Journal articles on the topic 'Live theater'
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Zehra, Shamail, Kiran Karamat, and Niza Qureshi. "THEATRE IN THE DIGITAL AGE: CHALLENGES AND AUDIENCE VIEWING EXPERIENCES." Pakistan Journal of Social Research 05, no. 01 (March 4, 2023): 609–16. http://dx.doi.org/10.52567/pjsr.v5i01.1384.
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A digital native audience may find it more difficult to be captivated by a theatrical performance in the age of technology, yet theater has evolved and survived every technological advancement. The popularity of the plays in Shakespeare's day appears to have been largely dependent on audience behavior, much as it was in the times of Aristophanes and Plautus. In our local Pakistani context, the study investigates whether theater can survive in the present digital media landscape and addresses the key elements that can affect a viewer's decision to see theater in a live setting. A good play, production, and performance are evaluated by audiences who are highly "theatre-literate. Despite the latest developments in technology, there are audiences who are essentially motivated by human interaction and insight, who yearn for the live experience, who appreciate being live in the room with the entertainer and that audience is the reason for the survival of theatre in a digital age. A survey method is utilized to collect data from 200 theater-savvy audiences in order to glean the most pertinent information and enhance the analysis of the information gathered. The results will demonstrate that regular theatergoers choose to attend theater live rather than for free online in order to experience a sense of relationship with the performers and other audience members. The majority of theatergoers said that attending live theater in an era of digital technology was still very much worthwhile. Because theater is a global cultural phenomenon that exists in all societies, the study is important on both a national and international level. Keywords: Theatre, Digital culture, Technology, Audience, Liveness, Brecht Theatre.
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Buckley, Jennifer. "Long “Live” Theater." Theater 46, no. 2 (2016): 35–53. http://dx.doi.org/10.1215/01610775-3547659.
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Sprogøe, Charlotte. "Live Experiences in the Theater Gardens of Contemporary Art." Peripeti 19, no. 35 (February 1, 2022): 97–108. http://dx.doi.org/10.7146/peri.v19i35.130635.
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Theatre has been a model for curatorial experiments throughout the history of experimental exhibitions. This article will look into contemporary experiments with curating exhibition formats that come alive as virtual, ‘lucid dreams’ through the uses of theatrical tropes such as Narrator, Stage, Backdrop – and through the integration of affect, living matter, organic form and worldlike backdrops into the formats, as in the historic Theater Gardens.
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Gamaliel Paulus. "Penerimaan Teknologi Gawai dalam Menonton Pertunjukan Teater Virtual di Era Pandemi Covid 19." Jurnal Netnografi Komunikasi 1, no. 1 (July 29, 2022): 31–37. http://dx.doi.org/10.59408/netnografi.v1i1.5.
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The COVID-19 pandemic that has hit Indonesia since March 2020, has had a bad impact not only on the economy and health fields, but also in various fields of life. One of those is theater performing arts. The social restrictions imposed by the government have resulted in many theater groups being unable to conduct theatrical performances. People should stay at home more and use various communication technologies to interact with each other. In order to keep the theater performing arts alive, theater workers took the initiative to organize virtual theater where audience can watch theater through their various devices. The experience of watching a virtual theater is certainly different from the experience of watching live in a theater building. This study wants to see the experience of theater fans when they have to watch the theater virtually. This research uses a descriptive qualitative approach with case study method focusing on d'Art Beat theater audiences through interviews and observations. The theory used in the interview with theater audiences is Technology Acceptance Model which looks at the audience's acceptance and experience in using gadget technology as a medium for watching theater compared to watching it live in a theater building. The temporary findings shows that the experience of watching theatrical art performances virtually cannot replace the satisfaction of watching it live. This is because basically theatrical art is a a stage drama performance which involves players on stage and audience watching directly in a theater building.
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Turchi, Laura B., Ann C. Christensen, and Laura B. Turchi. "Teaching Shakespeare: Live Theater Matters." English Journal 108, no. 6 (July 1, 2019): 103–5. http://dx.doi.org/10.58680/ej201930217.
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Ahmadova, Gulkhara. "WORLDLY SIGNIFICANCE OF THEATERS: IREVAN STATE AZERBAIJAN DRAMA THEATER." Scientific Journal of Polonia University 58, no. 3 (September 1, 2023): 10–14. http://dx.doi.org/10.23856/5801.
