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Journal articles on the topic 'Humanities -> theatre -> general'

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Published: 25 July 2024

Last updated: 31 July 2024

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1

MOLONY, MARTIN G. "‘Oh, This Is More of Stretch’s Show’: Randal Stretch and Puppet Theatre in Eighteenth-Century Ireland." Eighteenth-Century Ireland: Volume 37, Issue 1 37, no. 1 (September 1, 2022): 91–107. http://dx.doi.org/10.3828/eci.2022.6.

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This article outlines the popularity - and financial success - of an eighteenth-century Dublin puppet theatre that threatened mainstream theatres of the time. Randall Stretch’s puppet theatre, in Dublin’s Capel Street, became the centrepiece for satirical and political commentary of the day. Stretch’s theatre caught the attention of Dean Swift and his circle and is commemorated in satirical verse of the period. For decades, Dubliners used the phrase ‘This is more of Stretch’s Show’ to refer to anything outlandish or incredible. The article underlines the power of the puppet theatre as a satirical device and the extent to which it can rival mainstream theatre.

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2

Godin, Jean. "Theatre." University of Toronto Quarterly 56, no. 1 (September 1986): 68–72. http://dx.doi.org/10.3138/utq.56.1.68.

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3

Godin, Jean Cléo. "Theatre." University of Toronto Quarterly 57, no. 1 (September 1987): 74–77. http://dx.doi.org/10.3138/utq.57.1.74.

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4

McEwan, Barbera. "Theatre." University of Toronto Quarterly 58, no. 1 (September 1988): 72–76. http://dx.doi.org/10.3138/utq.58.1.72.

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5

McEwan, Barbera. "Theatre." University of Toronto Quarterly 59, no. 1 (September 1989): 78–84. http://dx.doi.org/10.3138/utq.59.1.78.

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6

McEwen, Barbara. "Theatre." University of Toronto Quarterly 60, no. 1 (September 1990): 79–90. http://dx.doi.org/10.3138/utq.60.1.79.

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7

McEwen, Barbara. "Theatre." University of Toronto Quarterly 61, no. 1 (May 1991): 102–13. http://dx.doi.org/10.3138/utq.61.1.102.

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8

McEwen, Barbara. "Theatre." University of Toronto Quarterly 62, no. 1 (September 1992): 93–104. http://dx.doi.org/10.3138/utq.62.1.93.

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9

McEwen, Barbara. "Theatre." University of Toronto Quarterly 63, no. 1 (September 1993): 118–36. http://dx.doi.org/10.3138/utq.63.1.118.

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10

O'neill-Karch, Mariel. "Theatre." University of Toronto Quarterly 64, no. 1 (January 1994): 106–20. http://dx.doi.org/10.3138/utq.64.1.106.

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11

O'Neill-Karch, Mariel. "Theatre." University of Toronto Quarterly 65, no. 1 (January 1996): 115–28. http://dx.doi.org/10.3138/utq.65.1.115.

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12

O'Neill-Karch, Mariel. "Theatre." University of Toronto Quarterly 66, no. 1 (January 1997): 35–49. http://dx.doi.org/10.3138/utq.66.1.35.

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13

Balaskas, Vasileios. "Collective memory and Spanish cultural politics: the revival of the Roman theatre of Merida (1910–35)." Classical Receptions Journal 12, no. 4 (June 30, 2020): 470–85. http://dx.doi.org/10.1093/crj/claa004.

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Abstract In the twentieth century, ancient theatres acquired symbolic values through their excavation, restoration, and cultural reuse. While elsewhere in the Mediterranean comparable cases show an early and powerful engagement of a populace with their antiquities, in Spain national ideals did not automatically engage with classical culture. In the case of the Roman theatre of Merida, cultural and historical realities dictated a series of cultural events that repeatedly concerned collective memory. In addition to the main sequence of the unique occasions surrounding the 1933 and 1934 performances at the theatre, various other agencies had systematically focused on its exploitation from the 1910s. These initiatives were endorsed by numerous formal visits and cultural events that took place in the theatre, from as early as 1914. Through successive spectacles staged at the theatre, a cultural tradition emerged, while political agendas occasionally exploited its increasing popularity, right up to the Spanish Civil War.

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14

Khabutdinova, Mileusha, and Rezeda Mukhametshina. "Sławomir Mrożek at the Tatar stage: the metamorphoses of Polish stage." Przegląd Wschodnioeuropejski 8, no. 2 (November 1, 2018): 309–18. http://dx.doi.org/10.31648/pw.3589.

