Journal articles on the topic 'Experimental theater'
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1
Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States." Text Matters, no. 9 (December 30, 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.
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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City.
Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.
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Rachman, Taufiq Nur. "Theather Association of The Religious Groups in Yogyakarta During 1960s." SHAHIH: Journal of Islamicate Multidisciplinary 4, no. 2 (December 28, 2019): 75–91. http://dx.doi.org/10.22515/shahih.v4i2.1875.
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This research focuses on the dynamics of theaters based on religious groups (Teater Muslim, Starka, Teater KristenTeater Kristen and Sthemka) in Yogyakarta, which initially adopted realist theater and then turned into an experimental theater, from the 1950s to the 1960s. The 1950s was a time when realism exploded in Indonesian theater. Whereas the 1960s was a period when theater groups began to adapt new forms and were called the experimental theater period. For this reason, this research takes place in the 1950s to 1960s. To cover the idea of writing, research uses the theory of dramaturgy from Erving Goffman which has the view that interaction between humans is like a play of drama determined by space, time, and audience. Based on this view the theater is oriented towards religious groups understood to contest each other to present (presentations) themselves) in the fields of ideology, experimental works, and market changes.
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Kelly, J. F. "DEAR EXPERIMENTAL THEATER WORLD." Theater 40, no. 2 (January 1, 2010): 4–5. http://dx.doi.org/10.1215/01610775-2009-026.
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Field, Thalia. "Experimental Theater Is History!" Theater 29, no. 2 (1999): 34–44. http://dx.doi.org/10.1215/01610775-29-2-34.
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Hidaka, Takayuki, and Leo L. Beranek. "Experimental theater of the New National Theater Tokyo, Japan." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2439. http://dx.doi.org/10.1121/1.4781780.
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Liu, Juan. "The Rebellion Origins and Spiritual Symbols of American Experimental Drama." Yixin Publisher 2, no. 2 (April 30, 2024): 17–23. http://dx.doi.org/10.59825/jhss.2024.2.2.17.
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In the 1950s and 1960s, American theater gradually diversified. Following the impact of the Absurdist theater on American realism and expressionism, American theater also moved from modern theater to exploration of postmodern theater. The experimental theater on Broadway and Broadway posed a challenge to traditional American theater. Experimental drama begins to weaken the story and script in terms of content, and instead invests a large amount of artistic creativity in formal expression. By weakening the script, it emphasizes the relationship between observation and performance, sensory perception, and spiritual state in the field, which distinguishes it from the traditional theatrical stage. This article will start from the cultural trends in the United States and explore the spiritual origins of American experimental drama’s rebellion against tradition; Taking representative figures and their works in American experimental drama as examples, analyze the specific characteristics and trends in content and form of American experimental drama, and understand the postmodern spiritual symbols conveyed in American experimental drama; Deeply understand the essence of the spirit of American experimental drama and the philosophical discussions conveyed by the concept of experimental drama.
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Chebotarev, Sergey A. "Art of theater direction in the 20th–21st centuries." Neophilology, no. 28 (2021): 718–25. http://dx.doi.org/10.20310/2587-6953-2021-7-28-718-725.
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We analyze the cultural and historical development of art of theater direction in the 20th–21st centuries. We consider the features of director’s theater on the example of Anatoly Vasiliev’s theater, Mark Zakharov’s theater, Zhenovach’s theater, Pyotr Fomenko’s theater, etc. We note that throughout the entire period there is a transformation of the role of the director in the theater. We note that throughout the entire period there is a transformation of director’s role in the theater. The significance of the theater director – artist grows into more complex forms of his existence: the playwright – the organizer of the performance – the teacher and educator of the theatrical collective. We conduct an analysis of directing schools allow us to draw the following conclusions. Firstly, the Russian theater at the turn of the 20th–21st centuries managed to preserve its traditions even in the conditions of the most powerful computer and television boom. Secondly, the theater continued to occupy one of the leading places in the spiritual, moral and aesthetic edu-cation of society. Thirdly, the direction of domestic theater adopted and multiplied the best tradi-tions of realistic art, coming from K. Stanislavsky, V. Nemirovich-Danchenko, E. Vakhtangov, M. Chekhov, taking into account modern trends and interests of the audience. Fourthly, there was an active search for new forms in directing and acting, experimental theaters and studios were formed. Fifthly, a huge place in directing was given to the production of classics. We note that the period under review provided an opportunity to fully reveal the originality in directing and acting.
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Batytska, Tetiana. "Aspects of Theatre Directing in the Maria Zankovetska National Academic Ukrainian Drama Theater during the 1990s–2010s." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(2) (November 29, 2023): 86–94. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294632.
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The paper examines the key features of the creative work of three stage directors of the Maria Zankovetska Theater during the 1990s–2010s: Fedir Stryhun, Alla Babenko, and Vadym Sikorskyi. The analysis of their landmark productions enables distinguishing the method of working on the theatrical production by each of them and outlines the thematic and conceptual range of both the artists’ works and the theater as a whole. The variety of artistic methods of stage direction during the period was studied, including the elements of psychological, poetic, and conditional theater in the terms of aesthetics, as well as the political, philosophical, and intellectual theater in relation to the concept, and the nature of the conservative and experimental theater in respect to the novelty of the implementation of stage solutions. It was identified that the creative image of the theater had been established by F. Stryhun and his artistic guidelines were dominant during the period, with his creative work oriented towards the social and cultural educational demands of Ukraine. Modern stage design and directing, presented by his colleagues A. Babenko and V. Sikorskyi, were less significant in the overall course of the theatre.
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Ding, Luonan, and Nienyuan Cheng. "Examining Experimental Theater in Contemporary China." Chinese Literature Today 8, no. 2 (July 3, 2019): 45–51. http://dx.doi.org/10.1080/21514399.2019.1674612.
