Academic literature on the topic 'Group theatre productions'
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Journal articles on the topic "Group theatre productions"
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Patonay, Anita. "The Development of Children’s and Youth Theatre in Hungary: the Path of Institutionalization and Beyond the Professional Sphere (1949–1989/1992)." Theatron 17, no. 4 (2023): 40–52. http://dx.doi.org/10.55502/the.2023.4.40.
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It was after the Second World War and the nationalisations that autonomous theatres for children and youth and theatre performances targeting this age group were first established in Hungary. In my study, I will present the institutional history of children’s and youth theatres in the period 1949–1989/1992 and the children’s and youth theatre-makers who were amateur theatre-makers alongside the institutionalised theatres. I will give an insight into the productions that were produced during this period, the problems faced by the children’s and youth theatre community, and the contradictions that creators had to face during the period of state socialism. I will look at decisions, decrees, and laws on the medium of children’s and youth theatre productions from 1949 to 1989/1992, in order to gain a better understanding of the cultural context in which amateur theatre groups produced performances in the context of children’s and youth theatre culture, alongside the institutionalised children’s and youth theatres.
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Shevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014." New Theatre Quarterly 32, no. 2 (April 13, 2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.
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What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in focus to indicate how political theatre in the seven years specified has been far from alien to, or sidelined from, national theatres, state theatres, or other prestigious companies in receipt of state subsidy. Two main profiles of recent political theatre emerge from this research, one that acknowledges political history, while the other critiques neoliberal capitalism; there is some unpronounced overlap between the two. Productions of Shakespeare feature significantly in the delineated theatrescape. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London. Her most recent book (co-authored) is The Cambridge Introduction to Theatre Directing (2013).
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HEMIŞ, ÖZLEM. "Origins and Developments: A Brief Overview." Theatre Research International 44, no. 3 (October 2019): 296–98. http://dx.doi.org/10.1017/s0307883319000336.
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The origins of westernized theatre in Turkey lie in the Tanzimat reform movement, which was in turn inspired by the impact of the French Revolution. The institutionalization of this late encounter was made possible by the foundation of municipal theatres (1914) and of state theatres (1949). The municipal theatres have been most influential, and have had more flexible characteristics as they have been minutely connected with tradition. The state theatres, on the other hand, have been on a mission to educate audiences through their large-scale productions, which the private-enterprise theatres would not possibly dare to produce. They have also been tightly connected with Western-style theatre in their repertoire, and in their understanding of dramaturgy and directing in their productions. Today it is still debatable whether these enormous institutional theatres function effectively or not. The fact that the municipal and state theatres are consistently offering the cheapest tickets and yet not managing to keep a loyal group of audiences is one of the reasons why nearly two hundred plays at independent theatres debut in Istanbul every year. There have been attempts to overcome problems of quality inherent in the structure of these theatres by other theatre groups in premises where more elaborate productions of plays from the mainstream have been performed.
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Balme, Christopher, and Astrid Carstensen. "Home Fires: Creating a Pacific Theatre in the Diaspora." Theatre Research International 26, no. 1 (March 2001): 35–46. http://dx.doi.org/10.1017/s0307883301000049.
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Theatre created by Pacific Islanders is perhaps the most recent significant development in New Zealand theatre of the 1990s. Exploring this new phenomenon within a concept of diaspora, productions, producers and themes are linked to notions of displacement, home, and disruption on several levels. Three recent plays and productions are examined: Think of a Garden by the Samoan-American John Kneubuhl, which explores memory as the basis of diasporic identity; Home Fires, a collaborative production between Pacific Island and Ma°ori artists in which a new kind of syncretic theatrical style transcending specific cultural codes was developed; and Tatau – Rites of Passage, a performance created by the Christchurch-based group Pacific Underground and the Australian community theatre group Zeal Theatre which explores the notion of ritual reincorporation – involving actual tattooing on stage – as a means of transcending diaspora and repairing the ruptures caused by it.
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Rodiņa, Ieva. "Režisors Eduards Miks. Brīvdabas lieluzvedumu prakse 20. gadsimta 30. gados." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 215–22. http://dx.doi.org/10.37384/aplkp.2023.28.215.