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In this article we analyzed the stage interpretation of Sławomir Mrożek’s play on the scene of Tatar theatre. The performance of “Shashkan babay” (“The mad grandfather”) play was staged on the 10th of February, 2016 by Karim Tinchurin drama and comedy theatre in Kazan. It was the first staging of Sławomir Mrożek’s in Tatar language. In this article we generalize the history of Sławomir Mrożek’s plays production waves in Russia. The specifics of Polish text interpretation by producer Rashid Zagidullin was outlined. We proved that “Shashkan babay” play production continues the best tradition of Russian and Polish theatres.

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15

Goyal, Manoj, and Monika Bansal. "Shifting to Critical Medical Humanities With the Theatre of the Oppressed." Academic Medicine 96, no. 8 (July 27, 2021): 1076. http://dx.doi.org/10.1097/acm.0000000000003983.

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16

François, Paul, Jeffrey Leichman, Florent Laroche, and Françoise Rubellin. "Virtual reality as a versatile tool for research, dissemination and mediation in the humanities." Virtual Archaeology Review 12, no. 25 (July 14, 2021): 1. http://dx.doi.org/10.4995/var.2021.14880.

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<p class="VARAbstract">The VESPACE project aims to revive an evening of theatre at the <em>Foire Saint-Germain</em> in Paris in the 18<sup>th</sup> century, by recreating spaces, atmospheres and theatrical entertainment in virtual reality. The venues of this fair have disappeared without leaving any archaeological traces, so their digital reconstruction requires the use of many different sources, including the expertise of historians, historians of theatre and literature. In this article, we present how we have used video game creation tools to enable the use of virtual reality in three key stages of research in the human sciences and particularly in history or archaeology: preliminary research, scientific dissemination and mediation with the general public. In particular, we detail the methodology used to design a three-dimensional (3D) model that is suitable for both research and virtual reality visualization, meets the standards of scientific work regarding precision and accuracy, and the requirements of a real-time display. This model becomes an environment in which experts can be immersed within their fields of research and expertise, and thus extract knowledge reinforcing the model created –through comments, serendipity and new perspectives– while enabling a multidisciplinary workflow. We also present our tool for annotating and consulting sources, relationships and hypotheses in immersion, called PROUVÉ. This tool is designed to make the virtual reality experience go beyond a simple image and to convey scientific information and theories in the same way an article or a monograph does. Finally, this article offers preliminary feedback on the use of our solutions with three target audiences: the researchers from our team, the broader theatre expert community and the general public.</p><p class="VARAbstract">Highlights:</p><p>• Immersive Virtual Reality is used to enhance the digital reconstruction of an 18th-century theatre, by allowing experts to dive into their research topic.</p><p>• Virtual Reality (VR) can also be used to disseminate the digital model through the scientific community and beyond while giving access to all kinds of sources that were used to build it.</p><p>• A quick survey shows that VR is a powerful tool to share theories and interpretations related to archaeological or historical tri-dimensional data.</p>

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17

Petrovic, Ivana, and Andrej Petrovic. "General." Greece and Rome 65, no. 2 (September 17, 2018): 282–97. http://dx.doi.org/10.1017/s0017383518000244.

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I was very excited to get my hands on what was promising to be a magnificent and extremely helpfulHandbook of Rhetorical Studies, and my expectations were matched – and exceeded! This handbook contains no less than sixty contributions written by eminent experts and is divided into six parts. Each section opens with a brief orientation essay, tracing the development of rhetoric in a specific period, and is followed by individual chapters which are organized thematically. Part I contains eleven chapters on ‘Greek Rhetoric’, and the areas covered are law, politics, historiography, pedagogy, poetics, tragedy, Old Comedy, Plato, Aristotle, and closing with the Sophists. Part II contains thirteen chapters on ‘Ancient Roman Rhetoric’, which similarly covers law, politics, historiography, pedagogy, and the Second Sophistic, and adds Stoic philosophy, epic, lyric address, declamation, fiction, music and the arts, and Augustine to the list of topics. Part III, on ‘Medieval Rhetoric’, covers politics, literary criticism, poetics, and comedy; Part IV, on the Renaissance contains chapters on politics, law, pedagogy, science, poetics, theatre, and the visual arts. Part V consists of seven essays on the early modern and Enlightenment periods and is decidedly Britano-centric: politics, gender in British literature, architecture, origins of British Enlightenment rhetoric, philosophy (mostly British, too), science, and the elocutionary movement in Britain. With Chapter 45 we arrive at the modern age section (Part VI), with two chapters on feminism, one on race, and three on the standard topics (law, political theory, science), grouped together with those on presidential politics, New Testament studies, argumentation, semiotics, psychoanalysis, deconstruction, social epistemology, and environment, and closing with digital media. The volume also contains a glossary of Greek and Latin rhetorical terms. As the editor states in his Introduction, the aim of the volume is not only to provide a comprehensive history of rhetoric, but also to enable those interested in the role of rhetoric in specific disciplines or genres, such as law or theatre and performance, to easily find those sections in respective parts of the book and thus explore the intersection of rhetoric with one specific field in a chronological sequence.