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Sprogøe, Charlotte. "Live Experiences in the Theater Gardens of Contemporary Art." Peripeti 19, no. 35 (February 1, 2022): 97–108. http://dx.doi.org/10.7146/peri.v19i35.130635.
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Theatre has been a model for curatorial experiments throughout the history of experimental exhibitions. This article will look into contemporary experiments with curating exhibition formats that come alive as virtual, ‘lucid dreams’ through the uses of theatrical tropes such as Narrator, Stage, Backdrop – and through the integration of affect, living matter, organic form and worldlike backdrops into the formats, as in the historic Theater Gardens.
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Waegner, Cathy C. "Staging (during) Crisis: Indigenous Zoomlets in the Pandemic." American, British and Canadian Studies 39, no. 1 (December 1, 2022): 7–30. http://dx.doi.org/10.2478/abcsj-2022-0015.
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Abstract The COVID-19 pandemic with its lockdowns and social distancing whirled theaters worldwide into an economic and cultural crisis. The San Francisco Playhouse, however, implemented an experimental theater genre based on computer-mediated communication (CMC) that proved to be highly productive and successful. The “Monday night Zoomlets” presented short plays by, among others, Indigenous authors, embedded in discussion by director, actors, and playwright, with a second reading of the play applying the insights gained. The presentations took advantage of technical finesses, as well as informality and humor, and the Zoom spectators in their home settings could interact via a chat function. This article analyzes three of the innovative Zoomlets focusing on crises in contemporary Native American families, crises that have arisen through the “slow violence” (Nixon) of centuries-long hegemonic colonization. DeLanna Studi’s Flight, Claude Jackson Jr.’s Cashed Out, and Lee Cataluna’s Funeral Attire. All these plays show young Native Americans attempting to reclaim rituals or knowledges through forms of “remembering,” a feature of twenty-first-century Indigenous theater according to engagé drama theorists Jaye Darby, Courtney Mohler, and Christy Stanlake’s Critical Companion to Native American and First Nations Theatre and Performance (2020). Relevant theories of transformations of chronotope, fourth wall, and third skin in performance within the Zoom environment are considered.
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Park, Ho-Young. "1960's Acting Method of Experimental Theater." Journal of the Korea Contents Association 9, no. 11 (November 28, 2009): 184–91. http://dx.doi.org/10.5392/jkca.2009.9.11.184.
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Makarova, E. E. "EXPERIMENTAL THEATER CENTERS’ TYPOLOGICAL ARCHITECTURE FEATURES FORMATION." Современные наукоемкие технологии (Modern High Technologies), no. 7 2018 (2018): 65–71. http://dx.doi.org/10.17513/snt.37080.
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Shiau, Yan Chyuan, Ron Chen, and Cheng Wei Dan. "Renovation and Maintenance of Theater Dimmer Systems: Case Study on the Experimental Theater of the National Drama Theater." Applied Mechanics and Materials 174-177 (May 2012): 2036–41. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.2036.
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Many performing venues in Taiwan are historical. After long-time use, both the structure and equipment system of these venues have aged, thus causing critical impact on the stage, lighting, and sound effects. Based on the case of the Experimental Theater at the National Theater, this study investigated what should be noticed when renovating the theater lighting system, in order to provide an innovation guide for the management. This study also gathered the relevant information for maintaining the theater lighting system, in order to provide a reference for maintenance personnel to ensure the usability and functionality of dimmer systems.
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ÇETİN, Ferdi. "Gertrude Stein’s New Drama: Play as The Essence of What Happened." RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, no. 30 (October 21, 2022): 1196–207. http://dx.doi.org/10.29000/rumelide.1193093.
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American playwright, novelist, story and biography writer Gertrude Stein, with her avant-garde perception destructing the theatre conventions, became one of the inspiring playwrights for the experimental theater in the twentieth century. Stein's plays were interpreted by directors and performance artists from various disciplines such as painting, music, plastic arts and literature. When we look at her theoretical texts alongside her literary works, the concept of "continuous present" emerges as a strategy developed by Stein against the "tension" she feels due to the “syncopation” between the time of the audience and the time of the play in the conventional theater. The "nervousness" she felt towards the conventional theater also led Gertrude Stein to introduce a new definition of play. Gertrude Stein, whose literary activities can be examined under three periods, describes her plays written in the first period as "the essence of what happened". Contrary to the texts in the conventional theater, Stein gave works that could solve the time conflict in the theater through the "subversive" language she used in these early plays. She wrote without focusing on a story. Within the scope of this article, the use of “continuous present” is to be examined through Stein's play What Happened (1913) and the literary strategy developed by her is to be interpreted as a dramaturgical method that will help us understand the avant-garde plays.
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Kolchanov, Vladimir V. "M.A. Bulgakov and V.E. Meyerhold: to the poetics of the avant-garde form “upside down theatre” and the erotic reception of the French theatre “nude”." Neophilology, no. 17 (2019): 84–89. http://dx.doi.org/10.20310/2587-6953-2019-5-17-84-89.
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In this study we analyze allusion from the novel by M.A. Bulgakov “The Fatal Eggs”, which, according to most literary critics, see the relations between M.A. Bulgakov and V.E. Meyerhold. Meanwhile, the theatrical avant-garde form of “upside down theatre” and the erotic reception of the French theater “nude”, denoted in it, say the opposite. They point to the political and social and public atmosphere that denies them, which is developing in the era of J.V. Stalin’s knocking together of the indisputable sample of the imperial spectacle. While indulging the tastes of the leader to be printed, M.A. Bulgakov uses sarcasm and hints that the further development of the experimental, constructivist theater will lead to the “brilliant revolutionary-artist” (S.S. Mokulsky) to impending death.
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Grebenik, E. N. "DIFFERENTIATION OF THE PUBLIC BY THE LEVEL OF ORIENTATIONS TO STAGE ART." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 92 (2023): 79–84. http://dx.doi.org/10.37313/2413-9645-2023-25-92-79-84.