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Historically and even now, the literary and cultural environment of Azerbaijan is known both in the East and in the West. As a result of the severe tragedies, deportations, and genocides inflicted on the people of Azerbaijan, scientific and educational institutions, state institutions, museums, natural monuments, and cultural centers created in our country have suffered as much as our people. Theaters were also forced to live the fate of refugees. Today Shusha Musical Drama Theater, Aghdam State Drama Theater, Fuzili State Drama Theater continue their activities in the field of refugees. All three theaters, which have a great tradition of Armenian influence, have undoubtedly struck a blow. The annals of the Theater, which went through a tumultuous journey and was repeatedly subjected to Armenian vandalism, is a part of the historical destiny of our compatriots in the ancient lands of Azerbaijan. The article discussed the history, activity, and post-deportation activities of the Yerevan State Azerbaijan Drama Theater in exchange for all these processes. At the same time, attention was drawn here to the current situation of the Iravan State Azerbaijan Drama Theater and the works in the theater's repertoire. It was emphasized that the theater, which went through a difficult and turbulent path, goes on tours today, stages new plays, and gives successful performances. The article is dedicated to the ongoing processes related to the Yerevan State Azerbaijan Drama Theater.
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Gontarski, Stanley. "The theater is always dying." Acta Universitatis Lodziensis. Folia Litteraria Polonica 59, no. 4 (December 30, 2020): 191–209. http://dx.doi.org/10.18778/1505-9057.59.11.
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The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or whether you’ve had a sense that you’ve been part of, participated in a community ritual, a Dionysia, or whether or not you’ve felt that you’ve been affected by a performative, an embodied intellectual and emotional human experience may determine how you judge the state of contemporary theater. You may not always know the answer to those questions immediately after the theatrical encounter, or ever deliberately or consciously, but something, nonetheless, may have been taking its course. You may emerge “more human than when you went in”.
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Dewi, Irma Kusuma, and Farid Farid. "Strategi Komunikasi Pemasaran Radjawali Semarang Cultural Center (RSCC) di Masa Pandemi." Kiwari 2, no. 4 (December 5, 2023): 578–83. http://dx.doi.org/10.24912/ki.v2i4.27229.
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The Covid-19 pandemic, which has spread to several countries, finally entered and attacked Indonesia in March 2020. The Government's Policy to Enforce Restrictions on Community Activities (PPKM) has made the Radjawali Semarang Cultural Center (RSCC) an art building in The city of Semarang is not free in raising its name. In an increasingly sophisticated and advanced life like today, social media is able to become a place for activities that cannot be carried out during the Covid-19 pandemic. So a Live in Theater event was created which is a collaborative program between building providers, namely the Radjawali Semarang Cultural Center (RSCC) and artists, to produce a work of art that is shown via Youtube, by exploring all the facilities owned by the RSCC. The purpose of this research is to find out the marketing communication strategy of the Radjawali Semarang Cultural Center (RSCC) through live in theater activities during the Covid-19 pandemic. In this study using a qualitative approach to the case study method. The research subject is the Radjawali Semarang Cultural Center (RSCC), and the research object is marketing communication strategies through Live in Theater activities on social media. Data collection is done by means of interviews, observation, and documentation. By utilizing and applying aspects of new media theory, the Radjawali Semarang Cultural Center (RSCC) is able to achieve marketing communication objectives, namely informing, persuading and reminding. Pandemi Covid-19 yang sudah menyebar ke beberapa negara, akhirnya masuk dan menyerang Indonesia pada bulan Maret 2020. Kebijakan Pemberlakuan Pembatasan Kegiatan Masyarakat (PPKM) yang di terbitkan oleh pemerintah, semakin membuat Radjawali Semarang Cultural Center (RSCC) yang merupakan sebuah gedung kesenian di Kota Semarang tidak leluasa dalam mengibarkan namanya. Di kehidupan yang semakin canggih dan maju seperti saat ini, media sosial mampu menjadi wadah kegiatan yang tidak bisa dilakukan selama dalam masa pandemi Covid-19. Maka dibuatlah acara Live in Theatre yang merupakan program kolaborasi antara penyedia gedung, yaitu Radjawali Semarang Cultural Center (RSCC) dengan para seniman, untuk menghasilkan sebuah karya seni yang dipertunjukkan melalui Youtube, dengan mengeksplore segala fasilitas yang dimiliki oleh RSCC. Tujuan dilakukannya penelitian ini adalah untuk mengetahui strategi komunikasi pemasaran Radjawali Semarang Cultural Center (RSCC) melalui kegiatan live in theatre pada masa pandemi Covid-19. Dalam penelitian ini menggunakan pendekatan kualitatif dengan metode studi kasus. Subjek penelitiannya adalah Radjawali Semarang Cultural Center (RSCC), dan objek penelitiannya ialah strategi komunikasi pemasaran melalui kegiatan Live in Theatre di media sosial. Pengumpulan data dilakukan dengan cara wawancara, observasi, dan dokumentasi. Dengan memanfaatkan dan menerapkan aspek-aspek dalam teori new media, Radjawali Semarang Cultural Center (RSCC) mampu mencapai tujuan komunikasi pemasaran, yaitu informing, persuading, dan reminding.