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18

Plassard, Didier. "The ERC PuppetPlays project : contribution for a non-linear history of the European theatre." Open Research Europe 3 (May 2, 2023): 72. http://dx.doi.org/10.12688/openreseurope.15807.1.

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This article is a presentation of the ERC Advanced Grant project PuppetPlays - Reappraising Western European Repertoires for Puppet and Marionette Theatre (GA 835193). After a short overview of the project itself, it begins with a definition of puppetry, based on the phenomenon of double vision. Then it explains the choice of the corpus limitations, describes the variety of the available resources, and underlines the great discrepancy in the amount of material available in the different countries. The article continues with a brief overview of the role played by puppetry in the wider frame of performing arts: how much can we consider that puppeteers developed specific repertoires? What kind of differences can be observed between puppet or marionette theatre and actors’ theatre? The answers to these questions differ in a considerable way according to the cultural and sociological contexts: sometimes puppet and marionette theatre were the only forms of performance allowed, and they acted as substitutes for actors theatre; but sometimes also - and this is increasingly the case since the end of the 19th century - these instruments were chosen for their specific expressive qualities. In a last movement, I emphasize that collecting and analyzing puppet and marionette repertoires brings us to reconsider the general historiography of theatre: firstly, because we bring into the light theatrical genres that have been neglected by the historians; and secondly, because the plays written by the puppeteers, when we look closely at them, reveal a stratification of different layers that can be considered as a kind of heterochrony ; an alternative construction to social time. The forgotten patrimony of puppet and marionette dramaturgy conceals therefore many possibilities for research in humanities and social sciences.

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19

Sibińska, Maria. "The Sami Theatre from Kauotokeino: On the Trace of Nomads." Przegląd Wschodnioeuropejski 9, no. 2 (November 30, 2018): 263–74. http://dx.doi.org/10.31648/pw.3211.

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Beaivváš Sámi Našunálateáhter from Kautokeino (Norway) is an institutional theatre with Sami (Lappish) as the main stage language. Sami institutional theatres in Scandinavia have a relatively brief history which reflects the tension between the Sami people’s sociopolitical aspirations and Sami theatre artists’ freedom of expression. The theatre from Kautokeino is based upon a robust tradition (e.g. such pre-theatrical modes as the yoik, the art of storytelling, the shamanistic séance), and at the same time it is open to impulses from other cultures and theatrical traditions (both European and non-European). The article takes its point of departure in a postmodern concept of nomadism (Deleuze, Guattari, Braidotti, Islam). It focuses on the nomadic as the impetus and the driving force behind the Beaivváš Sámi Našunálateáhter. The nomadic, however, is understood not only as a reference to the Sami cultural heritage, but as an artistic practice based upon the reaction against aesthetically, historically, politically and socially rigid intellectual patterns. The practice is manifested, inter alia, in transgressions of established genres and aesthetic categories, multilingualism and cultural interferences.

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20

Hornby, Richard, and Burnet M. Hobgood. "Master Teachers of Theatre." Journal of Aesthetic Education 23, no. 3 (1989): 117. http://dx.doi.org/10.2307/3332771.

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21

Levy, Jonathan. "Theatre and Moral Education." Journal of Aesthetic Education 31, no. 3 (1997): 65. http://dx.doi.org/10.2307/3333488.

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22

Hales, Shelley. "Art and archaeology." Greece and Rome 70, no. 2 (September 12, 2023): 343–51. http://dx.doi.org/10.1017/s001738352300013x.

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The most significant book of this review is Richard Beacham and Hugh Denard's Living Theatre in the Ancient Roman House, a volume in which the authors’ previous accomplishments, expertise in theatre and leading roles at Kings Visualisation Laboratory (which is reflected in the use of digital visualizations throughout the volume, both to recreate architectural spaces and to test the viability of painted architecture), is brought to bear on domestic space. The subject, epic length, and format of the book immediately evoke the memory of Cambridge University Press's last major publication on wall painting, Eleanor Leach's 2004 The Social Life of Painting in Ancient Rome and on the Bay of Naples and the comparison shows up very sharply the development of attitudes towards both wall painting and its theatrical referents in the last twenty years. In Leach's book, much was made of the theatrical influence on Pompeian interiors, particularly in the architectural Second Style and the Fourth Style. Leach relied on the theatre in order to search for signs of actual theatrical influence on frescoes painted in these styles, for example discussing whether their scenographic ‘sets’ were based on permanent or temporary theatres, and then to tie the way the two styles presented theatrical performance to the political circumstances of the times in which they flourished. Leach saw Second Style as a reflection of the active competition of elites during the late republic whilst Fourth Style was symptomatic of the tyranny of the Neronian age, in which these same elites were now largely reduced to passive spectators of the emperor's performance.