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At the moment, an important feature of the existence of the theater as a socio-cultural institution is its functioning in market conditions. Performances become the subject of sale and purchase, and the hedonistic function of the theater is opposed by great competition: cinema, the Internet, social networks, entertainment shows and show programs. In this regard, in order to remain in the consumer market, the theater uses innovative technologies and experimental forms, which lead to the loss of the uniqueness of the theater and a decrease in the level of the public. The effective implementation of the ideological and educational functions of the theater is directly related to the level of training of the theatrical public. The questions of his typology, the classification of the level of art education, are decisive in the perception of the performance. The genre orientation and subject orientation of theaters certainly depend on the ability of the public to perceive works of theatrical art. The article deals with the analysis of sociological studies of the interaction of the individual with art, as well as the study of sociocultural processes that form the orientation of the theater audience towards works of theatrical art. The author of the article pays special attention to the leisure activities of individuals and the formed stereotypes of the theatrical audience. The author also carried out an analysis of the cultural and leisure behavior of the public and derived the differentiation of the public according to the level of orientations and preferences for the performing arts.
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Kovalchuk, Olena, and Daryna Bogdan. "SCENOGRAPHY AND COSTUME IN JAPANESE KABUKI THEATER: TRADITIONS AND MODERNITY." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 30 (December 9, 2021): 45–51. http://dx.doi.org/10.33838/naoma.30.2021.45-51.
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Abstract. The article explores the history of traditional Japanese Kabuki theater, the stages of its formation and the basic principles of dramaturgy in retrospective and in modern times, the role and symbolic value of costumes, as well as the general features of theater performances. The modern trends of the theater were analyzed and issues of the space of its scene were investigated. Obvious conservatism of kabuki and its fundamental dissimilarity to the theater of the European model were noted. The process of evolution of the Kabuki theater was studied, which responding to the challenges of modernity, acquires new elements and features, together give rise to the fundamentally new phenomenon in the theatrical art. It has been determined that the logic of construction and development of the theater and stage space in Japanese traditional Kabuki theater derived from the need for specific interaction between the performer and the audience. With the formation of the theater, its audience expanded at the same time, in particular due to the privileged strata. The premises of theater and its stage also evolved. Eventually, the design features of Kabuki theater space became not only a prominent element in the interaction between the performers and spectators, but also an important factor that predominantly determined the characteristics of dramaturgy. In Japanese Kabuki theater, such methods as makeup, hair pieces and costumes are simultaneously those means of expression that are necessarily included in the process of staging a performance, and determine its content and storyline, as well as determine the nature of the performer’s acting. These means are kind of sign and symbolic system, which has to be read by the spectator in order to fully understand the nature of performance. The peculiarities of the costume allow us to read in advance nature of the character in performance, to guess his or her actions, etc. The peculiarity of Kabuki is that the play script is dictated by the performers themselves, but not by the scriptwriter. The director as an independent figure in Kabuki theater comes to the first plan only in the modern era, and it is mostly characteristic of innovative and experimental theaters. It is worth noting that given the challenges of modernity, Kabuki still acquires new elements and features, together generating a fundamentally new phenomenon in the art of theater, and in general, Kabuki remains a traditional theater.
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Gu, Yingjie, and Ye Zhou. "Application of Virtual Reality Based on Multisensor Data Fusion in Theater Space and Installation Art." Mobile Information Systems 2022 (August 28, 2022): 1–8. http://dx.doi.org/10.1155/2022/4101910.
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The application of Virtual Reality (VR) in theater space and installation art is the general trend, and it can be seen in large stage plays and installation art exhibitions. However, as the current VR is not mature enough, it is difficult to perfectly fulfill the exhibition requirements of large theaters, so this paper aims to change this situation by using VR based on multisensor data fusion. In this paper, a data fusion algorithm based on multisensors is designed, which improves the data transmission efficiency and delay of the VR system, so that VR can have a better viewing experience in theater space and installation art. And, through the questionnaire survey and actual interview, the actual feelings of VR audience in theater space and installation art are investigated and studied. Through the experimental analysis of this paper, the algorithm in this paper has high reliability and can improve the experience of using VR. The interview results and results show that the main application of VR in theater space is manifested in three aspects: multiangle and all-round viewing, multiroute viewing, and man-machine interaction in art galleries. The application of VR in installation art is mainly reflected in the perception of installation materials.
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Edward Flores, Suyo Ballarta Curin Rud,. "THEATER AS A STRATEGY TO IMPROVE ORAL EXPRESSION IN EI STUDENTS OF THE KINGDOM OF SPAIN IN THE COVID-19 PANDEMIC." Psychology and Education Journal 58, no. 1 (January 1, 2021): 3165–74. http://dx.doi.org/10.17762/pae.v58i1.1222.
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This research formulated as the main objective of determining the influence of the theater, as a strategy on the oral expression of first grade high school students of the I.E. Kingdom of Spain, Barranco- 2020, where theories related to oral expression were considered, in turn conceptions of oral expression and its elements, are revised concept of strategies. The study was quantitative, applied type, with quasi-experimental design, the sample was intentional non-probabilistic and consisted of two groups: Control Group of 25 students and Experimental Group also of 25 first grade high school students. The technique used was observation and the instrument an Oral Expression Observation Sheet, composed of 20 items that evaluates the three dimensions worked: verbal resources, for verbal and non-verbal. The results denote positive variation in the development of oral expression before and after the implementation of the program theatre as a strategy, which changes from 92% in process to 96% as an achievement in the post test; achieving a p-value of 000, less than α x 0.05, by using the Mann Whitney U-test, which makes it possible to conclude that the theater program influences oral expression. It is proposed to hold theatre workshops in educational institutions to improve oral expression.
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Ock-Ran Kim. "Experimental Theater 1990s, Co-creation Drama and Dramaturgy." Journal of Korean drama and theatre ll, no. 47 (March 2015): 205–60. http://dx.doi.org/10.17938/tjkdat.2015..47.205.