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Director, actor, theater pedagogue Eduards Miks (1893–1943) is a less-studied person in the history of Latvian theater, whose creative work is mainly related to the practice of large-scale open-air large-scale performances in the city of Ogre in the 1930s. The purpose of the article is, firstly, to present the creative biography of Eduards Miks, and, secondly, to analyze his large-scale open-air productions in the context of Latvian 1930s theatre practice. The open-air productions of Eduards Miks can be divided into two groups. Firstly – large-scale productions related to the carnivalization tendency, which begin with a theatrical procession, turning the whole city into a stage and preserving the principle of the theatricalization of life in the organization of the performance as well. The second group – musical productions, in which the actors of Riga theaters are engaged in the title roles, and local art life enthusiasts – in the mass scenes, creating complex mise-en-scenes and impressive mass scenes. Analysis of archival and periodical sources and historical-genetic and semiotic research approach are used. The article states the known facts of Eduard Miks’s life and creative biography, analyzes the most significant open-air productions of the director, as well as compares the directing tendencies of the open-air productions of Eduards Miks to the overall 1930s Latvian theatre practice.
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Howard, Pamela. "Designing the Shrew." New Theatre Quarterly 3, no. 10 (May 1987): 184–87. http://dx.doi.org/10.1017/s0266464x00008678.
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In NTQ7 we included an assessment by Geraldine Cousin of two recent productions of Shakespeare's The Taming of the Shrew – one of them by Di Trevis for the touring group of the Royal Shakespeare Company. The designer for that production was Pamela Howard, who created for it a central traverse playing area adaptable to the many different kinds of venues to be visited. Here, she adds an illustrated postscript on the conception, creation, and utility of the design element, which we hope will initiate the regular documentation of this often-neglected area of theatre practice. In addition to designing for the RSC and numerous other theatres and companies, Pamela Howard has since 1972 taught theatre design at the Central School of Art in London.
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Burns, Hilary. "The Market Theatre of Johannesburg in the New South Africa." New Theatre Quarterly 18, no. 4 (November 2002): 359–74. http://dx.doi.org/10.1017/s0266464x02000477.
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The Market Theatre of Johannesburg opened in 1976, the year of the Soweto Uprising – the beginning of the end for the oppressive apartheid regime. Founded by Barney Simon, Mannie Manim, and a group of white actors, the theatre's policy, in line with the advice to white liberals from the Black Consciousness Movement, was to raise the awareness of its mainly white audiences about the oppression of apartheid and their own social, political, and economic privileges. The theatre went on through the late 'seventies and 'eighties to attract international acclaim for productions developed in collaboration with black artists that reflected the struggle against the incumbent regime, including such classics as The Island, Sizwe Bansi is Dead, and Woza Albert! How has the Market fared with the emergence of the new South Africa in the 'nineties? Has it built on the past? Has it reflected the changes? What is happening at the theatre today? Actress, writer, and director Hilary Burns went to Johannesburg in November 2000 to find out. She worked in various departments of the theatre, attended productions, and interviewed theatre artists and members of the audience. This article will form part of her book, The Cultural Precinct, inspired by this experience to explore how the theatres born in the protest era have responded to the challenges of the new society.
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Hughes, Gwenda. "Clocking on at the Play Factory: Some Thoughts on Running a Regional Theatre." New Theatre Quarterly 27, no. 1 (February 2011): 14–27. http://dx.doi.org/10.1017/s0266464x11000029.
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At a time when funding cuts may mean that many theatres need to struggle for their very existence, it becomes more important than ever that the teams working together in a particular company, or on a particular production, should feel comfortable with each other, and with the director – on whose shoulders may fall many problems and decisions beyond the straightforwardly artistic. Gwenda Hughes has been Artistic Director of Watford Palace Theatre in Education Company, an Associate Director at Birmingham Rep (where she directed some twenty-five productions), and from 1998 until 2006 was Artistic Director of the New Vic Theatre in Staffordshire. She has also worked as a freelance director for M6, Women's Theatre Group, the Young Vic, Oldham Coliseum, Salisbury Playhouse, Theatre Centre, and Lip Service. Drawing on this extensive and varied experience, she here offers some practical guidance on the pitfalls which face the director and/or the artistic director, and how they can be avoided – or if not avoided, overcome – whether in the rehearsal room, on the ‘top floor’ of management, or in dealing with the public, from fussy members of the audience and local councillors making funding decisions, to visiting royals in need of tactful guidance to the lavatory.