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23

Rachmawanti, Ranti. "Book Review : Digital Bodies: Creativity and Technology in the Arts and Humanities." Jurnal Sosioteknologi 22, no. 2 (July 31, 2023): 266–69. http://dx.doi.org/10.5614/sostek.itbj.2023.22.2.12.

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"Digital Bodies: Creativity and Technology in the Arts and Humanities" by Susan Broadhurst and Sara Price explores the relationship between technology and creativity in the arts and humanities. The book argues that the integration of digital technologies has had a profound impact on the way we create, produce, and consume artistic and cultural artifacts. Throughout the book, Broadhurst and Price draw on a wide range of examples from the arts and humanities, including dance, theatre, film, music, and visual art. They also engage with a range of theoretical frameworks, drawing on post-humanism, cyborg theory, and feminist theory, among others. Overall, "Digital Bodies" offers a compelling and insightful analysis of the impact of digital technologies on the arts and humanities, and the ways in which they are shaping new forms of creativity and cultural production. The book is suitable for scholars, students, and anyone interested in the intersection of technology, creativity, and culture.

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24

Qasas, Majd. "The Effect of Epidemics on Theatre Past and Present." Dirasat: Human and Social Sciences 49, no. 6 (December 30, 2022): 1–13. http://dx.doi.org/10.35516/hum.v49i6:.3945.

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This research discusses the effect of epidemics on theatre: taking two historical models, the Greek and the Elizabethan theatre, plus researching two other contemporary models from Jordanian Theatre; first, the dramaturge experience during Covid -19, of the author Mr. Ali Elian’s new play “Touch line”, and second, the Liberal Theatre Group’s new experience in presenting their annually festival online. The research concludes that epidemics affected dramaturgies for both play writers Sophocles and William Shakespeare. Moreover, it also affected theatre workers and theatre halls. The research finds out that the effect of new virus Covid – 19 in our time on Jordanians theatre also affected Jordanian dramaturgies and audience. For the audience theatre workers had to find new ways to communicate with them such as using T.V tools to display their works and relying on “online” the new media communication method. Finally, the research suggests the ability to use Drama and Music as a healing process to help those who were wounded by epidemics. Finally, it recommends that governmental and private academic institutions support researchers to dig deeper into this subject matter.

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25

Imre, Zoltán. "Nations, identities, and theatres: Reflections on the concepts of national theatre in Europe." Hungarian Studies 21, no. 1-2 (June 2007): 239–60. http://dx.doi.org/10.1556/hstud.21.2007.1-2.11.

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26

González Chacón, María del Mar. "Theatre That Speaks to Its Moment: Melt (2017) by Shane Mac an Bhaird." Estudios Irlandeses, no. 17 (March 17, 2022): 16–27. http://dx.doi.org/10.24162/ei2022-10705.

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In Melt (2017), by Shane Mac an Bhaird, two Irish scientists struggle in the Antarctic to reach glory from their research while Veba, a female creature found in the subglacial lake, questions the reality or fantasy of the episode. The study carried out in this article considers, first, the context of creation of the play through the presentation of the concept of new Irish theatres in the millennium, which involves the appearance of companies and social activism movements that challenge the notion of what theatre means. This is followed by an analysis of Ireland and the Anthropocene, to contextualise the play themes and include other social justice activisms, in the form of cultural projects, which encourage the reduction of the environmental impact and provide a backdrop against which Melt emerged. The approach to the play from these perspectives will lead to the conclusions, which aim to show why Mac an Bhaird’s work offers and confirms new perspectives in contemporary Irish theatre. Furthermore, the study aims to contribute to the deserving scholarship for this play, which has not yet received much critical attention.

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27

Giacchè, Piergiorgio, and Jean Burrell. "At the Margins of Theatre. On the Connection Between Theatre and Anthropology." Diogenes 47, no. 186 (June 1999): 83–92. http://dx.doi.org/10.1177/039219219904718608.

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28

Gurr, Andrew. "Static scenes at the Globe and the Rose Elizabethan theatres." Antiquity 68, no. 258 (March 1994): 146–47. http://dx.doi.org/10.1017/s0003598x00046305.