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Palmer, David. "Miller’s Food for Thought at Food For Thought Productions: A Talk with Susan Charlotte, 15 July 2021." Arthur Miller Journal 17, no. 1 (2022): 39–43. http://dx.doi.org/10.5325/arthmillj.17.1.0039.
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Norman, Sally Jane. "Theater and ALife Art: Modeling Open and Closed Systems." Artificial Life 21, no. 3 (August 2015): 344–53. http://dx.doi.org/10.1162/artl_a_00175.
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The live art of theater remains curiously missing from ALife art history, despite the fact that its very existence is poised on the cusp of the living and the artificial, and on the modeling of life as artefact—what can be called the containment-versus-continuity dilemma. How far one seeks to affirm autonomy of the creative artwork or, in contrast, how far one seeks to affirm its continuity with its supposed real-life contexts is a question that has forever haunted theater, and that has naturally come to haunt ALife and ALife arts. Investigation of the boundary separating observers from modeled systems is as core to research into the live art of theater as to ALife research. This brief article seeks to open up discussion on links between ALife, ALife art, and the live art of theater, through key thematic threads that traverse these domains: their modeling of universes, the open or closed nature of the resultant modeled systems, and their implications with respect to observers, definitions, and instantiations of life regarding non-life or death as well as attributions of liveness to emergent synthetic biology and metamaterials.
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Tronchin, Lamberto, Antonella Bevilacqua, and Ruoran Yan. "Acoustic Characterization and Quality Assessment of Cremona’s Ponchielli Theater." Applied Sciences 13, no. 6 (March 22, 2023): 4057. http://dx.doi.org/10.3390/app13064057.
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The Ponchielli theater of Cremona was built in 1808 after a fire destroyed the old wooden structure. The interior, the architecture and the shape of the plan layout are reminiscent of the Teatro alla Scala, Milan, a masterpiece by the architect Piermarini, albeit on a smaller scale. The four orders of balconies crowned by the top gallery are typical features of a 19th Century Italian Opera theater. Acoustic measurements have been undertaken across the stalls and in some selected boxes according to ISO 3382. The main acoustic parameters resulting from the measurements have been used for the acoustic calibration of a 3D model representing the Ponchielli theater. The calibration has been used to compare different scenarios involving the acoustic response of the main hall at 50% and 100% occupancy. The outcomes indicate that no significant change can be detected when the seats are provided with robust upholstery, which can be considered a positive result, especially for the actors who are not forced to change their effort between rehearsal and live performance. In order to contextualize the measured values in relation to the optimal ones, a comparison with other Italian Opera theaters provided with similar architectural characteristics has been carried out. Overall, the findings indicate that the acoustics of the Ponchielli theater are suitable for both music and speech in line with the other selected theaters, as these places were mainly created for multifunctional purposes in the 19th Century.
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Iacobuţe, Ramona-Petronela. "The Theater And The Pandemic: The Theater In A Zoom Or Facebook Window." Theatrical Colloquia 10, no. 2 (December 1, 2020): 133–37. http://dx.doi.org/10.2478/tco-2020-0026.
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AbstractThe year 2020 is a difficult one for all of us: employees, employers, economic or cultural operators, event organizers, parents and children, artists and spectators. Nothing is as we knew it. The classroom, the performance hall, the office, all moved to our living room, and new technologies have shown us once again that we can no longer live without them in the 21st century, that they can save us in situations that at first sight have no solution. The emotion, the closeness, the direct contact from the rehearsals and from the performance hall have become a rarity for those who work in the artistic area, with the mass spread of a virus that does not take into account anyone’s needs. The artists were forced to bring on stage a mask that they would never have wanted there, the surgical one, and the theater to exceed new limits. Online rehearsals, in the heart of your own library, online premieres, live streaming and pay-per-view have all taken over a living art, an art that needs the here and now of the real, the physicality of real life. Screens are the new filters through which we sift our emotions. Distance art, technologymediated art, pseudo-appropriation are part of the new reality of those who creates and consume art. Surgical masks and visors become indispensable components when working on stage costumes and this can reduce emotion. But this is a challenge for artists like no other, their limits are tested, their creativity tried and their ability to adapt extremely demanded.