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Watson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.
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Bertolt Brecht stated in Schriften zum Theater: Über eine Nichtaristotelische Dramatik (Writings on Theatre: On Anti-Aristotelian Drama) that a high quality didactic (and political) theatre should be an entertaining theatre. The Norwegian theatre company Hålogaland Teater used Brecht’s statement as their leading motive when creating their political performances together with the communities in Northern Norway. The Oslo-based theatre group, Tramteatret, on the other hand, synthesised their political messages with the revue format, and by such attempted to make a contemporaneous red revue inspired by Norwegian Workers’ Theatre (Tramgjengere) in the 1930s. Hålogaland Teater and Tramteatret termed themselves as both ‘popular’ and ‘political’, but what was the reasoning behind their aesthetic choices? In this article I will look closer at Hålogaland Teater’s folk comedy, Det er her æ høre tel (This is where I belong) from 1973, together with Tramteatret’s performance, Deep Sea Thriller, to compare how they utilized ideas of socialist populism, popular culture, and folk in their productions. When looking into the polemics around political aesthetics in the late 1960s and the 1970s, especially lead by the Frankfurter School, there is a distinct criticism of popular culture. How did the theatre group’s definitions of popular culture correspond with the Frankfurter School’s criticism?
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Cărbunariu, Gianina, and Bonnie Marranca. "The Reality of Fiction." PAJ: A Journal of Performance and Art 38, no. 2 (May 2016): 112–22. http://dx.doi.org/10.1162/pajj_a_00323.
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In the last decade, the playwright and director Gianina Cărbunariu has become one of the prominent young voices in contemporary European theatre. Mihaela, the Tiger of Our Town, which premiered at the Royal Dramatic Theatre in Stockholm, will be performed at the 2016 Avignon festival by Sweden's Jupither Josephsson Company. Other plays include Stop the Tempo, For Sale, Typographic Letters, Solitarity, Metro is Everywhere, and mady-baby.edu (later titled Kebab). The plays have been translated into more than fifteen languages, and they have been performed in Romanian cities and in theatres across Europe, in Berlin, Munich, Paris, Madrid, Brussels, Vienna, Athens, Warsaw, Budapest, Dublin, and elsewhere in Moscow, Istanbul, Santiago de Chile, New York, and Montreal. Cărbunariu has had residencies at the Lark Theatre in New York and London's Royal Court. Her plays and productions have received numerous awards in Romania and in Canada. She is a founding member of the dramAcum independent theatre group in Bucharest. This interview was taped in New York City on December 19, 2015.
Dissertations / Theses on the topic "Group theatre productions"
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Kanjilal, Amitava. "Politics of gender in performance: study of group theatre reductions during left front rule in West Bengal." Thesis, University of North Bengal, 2018. http://hdl.handle.net/123456789/2796.
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Rough, William W. "Walter Richard Sickert and the theatre c.1880-c.1940." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1962.
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Prior to his career as a painter, Walter Richard Sickert (1860-1940) was employed for a number of years as an actor. Indeed the muse of the theatre was a constant influence throughout Sickert’s life and work yet this relationship is curiously neglected in studies of his career. The following thesis, therefore, is an attempt to address this vital aspect of Sickert’s œuvre. Chapter one (Act I: The Duality of Performance and the Art of the Music-Hall) explores Sickert’s acting career and its influence on his music-hall paintings from the 1880s and 1890s, particularly how this experience helps to differentiate his work from Whistler and Degas. Chapter two (Act II: Restaging Camden Town: Walter Sickert and the theatre c.1905-c.1915) examines the influence of the developing New Drama on Sickert’s works from his Fitzroy Street/Camden Town period. Chapter three (Act III: Sickert and Shakespeare: Interpreting the Theatre c.1920-1940) details Sickert’s interest in the rediscovery of Shakespeare as a metaphor for his solution to the crisis in modern art. Finally, chapter four (Act IV: Sickert’s Simulacrum: Representations and Characterisations of the Artist in Texts, Portraits and Self-Portraits c.1880-c.1940) discusses his interest in the concept of theatrical identity, both in terms of an interest in acting and the “character” of artist and self-publicity. Each chapter analyses the influence of the theatre on Sickert’s work, both in terms of his interest in theatrical subject matter but also in a more general sense of the theatrical milieu of his interpretations. Consequently Sickert’s paintings tell us much about changing fashions, traditions and interests in the British theatre during his period. The history of the British stage is therefore the backdrop for the study of a single artist’s obsession with theatricality and visual modernity.