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In 1989, we reported the state of affairs at the Rose, and in 1992 at the Globe, the two Elizabethan theatres in London which survive archaeologically. They are the unique remnants of a unique and uniquely valued kind of building, Shakespeare's workplaces. On December 1993, Sam Wanamaker died, whose inspired scheme to re-make a Shakespearean Globe using evidence from these remnants is at last being built. We asked Andrew Gurr, co-author of our two reports, to tell us what is happening at both original theatre sites. His story is of scenes that are, by Shakespeare's standards, most static.

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29

Rosivach, Vincent J. "The Audiences of New Comedy." Greece and Rome 47, no. 2 (October 2000): 169–71. http://dx.doi.org/10.1093/gr/47.2.169.

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There is a school of thought which attributes the more refined discourse of New Comedy (compared with that of the Old) at least in part to a change in the composition of Athenian theatre audiences. This way of thinking assumes that payment for attending theatre performances (the so-called theōrikon) was discontinued along with other payments for i public service under the oligarchic regimes Macedonia imposed upon Athens in the late fourth century B.C.; and it further assumes that with the elimination of this subsidy many of the poor could no longer afford to attend the theatre. The first of these assumptions, that the audiences for New Comedy did not receive theōrikon payments, is reasonable enough, but the second assumption, that the poor therefore stopped coming to the theatre, is more problematic.

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30

MCMINN, JOSEPH. "Swift and Theatre." Eighteenth-Century Ireland 16, no. 1 (January 2001): 35–46. http://dx.doi.org/10.3828/eci.2001.5.

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31

Starkey, Kenneth, Sue Tempest, and Silvia Cinque. "Management education and the theatre of the absurd." Management Learning 50, no. 5 (October 22, 2019): 591–606. http://dx.doi.org/10.1177/1350507619875894.

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In this article, we recommend the drama of theatre of the absurd as a novel space for critically reflecting upon management and management education as shaped by the forces of emotion, irrationality and conformism rather than reason. We discuss the theatre of the absurd as uniquely relevant to understanding our troubled times. We present a brief overview of the history of business schools and management education. We apply the idea of absurdity to the world of business schools and management education, focusing on the work of one of the theatre of the absurd’s leading proponents, Eugène Ionesco. We emphasise the importance of fiction and fantasy as key aspects of organisation and education. We contribute to debates about management education by reflecting on possible futures for management education and the business school, embracing the humanities as a core disciplinary focus. We suggest that this will help rebalance management education, retaining the best of the existing curriculum, while re-situating the study of management in its broader historical and philosophical nexus.

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32

Gilbert, Sandra M., and Susan Gubar. "Masterpiece Theatre: An Academic Melodrama." Critical Inquiry 17, no. 4 (July 1991): 693–717. http://dx.doi.org/10.1086/448608.

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33

Midam, Khalid. "Connecting Faith through Theatre: Barazan’yee as a Semi-Ritual Performance in Thai Muslim Communities." MANUSYA: Journal of Humanities 24, no. 1 (June 14, 2021): 3–21. http://dx.doi.org/10.1163/26659077-02401008.

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Abstract This research paper examines the creative process used to connect young Muslims with their experience, their faith, and their community through a community-based performance. It also stresses the different levels of connections that resulted from the performance itself. The author sought to reconnect Barazan’yee, an important Arabic poetic chant, to people in the Bangkok Islamic community using tools from community theatre. The performance design process allowed them to tell their own story in relation to Bar’zanyee poetry in ways that are meaningful to them and their community, thus connecting their lives to the life of Prophet Muhammad. The first performance was in a public theatre resulted in a shift in structure and participation choices for audience in the second performance at a public theatre. Although both performances were conducted in a semi-ritualized environment of the Muslim community, the latter better engaged both the performers and audience.

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34

Hobgood, Burnet M. "The Mission of the Theatre Teacher." Journal of Aesthetic Education 21, no. 1 (1987): 57. http://dx.doi.org/10.2307/3332813.

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35

Levy, Jonathan. "Reflections on How the Theatre Teaches." Journal of Aesthetic Education 39, no. 4 (2005): 20–30. http://dx.doi.org/10.1353/jae.2005.0042.

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36

Gaines, Andrew M. "Physical Theatre Education: Beyond Knowledge Transfer." Teaching Artist Journal 14, no. 4 (October 2016): 199–205. http://dx.doi.org/10.1080/15411796.2016.1259204.

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37

Midhin, Majeed Mohammed, and Ahmed Hameed Obeid. "An Analytical Study of Theatre and censorship in Howard Barker’s No End of Blame: Scenes of Overcoming (1981) and Scenes from an Execution (1984)." Dirasat: Human and Social Sciences 50, no. 6 (December 30, 2023): 265–75. http://dx.doi.org/10.35516/hum.v50i6.7081.