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Garrett, S. M. "The Awkward Age: New York's New Experimental Theater." Theater 31, no. 2 (January 1, 2001): 45–53. http://dx.doi.org/10.1215/01610775-31-2-45.
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Gharbieh, All’a Akram Ibrahim. "The Effectiveness of a Training Program based on Puppets Theater in developing some Social and Ethical Values among Kindergarten children in the Directorate of Private Education." Jordanian Educational Journal 9, no. 1 (January 30, 2024): 265–90. http://dx.doi.org/10.46515/jaes.v9i1.472.
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This study aimed to identify the effectiveness of puppet theater in the development of some social values (participation, self-reliance, etiquette, safety and security rules) and the development of some ethical values (honesty, trust, altruism, benevolence, tolerance, apology). In order to achieve the aim of the study, the semi-experimental methodology was used in order to suit the objectives and nature of the study, depending on two groups, one of them is control and the other is experimental, chosen by the intentional method from the Evangelical Savior Kindergarten in Zarqa Governorate. The study revealed statistically significant differences between the mean scores of the experimental group students before applying the training program based on puppet theater (pre-test) and after applying the program in social and moral values in favor of the post-test. The results showed the effectiveness of the training program based on puppet theater in developing some social values by (1.44) in average scores and by (42.2%), and the effectiveness of the training program based on puppet theater in developing some social values was (1.64) in mean scores. By (145%). The study recommended the necessity of including kindergarten curricula with educational activities based on Puppet Theater in order to instill some moral and social values for them.
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Wei, Wenzheng. "The Interpretation of the Modern Spirit of Chekhovs Drama on the Contemporary Stage -- Taking Butusov Theater as an Example." Communications in Humanities Research 33, no. 1 (May 24, 2024): 40–45. http://dx.doi.org/10.54254/2753-7064/33/20240047.
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Chekhovs plays have long been very popular in modern theater, especially in the major theaters of Russia. Many theatrical masters have adapted his classic texts. However, some adaptations have a strong avant-garde and experimental color, and the creators consciousness is too strong. So it is easy to ignore the fundamental of the text, in other words, the modernity problem. This paper takes Russian director Yuri Butusovs adaptation of Chekhovs plays as an example to study how the contemporary drama stage interprets the spirit of modernity in the text. This paper applies the relevant theories, which are all reflected in the Butusov Theater, including Meyerholds cubist stage concept, the contextualizing cubism proposed by the British scholar Amy Skinner, and Bakhtins carnival theory. Butusov deeply explores the modern spirit of Chekhovs drama and presents it with his unique directing art, which is also an alternative expression of the classic text.
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Gkatsa, Tatiani. "All the Roles of School Bullying and Empathy in an Experimental Intervention Approach." Mental Health & Human Resilience International Journal 7, no. 1 (2023): 1–4. http://dx.doi.org/10.23880/mhrij-16000215.
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The writing presents an experiential intervention approach, focusing on all the roles of school bullying, and empathy”. In an incident of school bullying, the attitude of all those present towards the protagonists determines the development and outcome of the incident. Cognitive and emotional empathy is the mediating factor in bullying and victimization behaviors. Through the experiential approach, it is sought to educate the public, students, pupils, teachers, and parents to understand with empathy all the roles of those present in school bullying and to actively transform their attitude. The method applied is Forum Theater and Storytelling techniques, role play and frozen image and Transformation of History in Forum Theater. Dramatized scenes and frozen images facilitate the Recognition, Understanding, Labeling, Expression, and Resilience (RULER) of thoughts, and feelings, through these develops empathy and resilience. The facilitator prompts the participants to talk in a supportive and complementary way to the victimized student and the bully. It is expected the development of psychosocial skills and conflict coping strategies.
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Tanner-Kennedy, Dana. "Gertrude Stein and the Metaphysical Avant-Garde." Religions 11, no. 4 (March 25, 2020): 152. http://dx.doi.org/10.3390/rel11040152.
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When American metaphysical religion appears onstage, it most often manifests in the subject matter and dramaturgies of experimental theater. In the artistic ferment of the 1960s and 1970s counterculture, theater-makers looked both to alternative dramaturgies and alternative religions to create radical works of political, social, and spiritual transformation. While the ritual experiments of European avant-garde artists like Artaud and Grotowski informed their work, American theater-makers also found inspiration in the dramas of Gertrude Stein, and many of these companies (the Living Theatre and the Wooster Group, most notably) either staged her work or claimed a direct influence (like Richard Foreman). Stein herself, though not a practitioner of metaphysical religion, spent formative years in Cambridge, Massachusetts, at Radcliffe under the tutelage of William James. Cambridge, at the turn of the twentieth century, was a hotbed of spiritualism, theosophy, alternative healing modalities, and James, in addition to running the psychology lab in which Stein studied, ran a multitude of investigations on extrasensory and paranormal phenomena. This article traces a web of associations connecting Ralph Waldo Emerson, Transcendentalism, and liberal Protestantism to Gertrude Stein and landscape dramaturgy to the midcentury avant-garde, the countercultural religious seeking of the 1960s and 1970s, and the Off-Off-Broadway movement.
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Dan, Marcela Livia. "Cum a transformat pandemia artele?" Symbolon 23, SI (2022): 57–64. http://dx.doi.org/10.46522/s.2022.s1.6.
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2020 was a difficult year for all the artists as well as for the audience. The artists were forced to bring masks on stage that they would never have wanted. Many art creators have moved their shows online. The public was also affected by all this madness. The people stayed at home and paid tickets online for shows broadcasted online. For many theater makers, preserving a palpable sense of liveness was paramount in adapting a theatri-cal project for a digital medium. Plays and monologues on Zoom about lockdown life had most appreciated on the virtual space. Online plays had a lot of success in most of the countries. Some digital productions had shown impresive formal originality – such as Belarus Free Theatre’s experimental Zoom show “A School of Fools”. The conversation and subject matter has focused on the pandemic lifestyle. Many creators, however, got most excited by projects that brought theater to the digital space in unprecedented ways. Theatre has of-fered us comfort, provocation and entertainment
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Mally, Lynn. "The Americanization of the Soviet Living Newspaper." Carl Beck Papers in Russian and East European Studies, no. 1903 (January 1, 2008): 44. http://dx.doi.org/10.5195/cbp.2008.140.