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Milne, Christina Lucy, University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Group devised performance: the study of a group devised performance piece as a rehearsal method in a high school environment." THESIS_FPFAD_XXX_Milne_C.xml, 1998. http://handle.uws.edu.au:8081/1959.7/264.
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Using the research methods from grounded theory and action research, the study examines a research method used for the development of a Group Devised Performance Piece. It details and analyses the process used in the transactional system of change and action/interaction resulting from the specific conditions that surrounded the Group Devised Performance, and examines the products of that process: the written script and the final performance. The study was conducted with a group of HSC 2 Unit Drama students at a non-government high school in March 1996. The performance formed part of an assessment program for these students and was student devised and student driven. The research methods included the collection of data in questionnaires, the maintaining of detailed daily records, video tapes, photographs and the compilation of the written script. Like any series of rehearsals, the process produced surprising and unplanned consequences (outcomes) and provided an environment that encouraged interaction and involvement, companionship and competition,Master of Arts (Hons) (Performance)
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Milne, Christina Lucy. "Group devised performance: the study of a group devised performance piece as a rehearsal method in a high school environment." Thesis, View thesis, 1998. http://handle.uws.edu.au:8081/1959.7/264.
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Using the research methods from grounded theory and action research, the study examines a research method used for the development of a Group Devised Performance Piece. It details and analyses the process used in the transactional system of change and action/interaction resulting from the specific conditions that surrounded the Group Devised Performance, and examines the products of that process: the written script and the final performance. The study was conducted with a group of HSC 2 Unit Drama students at a non-government high school in March 1996. The performance formed part of an assessment program for these students and was student devised and student driven. The research methods included the collection of data in questionnaires, the maintaining of detailed daily records, video tapes, photographs and the compilation of the written script. Like any series of rehearsals, the process produced surprising and unplanned consequences (outcomes) and provided an environment that encouraged interaction and involvement, companionship and competition,
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Vale, Flávia Janiaski. "Produção e gestão no teatro de grupo como projeto de construção de autonomia." Universidade do Estado de Santa Catarina, 2008. http://tede.udesc.br/handle/handle/1329.
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This dissertation is a reflexion on production procedures related to Group Theatre. Developed research analyses group production procedures regarding the ways of autonomous management associated to articulation in the areas of autonomy which are characteristic to group work. Therefore, I analyse procedures of three national groups: Galpão Group (MG); Imbuaça Group (SE); Carona Company (SC). These groups constitute a polyvalent universe as to working procedures, and at the same time, they represent distinct cultural zones of a certain theatre produced in the largest Brazilian capitals RJ and SP. The dissertation intends to draw a profile of these groups, highlighting affinities and differences in order to identify production and anagement organization strategies that work as basis in the construction of the autonomy of these groups. Following the principle that the Producer and Theatre Manager are seen as a link between the market, the artists, the State and the public. And that they producer and manager constitute a management nucleus of group theatre with the role of thinking about production strategies as well as distribution of cultural goods strategies, and that this nucleus is closely related to the process of artistic creation of the groups. The main question to be anwered is: how will the producer/manager overcome the logic of art goods into meaningful art? By making the artistic project to define the financing means and not that the financing means define the artistic Project. On a second level, I try to draw production strategies that look for financial autonomy as well as artistic autonomy of group theatre