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Objectives: This paper explores the use of history in contemporary British theatre to address issues like marginalization and censorship, focusing on Barker's theatre theory, which diverges from early works by Churchill and Hare. Emphasizing the artist's role and responsibilities, it delves into potential dilemmas faced in the realm of contemporary British theatre. Methods: This study critically analyzes Barker's plays, "No End of Blame: Scenes of Overcoming" (1981) and "Scenes from an Execution" (1984), through the lens of his influential book, "Arguments for a Theatre." Additionally, insights from interviews with the playwright are incorporated to better understand Barker's views on theatre and censorship. Results: Government interference adversely impacts an artist's freedom, creating a dialectical relationship between the artist and the state. In the 1980s, the theme of censorship and restricted expression is portrayed through artist figures in conflict with external forces. Depicting artists as characters not only illustrates the dilemmas, they faced but also serves as a critique of political efforts to suppress voices during that decade. Conclusions: The paper concludes that artists may intentionally conceal opinions to evade censorship, emphasizing the need for artists to balance political demands with personal expression. Unlike peers like Stoppard and Wertenbaker, Barker doesn't advocate a specific ideology in his plays. He views theatre as a space for unleashing individual imagination rather than conveying a message or utilitarian value. The exploration of artists' roles and responsibilities in Barker's plays remains a fertile area for ongoing research and discovery.

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38

Ioannidou, Eleftheria. "Greek theatre, electric lights, and the plumes of locomotives: the quarrel between the Futurists and the Classicists and the Hellenic modernism of Fascism." Classical Receptions Journal 16, no. 1 (January 1, 2024): 35–55. http://dx.doi.org/10.1093/crj/clad028.

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Abstract The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist government in 1923 advocated for the staging of modern Sicilian plays in the theatre of Syracuse. Contrary to Futurism, Italian Fascism turned to Greek models in creating new forms of popular theatre. Mussolini’s state supported the production of ancient drama throughout the ventennio, as evidenced by the consolidation of the Istituto Nazionale del Dramma Antico (INDA) in 1925. The theatre of Syracuse should be viewed as a field of antagonism between the different versions of modernism represented by Futurism and Fascism. By examining the convergences and divergences of Futurist and Fascist visions of theatrical renewal, this article highlights not only the Hellenic character of Fascism’s modernism but also the role of Fascism in transforming classical traditions.

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39

Molony, Martin G. "Nelson Paine, Experimental Theatre, and Puppetry in Ireland, 1942–1952." Estudios Irlandeses, no. 18 (March 17, 2023): 67–78. http://dx.doi.org/10.24162/ei2023-11392.

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In 1942, a young Dublin architect, Nelson Paine, formed the Dublin Marionette Group on foot of an international re-appraisal of the potential of the puppet theatre as a form of expression. This Group became the nucleus of experimental theatre in the Irish capital and influenced several well-known Irish creative artists over the decade of its existence and beyond. It attracted the involvement of actors, artists and dramatists of the period and performed in professional settings, including eight seasons at the Peacock Theatre and for each of the first four years of the Wexford Opera Festival. This article examines the context of the Group’s formation, its long-forgotten experimental approach, and its considerable contribution to the development of the arts in Ireland.

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40

Granshaw, Michelle, Mia Levenson, Courtney Colligan, Mac Irvine, Victoria LaFave, Noe Montez, and Elizabeth W. Son. "Imagining New Possibilities: Career Diversity and Doctoral Education in Theatre and Performance Studies." Theatre Topics 33, no. 3 (November 2023): 149–58. http://dx.doi.org/10.1353/tt.2023.a912296.

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Abstract: As the American Theatre and Drama Society (ATDS) celebrated its thirty-fifth anniversary at ATHE 2022, the group hosted the roundtable "Imagining New Possibilities: Career Diversity and Doctoral Education in Theatre and Performance Studies," welcoming faculty and graduate students to think expansively about the present and future of doctoral education. Co-organizers Michelle Granshaw (University of Pittsburgh) and Mia Levenson (Tufts University), along with panelists Courtney Colligan (University of Pittsburgh), Mac Irvine (Tufts University), Victoria LaFave (University of Pittsburgh), Noe Montez (Tufts University), and Elizabeth W. Son (Northwestern University), reflected on pressing questions and exciting opportunities surrounding career diversity. Faculty and students highlighted issues including how to shift program and field cultures to erase stigma and elitism and create an openness to career diversity conversations; incorporate career diversity and fields like the public humanities into programs and curriculum to serve students' individualized career paths; contextualize and understand the job market and career trajectories to help us consider ways to improve career planning and mentorship; understand how graduate education and career diversity impact student labor; and prioritize and implement equitable practices.