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This article examines the migration of a Soviet agitational theatrical form from Russia to the United States in the 1920s and 1930s. The Soviet living newspaper, or zhivaia gazeta, began during the Russian Civil War as a method to act out a pro-Soviet version of the news for mainly illiterate Red Army soldiers. During the 1920s, it evolved into an experimental form of agitprop theater that attracted the interest of foreigners, who hoped to develop new methods of political theater in their own countries. In the United States, the living newspaper format was first adopted by American communist circles. Eventually, the depression-era arts program, the Federal Theatre Project (FTP), incorporated an expanded and altered version as part of its many offerings. Living newspapers eventually became one of the FTP’s most celebrated and criticized performance genres. The political content of American living newspapers was a major factor in the government’s elimination of the FTP in 1939.
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Matthias, Bettina. "“Show, don’t tell!”." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (January 1, 2007): 52–65. http://dx.doi.org/10.33178/scenario.1.1.3.
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While the field of drama and theater continues to inspire many foreign language teachers, improvisational theater has not received more than passing attention as a resource providing interesting warm-ups and games to be used periodically in our classroom. This article makes a case for using the format of an improvisational theater workshop in beginning foreign language teaching. The example of a three-week experimental workshop in January 2006 suggests that improvisational theater and systematic work with its basic directive ‘Show, don’t tell!’ encourage students to communicate in a foreign language environment before they may feel prepared to do so in the target language itself. Physical engagement with a situation opens up communicative possibilities, and it eventually enables students to overcome cognitive and psychological barriers to successfully move towards greater linguistic proficiency and communicative freedom. While the field of drama and theater continues to inspire many foreign language teachers, improvisational theater has not received more than passing attention as a resource providing interesting warm-ups and games to be used periodically in our classroom. This article makes a case for using the format of an improvisational theater workshop in beginning foreign language teaching. The example of a three-week experimental workshop in January 2006 suggests that improvisational theater and systematic work with its basic directive ‘Show, don’t tell!’ encourage students to communicate in a foreign language environment before they may feel prepared to do so in the target language itself. Physical engagement with a situation opens up communicative possibilities, and it eventually enables students to overcome cognitive and psychological barriers to successfully move towards greater linguistic proficiency and communicative freedom.
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Borzenko, Irina V., Irina B. Ignatova, Natalia M. Ilyenko, Natalia I. Lyubimova, and Natalya N. Nikulina. "The Technique of Formation of Valuable Attitude for Amateur Theatre by Future Leaders." International Journal of Criminology and Sociology 9 (April 5, 2022): 1889–93. http://dx.doi.org/10.6000/1929-4409.2020.09.218.
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The dynamic development of theater culture in Russia, including the culture of Amateur theater, the growing popularity of Amateur theater in modern society, and the awareness of Amateur theater as a phenomenon of Russian national culture makes it urgent to improve the training of managers of Amateur theater groups in institutions of arts and culture. The study of literature, generalization of practical experience, and experimental research data led the authors to the conclusion that the direction of this improvement is to educate students in a value attitude to Amateur theater and their chosen profession. The functions of value attitude education: epistemological (knowledge), axiological (value), regulatory-normative and creative. Components of the pedagogical model: adaptive-diagnostic, planned-correctional, informational-activity, variative-creative, evaluative-effective. The results of the chosen pedagogical model gave positive results, which makes it possible to consider the proposed way to improve the training of specialists correct and appropriate.
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Shovkoplias, H. "Between modernism and postmodernism: experimental theater of Yuriy Tarnawsky." Literature and Culture of Polissya 101, no. 16f (January 20, 2021): 228–40. http://dx.doi.org/10.31654/2520-6966-2021-16f-101-228-240.
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Rora Paek. "The Discourse of Korean Experimental Theater in the 1970s." Journal of Korean drama and theatre ll, no. 30 (October 2009): 361–97. http://dx.doi.org/10.17938/tjkdat.2009..30.361.
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&NA;. "An experimental study of iatrogenically induced operating theater burns." Plastic and Reconstructive Surgery 79, no. 1 (January 1987): 155. http://dx.doi.org/10.1097/00006534-198701000-00071.
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Zhou, Shiran. "The Return of Actors’ Body Essence in Theaters." SHS Web of Conferences 167 (2023): 01013. http://dx.doi.org/10.1051/shsconf/202316701013.
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Experimental theaters of dance and drama are gaining international attention for finding unique aesthetics core of Chinese traditional philosophy.Via actors’ body to embody mans’ inner world without lines artists had been seeking more primitive and sheer forms of artistic expression like the ancients.From the perspective of Somaesthetics,this paper discusses the Chinese traditional somaesthetic consciousness embodied in Dance Theater and Physical Theater.Then we recapitulate viewpoints of body in Chinese traditional philosophy that found expression in Somaesthetics proposed by Richard Schusterman.A type of new relationship of actors and spectators will be the field that is worth to develop further in dramatic aesthetics.
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Aktaş, Elif. "Effect of Readers Theater on Reading Comprehension Skills and Reading Motivation among Students of Turkish as a Foreign Language." International Journal of Education and Literacy Studies 11, no. 3 (July 31, 2023): 71–83. http://dx.doi.org/10.7575/aiac.ijels.v.11n.3p.71.