A presente dissertação apresenta uma reflexão sobre os procedimentos de produção relacionados com o Teatro de Grupo. A pesquisa desenvolvida analisa os procedimentos de produção grupais enquanto formas de gestão autônoma associadas à articulação de zonas de autonomia características do trabalho de grupo. Para tanto analiso os procedimentos de três grupos nacionais: Grupo Galpão (MG); Grupo Imbuaça (SE); Companhia Carona (SC). Estes grupos constituem um universo polivalente no que se refere aos procedimentos de trabalho, e ao mesmo tempo representam zonas culturais distintas de um certo teatro produzido nas mega-capitais brasileiras RJ e SP. A dissertação se propõe a delinear um perfil destes grupos, destacando suas afinidades e diferenças para identificar estratégias de produção e de organização administrativas que sirvam de alicerce na construção de autonomia destes grupos. Partindo do princípio de que o Produtor e Administrador Teatral são vistos como um elo entre o mercado, os artistas, o Estado e o público. E que estes - produtor e administrador constituem o núcleo administrativo do teatro de grupo com a função de pensar estratégias de produção e distribuição do bem cultural, e este núcleo está intrinsecamente ligado ao processo de criação artística do mesmo. A principal questão a ser respondida é: como este produtor/gestor vai ultrapassar a lógica da arte de mercadoria para a arte com significação? Fazendo com que o projeto artístico defina o financiamento e não o financiamento defina o projeto artístico. Em segundo plano procuro delinear estratégias de produção que busquem a autonomia financeira e artística do teatro de grupo
Books on the topic "Group theatre productions"
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Identité(s) et territoire du théâtre politique contemporain: Claude Régy, le Groupe Merci et le théâtre du Radeau, un théâtre apolitiquement politique. Paris: Harmattan, 2011.
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1945-, Parker Scott J., and McCalmon George d. 1965, eds. Creating historical drama: A guide for communities, theatre groups, and playwrights. 2nd ed. Carbondale: Southern Illinois University Press, 2005.
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Omar Porras & le Teatro Malandro. Nantes: Joca seria, 2010.
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1949-, Smyth Robert, and Lamb's Players, eds. Lamb's Players presents Developing a drama group: A practical approach for director, actor & designer. Minneapolis, Minn: World Wide Publications, 1989.
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Cuerpo y arte contemporáneo en Colombia: Problemas políticos y sociales en teatro y performance : Horacio de Mapa Teatro. Bogotá: Trilce Editores, 2011.
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Megale, Teresa, ed. Occasioni malapartiane. Progetti teatrali della compagnia universitaria dei Corsi di Laurea in Pro.Ge.A.S e in Pro.S.M.Ar.T. Florence: Firenze University Press, 2009. http://dx.doi.org/10.36253/978-88-8453-864-2.
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This book appraises the multiple experiences connected with the dramatic activities of a group of students on two degree courses in the Faculty of Arts in Prato, namely: the three-year course in artistic events and enterprise management and the two-year course in music, art and textile production. This experiment, which greatly enhanced the creative and organisational skills of the young people, exploited theatre to inject new blood into the university teaching approach, translating theory into practice. Beyond the textbooks, the Prato theatre workshop experience illustrated here shows how drama can be transformed into an authentic switch point between university and life beyond.
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Antonio, Cibotto Gian, ed. Mezzo secolo di baruffe: Il Piccolo teatro città di Chioggia, 1945-1995. Venezia: Marsilio, 1996.
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Thistle, Louise. Dramatizing myths and tales: Creating plays for large groups. Palo Alto, CA: Dale Seymour Publications, 1995.
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Kubák, Ivo Kristián. Imerzivní divadlo a média: Immersive theatre and media : Golem: Meyerink, Štvanice, Cube. Praha: Pražská scéna ve spolupráci s Tygr v tísni, z.s., a s Výzkumným pracovištěm katedry alternativního a loutkového divadla Divadelní fakulty AMU, 2015.
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Créer, ensemble: Points de vue sur les communautés artistiques, fin du XIXe-XXe siècles. Montpellier: Entretemps, 2013.
Find full textBook chapters on the topic "Group theatre productions"
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Chinoy, Helen Krich. "Harold Clurman: Author of the Stage Production." In The Group Theatre, 129–45. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137294609_9.