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Abdel Ghafar Bazheir, Nargis. "Arab theatre and plays: developmental stages and challenges." ARTSEDUCA, no. 34 (December 7, 2022): 167–76. http://dx.doi.org/10.6035/artseduca.6642.

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Arab stage plays took their time in the development and making their place in the world throughout the ancient times. The article shines a light on the phases and struggles Arab theatre went through in making such majestic art and performances that are a source of entertainment for people from all over the world. Mainly the struggles were because of religious issues that initiated many other issues like the censorship and not having enough popularity in the Arab states that put up a limit to the theatre establishments forcing the artists to make journeys in order to seek their audience as many things did not sit well in the mindsets of the religious Arabs. However, later on, the theatre started stretching its roots in the hearts of the audience. Performances like Shadow Puppetry and Passion plays took over many viewers and became an important part of the Arab culture. One of the most important eras in the history of Arabic drama development was that of the Egyptian era, which holds a reputation to this time and tells a lot of religious and historic stories through its innovative art play. The article also highlights the great contribution of Ibn Danyal Al-Khuzai to the plays through his three phenomenal theatre scripts that were enacted upon by many diverse cultures and ethnicities, furthermore, the influence Western drama culture made in Arab states and its impact that came with series of events.

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Harms, Victoria, Miriam Reese, and Lorin J. Elias. "Lateral bias in theatre-seat choice." Laterality: Asymmetries of Body, Brain and Cognition 19, no. 1 (February 6, 2013): 1–11. http://dx.doi.org/10.1080/1357650x.2012.746349.

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GASHEVA, NATALIYA. "STAGE REFLECTION ON RUSSIAN CLASSICS (A CASE STUDY OF PERM THEATRES)." Культурный код, no. 2023-2 (2023): 89–102. http://dx.doi.org/10.36945/2658-3852-2023-2-89-102.

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Ongoing socio-cultural transformations have influenced the fact that the problem of stage reflection on Russian classics is becoming one of the major trends in the Russian humanities. The relevance of the problem under question is determined by general changes in artistic consciousness at the turn of the centuries and innovations dynamics in theatrical art (of the centre and regional culture) opening up new paths of cognition and interpretation of increasingly sophisticated reality through semantics and symbolism of Russian classics. The novelty of the study is a comprehensive culturological approach combining categories of philosophy, art studies, aesthetics, and semiotics. The most representative methodological grounds within the framework of this part of the research are general semiotic conceptions aimed at analysis of culture text, its logic-symbolic and semantic structure (R. Barthes, Yu. Lotman). The hermeneutic tradition (M. Heidegger) and post-structuralism (J. Kristeva) play a special role in reflection on the text of the performance and its semantic depth. The purpose of the article is to examine the nature of artistic reception as a dialogue and intensification of the spectator’s subjectivity in terms of the drama synthetism. The data are presented by Perm theatre directors’ creative practices. The analysis of the data reveals a directors’ trend not just to refresh relationships with the audience through an active dialogue between the theatre and literary classics (a remake, “postmodern classicism”) but primarily to consciously bridge the boundaries in facing new challenges of modernity.

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Baulina, P. V. "Projectional images in theatre: Modes of (media)presence." Shagi / Steps 9, no. 3 (2023): 258–76. http://dx.doi.org/10.22394/2412-9410-2023-9-3-258-276.

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The article examines the phenomenon of (media)presence as a projectional embodiment of objects in theatre. The aim is to describe techniques of using projectional surfaces and devices in performances, using as material Western European productions of the 2000s and 2010s. We attempt to identify and elucidate the modes of presence through the use of projectional images in theatre. The theoretical and methodological framework employed in the article includes a set of ideas at the intersection of theatre, visual, and media studies. Such a framework makes it possible to define performance as a visual event — the act of looking, and to shift the focus from technological artifacts to the processes of mediation of presence by projectional images. We introduce the concept of “(media)presence” as relevant for a productive description of the phenomenon. (Media)presence is the effect of being in the perceptual field of objects of perception, when their physical absence is compensated for by the presence of their screen substitutes. The use of projectional technologies in theatre allows one to achieve the effect of (media)presence through mediation of “life” performances. The ways in which directors utilize projectional surfaces and devices activate several modes of performative embodiment of perceptional objects through projectional images: “absent”, “composite” and “augmented” (media)presence. The text offers a complex analysis of practices of using projectional images in contemporary theatre aimed at achieving the effect of (media)presence.

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Thamkulangkool, Piyawat. "Audience Development in Thai Contemporary Theatre and Dance: A Study of the Barriers to Audience-Building." MANUSYA: Journal of Humanities 24, no. 1 (June 14, 2021): 22–36. http://dx.doi.org/10.1163/26659077-02401009.