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Different methods, techniques and strategies are employed in teaching to improve reading, especially comprehension skills to ensure reading motivation. The aim of this study is to determine the effect of readers theater on reading comprehension skills and reading motivation in teaching Turkish as a foreign language. In the study, in which an exploratory mixed design in which quantitative and qualitative research methods were used together was preferred, the subjects were determined by convenience sampling. Accordingly, 61 B1 level students (31 experimental, 30 control) learning Turkish as a foreign language at a state university in southern Turkey were assigned as the experimental and control groups. Reading comprehension achievement test was used to collect data in the study., reading motivation scale and semi-structured interview form were used to collect data. Dependent and independent groups t-test was used to analyze quantitative data; descriptive analysis and content analysis were used to analyze qualitative data. The results reveal that the reading theater technique had a positive effect on the reading comprehension skills and reading motivation of the students in the experimental group. In addition, it was determined that the students expressed positive opinions about the reading theater. Based on these results, it is suggested that reading theater technique should be used to increase the reading motivation of Turkish as a foreign language learner and improve their reading comprehension skills.
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Kandalova, A., I. Zhdanova, and Ya Zhuravleva. "ARCHITECTURAL AND ARTISTIC TECHNIQUES FOR FORMING INNOVATIVE THEATER SPACE USING DIGITAL TECHNOLOGIES." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 8, no. 9 (August 15, 2023): 51–61. http://dx.doi.org/10.34031/2071-7318-2023-8-9-51-61.
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In this study, the authors pay attention to digitalization in theatrical art, and also raise the question of what changes theater spaces undergo under the influence of high technologies. The features of the influence of cultural globalization on modern theater are considered. Historical and modern examples of experience in designing theatrical spaces of new digital aesthetics prove the relevance and active development of this topic at present. The study of world and domestic experience in organizing theater spaces made it possible to identify the main trends in the development of the theater of a new order. The study defines the types of technologies that are used to transform the theater space, such as: VR technology, AR technology, projection 3D video, etc. The study defines the main techniques for the formation of new visual images of the theater's media architecture, considers interior and exterior aspects, determines the correspondence of types of digital technologies and theater spaces. The revealed techniques and principles of shaping are tested at the experimental project of the cultural center with a multi-purpose hall in Samara.
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Naiseh, Ragda A. "Impact Based on the Educational Development of the Theater in Environmental Awareness "Quasi-experimental Study among Kindergarten Children Educational Program (4-5 years): in the Province of Damascus."." Journal of Educational and Psychological Studies [JEPS] 9, no. 3 (August 1, 2015): 607–27. http://dx.doi.org/10.53543/jeps.vol9iss3pp607-627.
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This study aimed to identify the role of theater in the development of environmental awareness among a sample of Kindergarten children (4-5 years). Two tools were used to achieve the educational theater program and test environmental awareness. The research sample included 40 boys and girls, divided into two groups: experimental and control groups (20 boys and girls per each group). The researcher found the following results: There were significant differences between the average scores of the experimental group children and the average degree of children in the control group test direct dimensional environmental awareness for the children of the experimental group. There were significant differences between the average scores of the experimental group children and the average degree of children in the control group post-test deferred environmental awareness for the children of the experimental group.
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Naiseh, Ragda A. "Impact Based on the Educational Development of the Theater in Environmental Awareness "Quasi-experimental Study among Kindergarten Children Educational Program (4-5 years): in the Province of Damascus."." Journal of Educational and Psychological Studies [JEPS] 9, no. 3 (August 1, 2015): 607. http://dx.doi.org/10.24200/jeps.vol9iss3pp607-627.
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This study aimed to identify the role of theater in the development of environmental awareness among a sample of Kindergarten children (4-5 years). Two tools were used to achieve the educational theater program and test environmental awareness. The research sample included 40 boys and girls, divided into two groups: experimental and control groups (20 boys and girls per each group). The researcher found the following results: There were significant differences between the average scores of the experimental group children and the average degree of children in the control group test direct dimensional environmental awareness for the children of the experimental group. There were significant differences between the average scores of the experimental group children and the average degree of children in the control group post-test deferred environmental awareness for the children of the experimental group.
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Kauffmann, Stanley. "Broadway and the Necessity for ‘Bad Theatre’." New Theatre Quarterly 1, no. 4 (November 1985): 359–63. http://dx.doi.org/10.1017/s0266464x00001779.
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Is Broadway necessary? As the focus for new writing and major experimental work in the USA shifts ever further from the old theatre district around Times Square – first to off- and then to off-off-Broadway, more recently to the flourishing regional theatres – many critics have come to regard Broadway either as an economic anachronism, failing to perpetuate past glories, or simply as an irrelevance to ‘real’ theatre. Yet Stanley Kauffmann argues that a focal point for a nation's theatre is more than the sum of sometimes fraying parts, and works on the imagination in ways that cannot be evaluated by the fragmentary assessment of succeeding productions; and here he analyses the ‘organism’ that Broadway remains, and the function it performs. Stanley Kauffmann has been theatre critic for the New York Times, the New Republic, and the Saturday Review, while the most recent of his full-length works is Theater Criticisms (1984).
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Kékesi Kun, Árpád. "Performing Agitation : László Moholy-Nagy and the 1924 Special Issue of MA (Today) on Music and Theater." Theatron 15, no. 4 (2021): 95–109. http://dx.doi.org/10.55502/the.2021.4.95.
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MA [Today] reflects the heterogeneity of theater after World War I and its 1924 special issue is a comprehensive document of the avant-garde ambition to renew mise-en-scène. Although MA was not a theater journal, it regularly published dramatic texts, performance reviews and manifesto-like essays on recent forms of staging. László Moholy-Nagy supported MA and its editor Lajos Kassák from Berlin, where he got involved in staging contemporary plays and operas. This paper addresses the question why the performing arts were especially important for Kassák’s circle and examines the relationship of MA to avant-garde theater movements. It also gives a brief survey of the Musik und Theaternummer with its introduction by Kassák before engaging with the theory and practice of experimental theater in Moholy-Nagy’s oeuvre.