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Brook, Peter. "The Holy Theatre: Happenings (1968)." In Modern Theories of Drama, 205–7. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0033.
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Abstract In a long directorial career in theatre and opera, Peter Brook (b. 1925) has experimented with a wide variety of styles both in the classical and the modern repertoire. Beginning before the age of twenty, he has worked professionally with hardly a break-in Britain, where he was a director of the Royal Shakespeare Company from 1962 to 1970, in the United States as well as in Paris, where he established the International Centre of Theatre Research in 1970 and has headed an international company ever since. Leading this group of actors from different traditions, he has attempted to cross all but insurmountable cultural divides with productions in Iran and various parts of Africa. By keeping himself constantly open to fresh ideas, he has not allowed his approach to petrify; his justly famous production of Peter Weiss’s Marat/Sade (1964; see p. 247) managed to combine the seemingly incompatible concepts of Brecht and Artaud.
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Kinservik, Matthew. "Macklin as Theatre Manager." In Charles Macklin and the Theatres of London, 131–48. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800855984.003.0007.
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This chapter explores the managerial dimension of Macklin’s long career. Although often overlooked, Macklin’s experiences in theatrical management were extensive, ranging from formal managerial duties as Charles Fleetwood’s lieutenant at Drury Lane to overseeing provincial companies and independent productions to serving as the impresario of his short-lived coffeehouse and lecture hall, the British Inquisition. This managerial activity was often entrepreneurial and helped to establish, sustain, and, ultimately, revive Macklin’s acting career. His involvement in the establishment of the Crow Street Theatre and the crucial success of his farce, Love à la Mode, are best understood in the context of his managerial activities. To fully appreciate Macklin’s contributions to the stage, he needs to be included in the group of significant actor/managers of the eighteenth century.
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Honzl, Jindřich. "Dynamics of the Sign in the Theatre (1940)." In Modern Theories of Drama, 269–78. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0042.
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Abstract Jind řich Honzl (1894-1953) differed from other members of the Prague Linguistic Circle to which he belonged, the group of scholars who from 1926 onwards applied the new science of semiotics to a wide range of subjects including theatre, in that he combined an intimate knowledge of stage practice with theoretical scholarship. A writer, teacher, and editor, he was also a stage director who made his mark in Czech theatrical life, his work ranging from proletarian mass spectacles to surrealist productions; as a theorist, he attempted to reconcile surrealism with structuralism. In 1926 he co-founded the Liberated Theatre, which specialized in avant-garde drama.
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Haagensen, Cecilie. "«Speil, speil på veggen der»: Målgruppearbeid i egenskapt teaterproduksjon for ungdom." In Teaterproduksjon, 199–222. Cappelen Damm Akademisk/NOASP, 2018. http://dx.doi.org/10.23865/noasp.43.ch8.
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This article examines how theatre performances can be created based on the lifeworld of a specific target group: fourteen-year-old pupils at secondary school. Using a target group as experts during eight workshops, students collaborate with the pupils in trying to make performances that communicate with this age group. By examining nine theatre productions, the article shows how different strategies in working with a target group can be implemented effectively in the process of making devised theatre. These strategies are: 1) Finding a focal point for the work in the overlapping field between the interests of the pupils and the students. 2) Developing texts through interviews and verbatim techniques, which allow the pupils’ voices to be heard and expressed in an authentic way in the performance. 3) Developing physical material by using techniques from Frantic Assembly and Viola Spolin’s methodology as inspiration for the workshops. The article shows how the techniques are introduced to the students before they try them out with the pupils. Together, they create physical scenes that are used in the performance. 4) By integrating interactive elements into the performance, the students try out different ways of communicating with the specific target group. The article shows how working with a target group forces students to engage in artistic and ethical reflection.
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Bordman, Gerald. "1931-1932." In American Theatre: A Chronicle of Comedy and Drama, 1930-1969, 29–56. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195090796.003.0002.
