatre and those making policy alike.
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Kim, Young-Ju. "Changes in Parent Counseling Empowering through Parent Counseling Activities Using Forum Theatre." Korean Association For Learner-Centered Curriculum And Instruction 22, no. 24 (December 31, 2022): 125–46. http://dx.doi.org/10.22251/jlcci.2022.22.24.125.
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Objectives The purpose of this study is to in-depth exploration of practical knowledge and changes in parent counseling empowering and meaning through using forum theatre.
Methods This researcher made a qualitative analysis of the data that were gathered by observation and in-depth interviews and included photographs and recording materials. Executing parent counseling is to develop a program for improving teacher’s parent counseling empowering by using forum theatre. the teaching-learning stage in the program consisted of four stages: appreciating problematic theatre of situations, sharing information for solving problems, discussing for solving problems and applying plan to solve them. For 4 months of the study period, the process of changing parent counseling empowering of participating teachers was analyzed through formal and non-formal in-depth interviews via zoom.
Results According to the collected date, the changes in personal growth are shown to change to listening to the sound of my heart, to sympathetic relationship, and to confidence. Moreover, the changes in teacher growth are shown to change parent counseling problem-solving ability improvement, to be mediator role between parents and child, to improve communication.
Conclusions Consequentially, As an alternative to in-service teacher education, the possibility of parent counseling using forum theatre was confirmed. parent counseling process through forum theatre helped early childhood teachers’ personal growth and professionalism improvement.
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Ushkarev, Alexander A. "New Theatre-Fans: Empirical Research Experience." Observatory of Culture 19, no. 1 (March 3, 2022): 34–45. http://dx.doi.org/10.25281/2072-3156-2022-19-1-34-45.
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Global changes and challenges of the 21st century have significantly changed both the conditions for the social functioning of art and its audience. This has shifted the focus of contemporary research interests from creating a socio-cultural portrait of the viewer to the area of comprehending new forms of cultural consumption, the origins and drivers of cultural activity. These aspects of the socio-cultural dynamics of the theater audiences are discussed in this paper, which continues the publication of the results of a large-scale sociological study of the audience of the Chekhov Moscow Art Theater. Our interest is primarily due to the historically formed special perception of this theater by the public, which distinguishes the Moscow Art Theater from other theaters of the country. Basing on the empirical data of sociological polls of two types — in the theater auditorium and on the Internet — and using the methods of mathematical statistics, we identify those features that most characterize the modern theater audience and reflect fundamentally new trends in its cultural activity. We note the stratification of the theater audience on completely new qualitative grounds and the establishment of a new cultural phenomenon at the forefront of theatrical life — the online theater-fan. To answer the question about the existence of a certain “generic peculiarity” of the Moscow Art Theater audience, which in previous years embodied the legendary Moscow Art Theater tradition, we tried to identify the latent features of the audience that are not reducible to the traditional quantitative measurements of spectator activity. The findings of the study are unexpected. In some ways they disappoint, but at the same time they explain a lot in the current trends of cultural consumption. They supplement the theoretical landscape with empirical data on the qualitative and behavioral characteristics of the modern theater audience and its cultural activity, which is steadily drifting into the online space. Theoretically comprehending the results obtained we fit them into the broad context of international studies of cultural life. So, behind the particular features of specific audience groups, we can catch the manifestations of global cultural processes that determine the current sociodynamics of the audience of art.