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Alekseev, N. P., O. G. Gerasimov, V. A. Glazkova, V. P. Luk'yanov, V. K. Monyukov, M. N. Rusalova, P. V. Simonov, and M. V. Frolov. "An Experimental Study of the Emotionality of Theater College Students." Soviet Psychology 23, no. 3 (April 1985): 59–72. http://dx.doi.org/10.2753/rpo1061-0405230359.
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Chico, Tita. "Gimcrack's Legacy: Sex, Wealth, and the Theater of Experimental Philosophy." Comparative Drama 42, no. 1 (2008): 29–49. http://dx.doi.org/10.1353/cdr.2008.0018.
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Shornikova, Alexandra V. "About the Influence of the Performative Features of the Avant-garde Theater on Documentary Opera." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2022): 186–94. http://dx.doi.org/10.33779/2782-3598.2022.1.186-194.
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Documentary qualities in the art of music are among of the bright, interesting and little researched phenomena of modernity. Having been generated in the sphere of cinema and drama theater, the present tendency also became circulated in the sphere of musical theater. The introduction of documentary innovative materials – verbal and audio – into the artistic context of works written in the opera genre substantially transformed the traditional structure of musical performance. The article ascertains that the source of such types of experimental attempts was the elaboration of the avant-garde dramatic theater, whose producers made broad use of the techniques of performative art. This became the artistic orientation for documentary musical theater. Analysis of the stage endeavors of theatrical producers Erwin Piscator, Giorgio Strehler, Andrei Serban and Peter Sellars has made it possible to bring to light the vectors of impact of avant-garde theater on the musical documentary theater, which broadly applied the principles of performativity. Accentuation is made of the role of contemporary computer technologies, which gave the opportunities to producers and composers to obtain an instrumentarium that is broad in its artistic resources and inclination towards synthesis, to realize the performative forms of presentation of musical theater. The new features include minimalistic scenography, political allusions, the extension of time and space, and special forms of interaction with the audience. Their appropriation by musical documentary theater proves the force of impact of avant-garde artistic practices, which have greatly transformed opera traditions.
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Isnaini, Nurul Azizatul, Adam Malik, and Rahayu Kariadinata. "Analysis of the Application of the Mini Story Theater Learning Model (TMK), Story Poster Making (PPK), and Lectures (CPM) in Islamic Religious Education Learning." Edumaspul: Jurnal Pendidikan 7, no. 2 (October 1, 2023): 3626–32. http://dx.doi.org/10.33487/edumaspul.v7i2.6021.
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This study aims to analyze the application of the Mini Story Theater (TMK) learning model, Making Story Posters (PPK), and Lectures (CPM) in learning Islamic Religious Education. This study uses a quantitative approach with quasi-experimental methods. The research population consisted of all 92 students in class VII junior high school, with a sample of three classes randomly selected using the cluster random sampling technique, class VII A as the experimental group 1 with the treatment of the Theater Mini Story or TMK learning model; class VII B as the experimental group 2 was treated with the learning model Making Story Posters or PPK; and class VII C as the control group was given the learning model of Lecture Delivery of Materials or CPM. The research instruments used were questionnaires and interviews. The research data were analyzed using the analysis of variance technique (ANOVA) one-line testing of more than two samples using SPSS 26. The results revealed that there were no differences in students' understanding of the Acts of the Prophets and Apostles (KNR) in PAI subjects between students using the learning model Story Mini Theater (TMK), Story Poster Making (PPK), and Lectures (CPM).
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HUZUM, Otilia. "Theater between art and experiment." Theatrical Colloquia 13, no. 1 (May 15, 2023): 23–30. http://dx.doi.org/10.35218/tco.2023.13.1.03.
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"These few pages want to shed some light on the differences that exist between theatrical performance and experimental creative act. The fundamental notions that define the human being, in general, and the artistic entity in particular, are debated and evidence is provided about the importance of man in time and space. At the same time, the focus falls on knowledge as an essential factor in the evolution of the individual, on his ability and desire to explore expression through his own body, on the complexity of theatrical art perceived as forming culture and on the path of trials that contemporary society is going through. The argumentation is based on reference studies and includes personalities such as Konstantin Stanislavski, Michael Chehov, Brook, Étienne Decroux, precisely to emphasize that not every experiment or form of artistic expression can become art and constitute a theatrical performance."
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Overbeke, Grace. "An Interview with Young Jean Lee." Theatre Survey 57, no. 1 (December 9, 2015): 37–42. http://dx.doi.org/10.1017/s004055741500054x.
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Identified by Time Out New York as “one of the best experimental playwrights in America” and hailed by the New York Times as “the most adventurous downtown playwright of her generation,” Young Jean Lee (Fig. 1) is actively shaping the future of the American theatre. In 2003, she founded Young Jean Lee's Theater Company, through which she has written and directed ten productions. Her full-length plays, including The Shipment and Songs of the Dragons Flying to Heaven, have been published in four collections and performed worldwide. In 2013, she released her first short film, Here Come the Girls, and her debut album, We're Gonna Die. In the following interview, Young Jean Lee reflects on the role of humor in her plays, discusses her collaborative process, and reveals the two rules that she would never break in the theatre.
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Vinhosa, Luciano. "NEM TEATRO NEM CINEMA: A PERFORMANCE NO ESPAÇO DE EXCLUSÃO /Nor theatre nor cinema: performance in the exclusion area." Arte e Ensaios 27, no. 41 (July 24, 2021): 298–314. http://dx.doi.org/10.37235/ae.n41.16.