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Abstract With the shrinkage of the road, which often had allowed a show that failed in New York to recoup its costs on a post-Broadway tour, the percentage of out-and-out flops rose. Fewer than one in five productions closed in the black. Theatre, a popularly slanted magazine for playgoers since the beginning of the century, had shuttered in April 1931. Intermittent announcements that a new group had been formed to resurrect it finally were put to rest at the beginning of the new season. The more erudite Theatre Arts survived, suggesting that the theatre hereafter would be of interest to an increasingly elite audience. Survival was not in the cards for many of New York’s playhouses, which continued to desert the legitimate fold to serve other purposes. So did numerous once reliable figures.
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Cole, Emma. "The Wooster Group’s To You, The Birdie!" In Postdramatic Tragedies, 143–76. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198817680.003.0005.
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New York-based theatre company The Wooster Group have a long history of using canonical texts as springboards for devised productions. Their 2002 To You, The Birdie! ostensibly used Racine’s neoclassical Phèdre as a source text; however, the artists also engaged with Euripides’ Hippolytus and included numerous elements from the Greek tragedy and its reception history in their production. Chapter 4 analyses To You, The Birdie! and reveals that within its highly ambiguous, disorienting performance aesthetic lay a complex engagement with the political. It argues that the production was infused with explicit political dimensions surrounding the company’s identity, the form of the production, and the socio-political context in which it was first read, alongside implicit political elements relating to the play’s exploration of gender, class, and its emphasis on the incomplete nature of the classics. Through comparative reference to Sarah Kane’s Phaedra’s Love, the chapter demonstrates how different reinventions of the same myth can substantiate alternate national traditions and, through their similarities and differences, shed further light on the role of tragedy in the modern world.
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Bordman, Gerald. "1915–1916." In American Theatre: A Chronicle of Comedy and Drama, 1914–1930, 27–45. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195090789.003.0002.
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Abstract staging one crime to cover up another. Nash was lauded for his “easy-going ways and dry humor,” but otherwise cool reviews and warm weather combined against a run. The Dramatic Mirror claimed Augustus Thomas was an uncredited co-author. Before the next new straight play opened (albeit technically in the 1915-16 season), some devoted but rebellious theatre lovers held informal meetings in their summer cottages and decided to stage short plays written by their own coterie. Sometime, possibly July 15, they put on a double bill at the home of the Hutchins Hapgoods. Constancy, by Neith Boyce Hapgood (Mrs. Hapgood), dealt with the stormy relationship of their friends Mabel Dodge and John Reed. Suppressed Desires, by Susan Glaspell and George Cram Cook, spoofed the excesses of amateur psychoanalysis. (This second play had been written with the Washington Square Players in mind but supposedly had been rejected by that group as “too experimental.”) Robert Edmond Jones reputedly supplied what minimal decor was required. The vacationers were so pleased with the results that they sought out a venue to mount further productions and obtained an unused fishhouse. It was a while before the group caused a stir. Nor it is certain precisely when they decided on a name, but since the Massachusetts village in which they summered was called Provincetown, they eventually settled on the Provincetown Players. (Not all that dissimilarly, a few months earlier-April 20, to be precise-a musical called Nobody Home, created in good part by composer Jerome Kern and librettist Guy Bolton, had launched a series of musicals at the tiny Princess. P. G. Wodehouse would later join them. Their literate, funny, up-to-date, and sophisticated entertainments would later be looked upon as bringing American musical comedy into the modern age.) It had been a pioneering year, indeed.
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Bordman, Gerald. "1928–1929." In American Theatre: A Chronicle of Comedy and Drama, 1914–1930, 355–84. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195090789.003.0015.
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Abstract The seasons of 1928-29 and 1929-30 constitute an epilogue to the great years that Broadway enjoyed, or should have, from the end of World War I until the waning months of 1927-28. Broadway would never again be as lively, generous, diversified, or insistently exciting. With a few small exceptions, from 1928-29 onward each year saw a discernible drop not only in the total number of productions but in the number of new plays offered as well. The arrival of sound films unquestionably took a serious toll, and the stock market crash of October 1929 with the ensuing Depression aggravated matters. Some of Broadway’s best talents and a far larger group of lesser, but heretofore dependable, figures deserted live theatre, most of them permanently. Even some of the great figures who remained did so because they were deemed unphotogenic or could not adapt to Hollywood’s often different methods. Looking back, modern theatregoers would be grateful for any season whose successes ranged from the raucous comedy of The Front Page to the gripping drama of Street Scene, yet the often Cassandraic Burns Mantle spoke for many when he rued, “The legitimate theatre came a cropper this last season. I am without record of the number of times the report has been sent out from New York that ... the season of 1928-29 was, in very fact, the worst theatre season the Broadway stage has suffered within the memory of living playgoers.” In its annual summation the Times concurred, observing that the theatrical session had been “lamented up and down Broadway as the worst in many years.”