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Abstract This research article examines the current situation of audiences in Thailand who attend non-mainstream contemporary theatre and dance, focusing on the barriers to building audiences for this type of performance. Mixed methods were used to collect data from various target groups, including qualitative methods like in-depth interviews, and focus groups for contemporary theatre and dance companies and arts spaces, and quantitative data gathered from audience questionnaires and surveys. The study revealed that many theatre and dance companies or groups run by artists often put more emphasis on their performance-making than on their organization or management. Such a production-centered emphasis often neglects the importance of two-way interaction between artists and audiences and shows insufficient appreciation of audiences in developing their performances and programs. The inattention of many performance companies or groups to their current and potential audiences and to techniques to build and develop them is widespread, but not universal. However, a few groups have worked to create and manage their performances based on audiences’ perspectives, thus both removing barriers to performance participation as much as possible and motivating transactional relations with audiences. Audience responses from these companies has led to greater audience engagement and improved audience appreciation.

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Balcare, Kitija. "HUMAN AND MORE-THAN-HUMAN IN THE PERFORMING ARTS LANDSCAPE IN LATVIA." Culture Crossroads 23 (January 10, 2024): 226–38. http://dx.doi.org/10.55877/cc.vol23.388.

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Integrating performing arts research into the environmental humanities frame, the aim of this paper, firstly, is to uncover theoretical ideas of posthumanist thinkers about species interdependency [Tsing 2012; Haraway 2015] in context of the environmental issues and, secondly, to integrate these perspectives into practices of the ecotheatrical performances in Latvia. As it is no longer possible to separate nature from culture in a world outside humans [Haraway 2003], ecotheatre serves as a form of environmental imaginary [Woynarski 2015; May 2021] reshaping human and more-than-human relations, shifting from anthropocentric paradigm towards ecocentric worldview. Theatre of species rearranges the usual anthropocentric hierarchy and includes new actors in the theatre – non-human entities and the more-than-human world [Chaudhuri 2017]. The article provides close reading of three ecotheatrical performances, including Bee Matter (Iveta Pole, 2021), Mushroom Picking Championship (Ilze Bloka, 2021), Last Night of the Deer (Jānis Balodis, Nahuel Cano, 2022), looking how ecotheatre practitioners discursively, physically, and visually represent non-human species and their relationship with humans in the context of urgency of the environmental issues. In ecotheatrical performances, physicality as embodiment comes to the fore, alongside with invitation to the spectator not to think about but already to think with nature resonating posthumanism and postmodern shamanism ideas.

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G., E., and Ghulam-Sarwar Yousof. "Dictionary of Traditional South-East Asian Theatre." Journal of the American Oriental Society 120, no. 3 (July 2000): 497. http://dx.doi.org/10.2307/606055.

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Thistle, Lindsay. "Kailin Wright. Political Adaptation in Canadian Theatre." University of Toronto Quarterly 91, no. 3 (October 1, 2022): 350–52. http://dx.doi.org/10.3138/utq.91.3.hr064.

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Berkeley, Anne. "Changing Theories of Undergraduate Theatre Studies, 1945–1980." Journal of Aesthetic Education 42, no. 3 (2008): 57–70. http://dx.doi.org/10.1353/jae.0.0015.

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Goldhill, Simon. "Reading Performance Criticism." Greece and Rome 36, no. 2 (October 1989): 172–82. http://dx.doi.org/10.1017/s0017383500029740.

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Fred Astaire once remarked of performing in London that he knew when the end of a play's run was approaching when he saw the first black tie in the audience. Perhaps this is an American's ironic representation of the snobbishness of pre-War London (though he was the American who sang the top-hat, white tie and tails into a part of his personal image). Perhaps it is merely an accurate (or nostalgic) picture of the dress code of the audiences of the period. The very appeal to such a dress code, however – in whatever way we choose to read the anecdote – inevitably relies on a whole network of cultural ideas and norms to make its point. It implies tacitly what is easily recoverable from other sources about the theatre of the period: the expected class of the audience; the sense of ‘an evening's entertainment’ – attending the fashionable play of the season, with all the implications of the theatre as a place not merely for seeing but also for being seen; the range of subjects and characters portrayed on the London stage of the period; the role of London as a European capital of a world empire (with a particular self-awareness of itself as a capital); the expected types of narrative, events, and language, that for many modern readers could be evoked with the phrase ‘a Fred Astaire story’. If we want to understand the impact of the plays of Ibsen or Brecht or Osborne or Beckett, it cannot be merely through ‘dramatic techniques’, but must also take into account the social performance that is theatre. Ibsen's commitment to a realist aesthetic is no doubt instrumental to the impact of his plays, but it is because his (socially committed) dramas challenged the proprieties of the social event of theatre that his first reviewers were so hostile.

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