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Neste ensaio, a partir do curta-metragem experimental Duelo, de Daniel Santiago, em primeiro lugar nos perguntamos o que aproxima a performance ao mesmo tempo em que a diferencia quando apresentada em circuitos de artes visuais ou de teatro. Em segundo lugar, especulamos sobre as diferenças e aproximações entre a atuação de um ator no cinema e a de um performer. Nesse percurso foi necessário investigar o que seria uma performance. Ao fim e ao cabo, concluímos que, não sendo nem teatro, nem cinema, Duelo é performance filmada que participa das duas instâncias quando surpreendida em suas regiões de contato.Palavras-chave: Duelo; Teatro; Cinema; Performance. AbstractIn this essay, starting from the experimental short film Duelo, by Daniel Santiago, we first ask ourselves what approximates and what differentiates performance when it is presented in visual arts and theater circuits. Second, we speculate about the differences and similarities between the performance of an actor in cinema and that of a performer. After all, we conclude that, being neither theater nor cinema, Duelo is filmed performance that participates in both instances.Keywords: Duelo; Theater; Cinema; Performance.
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Maestro, Jesús G. "Poética del personaje en las comedias de Miguel de Cervantes." Cervantes 19, no. 2 (September 1999): 55–86. http://dx.doi.org/10.3138/cervantes.19.2.055.
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This essay is an attempt to consider Cervantes's theater using the presuppositions of poetics and literary theory. I begin with the argument that Cervantes's theater is experimental. His efforts at renewal were, however, limited by the imperatives of classical poetics, codified by Aristotle, and the esthetic codes of the comedia nueva as formulated by Lope de Vega. From this viewpoint I attempt to examine the construction of character in Cervantes's plays by focusing on five basic characteristics, which in my view reflect the experimental nature of that theater: 1) the limitations on the character's selfexpression in the use of language: the conflict between decorum and polyphony; 2) the devaluation and subordination of the subject to the plot, as the structural and teleological principle underlying events; 3) the construction of character as a result of the desire to present a moral order that transcends the subject; 4) the reduction of the dramatic character to a logical archetype of forms of behavior; and 5) the denial of the character's subjective experience in the forms of dramatic language.
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Speckenbach, Jan, and Thomas Irmer. "In Interview: On the Development of Video in the Theatre." New Theatre Quarterly 38, no. 3 (July 19, 2022): 234–41. http://dx.doi.org/10.1017/s0266464x22000161.
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German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have interacted with this new technology and how filmmaking can be an integral part of the theatre indicate clearly that filmmaking has played an invaluable role in recent theatre history. Speckenbach here also speaks of his collaborations with other directors, notably Sebastian Hartmann and René Pollesch, and about the future perspectives of this technology, which has changed the theatre altogether.Jan Speckenbach studied art history, philosophy, and media in Karlsruhe, Munich, and Paris during the 1990s. At the beginning of the new millennium he participated in the development of video theatre with Frank Castorf and, now a successful filmmaker, he also continues to work in the theatre. His short film Gestern in Eden [Yesterday in Eden] premiered at Cannes in 2008, while the full-length feature film Die Vermissten [The Missing] was shown at the 2012 Berlinale and Freiheit [Freedom] at the 2017 film competition at Locarno. In 2020 he directed the live-stream of Der Zauberberg [The Magic Mountain, after Thomas Mann’s novel] at the Deutsches Theater in Berlin (premiered online in November 2019), which was subsequently invited to the Berlin Theatertreffen. Thomas Irmer is the editor-in-chief of the Berlin-based monthly Theater der Zeit. He has co-edited two books on the work of Frank Castorf – Zehn Jahre Volksbühne Intendanz Frank Castorf (2003) and Castorf (2016). During the last forty years he has authored, among other significant writings, numerous analytical articles and interviews on Castorf’s creative output.
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Voronova, Tatiana. "Opera by Lev Kolodub "The Poet" as a Vector of the Director's Actualization of the Kobzar’s Image in Modern Ukrainian Realities." Ukrainian musicology 47 (October 21, 2021): 28–38. http://dx.doi.org/10.31318/0130-5298.2021.47.256716.
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Creative and ideological prerequisites of the director's appeals to L. Kolodub's opera "The Poet" are considered. The reasons for the need for a new scientific and creative understanding of opera in the sociocultural realities of a modern Ukraine are clarified. The scientific novelty of the research is determined, which consists of the original conceptual vision of updating the performance in accordance with the requirements of the present on the basis of synthesis of achievements of scientific thought and creative heritage of iconic figures of Ukraine and abroad. The purpose of the research is the need for new readings of the opera "The Poet" by Lev Kolodub as an ideological and integral work, devoid of the narrative of the Soviet era and the pathos of canonization of Kobzar as a "Superman", which is not characterized by human and romantic experiences, the research methods chosen: to determine the influence of world socio-cultural processes on the musical theater of Ukraine – system-analytical; to consider the creative heritage of L. Kolodub - biographical; to analyze the musical drama of the work — genre stylistic; to analyze the director's embodiments of the Opera — interpretative; to create your own concept of a creative art project — experimental modeling. The main results and conclusions of the study are obtained, which are as follows: a long break between the time of writing the opera "The Poet" by L. Kolodub (1984-1988) and its first stage reading (2001) is associated with subjective reasons due to the inconsistency of actions between musical theaters of Ukraine. The opera "The Poet" from the point of view of the composer's idea is definitely a new look at the image of Taras Shevchenko. In fact, Levko Kolodub invented a new genre of musical theater with this work — "biographical opera". Its versatility can be regarded as an attempt by the composer himself to "revive the classics" and bring them closer to the audience's perception. In this vein, this work provides a wide range of opportunities for director's reading and can live an active repertoire, ideologically true life at opera venues in Ukraine and diasporas. A comparative analysis of the Opera implementations in the Lysenko Kharkiv National Academic Opera and Ballet Theatre and the National Philharmonic of Ukraine allowed us to determine the difference between the director's approaches to solving mise en scene due to traditional (theater stage in Kharkiv) and non — traditional (concert hall in Kyiv, in the past-a room for balls of the merchant's House) locations. The post-graduate student predicted her own conceptual vision of the creative art project - the opera "The Poet" by L. Kolodub, which provides for the use of the latest achievements of scientific thought and original creative findings of leading figures of musical theater in Ukraine and abroad.