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Ben-Zvi, Linda. "Fire from Heaven on MacDougal Street." In Susan Glaspell Her Life and Times, 191–202. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195313239.003.0020.
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Abstract The summer of 1917 in Provincetown was different from the last two. The Wharf Theatre was still there, but no longer being used for productions. The focus of the group was now New York, and there was no time or energy to plan a summer season, even if the inclination had been there. The Hapgoods were in town, but Neith had stopped writing plays after negative reaction to The Two Sons, which Louise Bryant reported caused the audience to burst into laughter. Mary Vorse, who from the start was peripheral to the group and had written nothing the Players would accept, was busy packing to move to Washington, D.C., where she would work for the Committee for Public Education during the remainder of the war. Wilbur Daniel Steele had just returned from the Caribbean and was completing short stories based on his experiences, while he and Margaret awaited the birth of their second child. And Louise Bryant and John Reed, progressively limiting involvement with the Players throughout the winter-Louise announcing that they “give me a pain in the stomach”-had married the previous November and taken up residence in Croton-on-Hudson, a community that other Villagers, including Mabel Dodge, were using as a city retreat.
Conference papers on the topic "Group theatre productions"
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Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.
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Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.
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Soares, Liliana, Ermanno Aparo, and Rita Almendra. "Design and creativeness for a three-act session." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003537.
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This paper presents the bases of a documentary about the conversion of the business sector and the performing arts in the North of Portugal, during the pandemic. The documentary intends to prove that the introduction of innovative procedures can be important to all sectors involved in society. Liquid reality (Bauman, 2005) demands constant exploration; therefore, it challenges designers to create sustainable products. Knowing that spectacle is about human connection, a process disconnected from visual culture can contribute to the public ignoring the participation of design as an area of knowledge. Between 2021 and 2022 a territorial network system was developed consisting of researchers, a lighting company, a raw materials industry, a municipality, company, a theatre, entertainment companies and a school of music of the North of Portugal. It was possible to develop systemic lighting products at the prototype level, bearing new semantic paths, performance, and interaction with people. The prototypes were developed by a lighting company. In theatre, the prototypes were joined by musicians to interpret pieces by Debussy and Dvořák. This group was joined by an actor who declaimed Mallarmé and Longfellow. The result was recorded on video by technicians and disseminated on YouTube and Instagram.The study investigates the dynamics of a creative process and its impact on the different areas involved, bringing together the testimony of the various actors in the process, challenging assumptions and bringing a new view to reality events. The golden age of documentaries happened in the 80’s (Rosenthal, Corner, 2005), and today the dissemination of documentaries happens through internet. As the documentary film never had a precise definition (Nichols, 2017), this study contributes to the autonomy of this typology of artistic production. The documentary methodology combined with the use of social networks manages to achieve a broader societal impact and in an effective way. An experimental theme related to different areas of knowledge attends a design-driven innovation (Verganti, 2009) and not a market-oriented process that could compromise the experimental factor. The documentary can become an occasion to promote discussion between the notions of science and art, fiction and non-fiction, business and art, teaching, and profession. It is intended to demonstrate that the process of cooperation between different areas is a sustainable choice that respects and values the project partners, assuming a social commitment. The film interprets the current reality, dealing with what happened before, during and after filming and conveying social interest and debate about the role of creative processes in transforming reality.The research already includes a post-doctoral, the publication of a book, a video, a promotional teaser, 2 prototypes and interviews with some stakeholders, so that it can expand its potential to a larger project with the aim of generating innovation, producing mutual sustainability between the manufacturing and the culture industries of the same region. The study could be the basis for consolidating a proposal for a future project, explaining how a design process is developed in the various stages and using a visual document that can have a strong impact on today's society.