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Stoehr, Taylor. "Angels and Devils: Live Theater and Dead." Antioch Review 60, no. 2 (2002): 185. http://dx.doi.org/10.2307/4614309.
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Greene, Jay P., Heidi H. Erickson, Angela R. Watson, and Molly I. Beck. "The Play’s the Thing: Experimentally Examining the Social and Cognitive Effects of School Field Trips to Live Theater Performances." Educational Researcher 47, no. 4 (March 15, 2018): 246–54. http://dx.doi.org/10.3102/0013189x18761034.
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Field trips to see theater performances are a long-standing educational practice; however, there is little systematic evidence demonstrating educational benefits. This article describes the results of five random assignment experiments spanning 2 years where school groups were assigned by lottery to attend a live theater performance or, for some groups, watch a movie version of the same story. We find significant educational benefits from seeing live theater, including higher levels of tolerance, social perspective taking, and stronger command of the plot and vocabulary of those plays. Students randomly assigned to watch a movie did not experience these benefits. Our findings also suggest that theater field trips may cultivate the desire among students to frequent the theater in the future.
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Pramayoza, Dede. "From sacred ritual to theatrical protest: interdisciplinary spectrum of theater studies in Indonesia." Perseitas 11 (December 13, 2023): 447–74. http://dx.doi.org/10.21501/23461780.4644.
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This paper approaches the spectrum of theater studies in Indonesia in an interdisciplinary manner, encompassing both descriptive and normative perspectives. From a descriptive standpoint, the spectrum is shaped by various ways of attributing meaning to theater as an entity. In a normative approach, various disciplines offer perspectives that contribute to creating a spectrum of meaning for theater in relation to the life of Indonesian society. Through a literature review, the research identifies at least three approaches to constructing theater studies in Indonesia: synchronic, diachronic and, combined. These three approaches are drawn from disciplines outside of theater, such as historical, anthropological, and sociological studies. Based on this perspectives, theater studies in Indonesia has moved from viewing theater in its meaning as a form of sacred ritual in the past to theater as symbolic capital today. These interdisciplinary perspective has an influence on the meaning of theater in theater studies itself as a discipline. Theater in Indonesia as a subject of study, therefore, is not only understood as an art that originates from dramatic works, but is more broadly understood as all forms of art that are centered on human action displayed in live performances, including sacred rituals, cultural performances, and theatrical protests.
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Sandahl, Carrie. "From the Streets to the Stage: Disability and the Performing Arts." PMLA/Publications of the Modern Language Association of America 120, no. 2 (March 2005): 620–25. http://dx.doi.org/10.1632/s0030812900168014.
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Despite its newness, disability-theater studies is an incredibly rich area of inquiry that is exploding in artistic practice and scholarship. The university is a particularly suitable site for a meeting of disability and the theater; after all, we theater scholars think of our classrooms and productions as laboratories not only for showcasing knowledge but for producing, rehearsing, and revising it. As the theater scholar Jill Dolan points out, live performance, especially in the liberal arts setting, has the unique power to test, on bodies willing to try them, academic theories that are otherwise purely theoretical. The feedback loop that oscillates between theory and practice in theater studies is necessarily changed by the inclusion of disability perspectives in the classroom, research programs, and performance offerings. Interestingly, an underlying theme of disability perspectives is that the lived experience of disability is always already performative; indeed, many of us with disabilities understand our disabilities as performance, not exclusively in an aesthetic or theoretical sense, but as an actual mode of living in the world. Consider what the playwright and wheelchair user John Belluso told me in a recent interview: “Any time I get on a public bus, I feel like it's a moment of theater. I'm lifted, the stage is moving up, and I enter, and people are along the lines, and they're turning and looking, and I make my entrance. It's theater, and I have to perform. And I feel like we as disabled people are constantly onstage and we're constantly performing.” The perspective of disability as performance undergirds and permeates disability art and scholarship. Thus, my own development as a disability-theater scholar and artist frames my perception of how disability challenges both the practical and the theoretical aspects of theater studies and points to the role universities play in fostering further development of the field.
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Speckenbach, Jan, and Thomas Irmer. "In Interview: On the Development of Video in the Theatre." New Theatre Quarterly 38, no. 3 (July 19, 2022): 234–41. http://dx.doi.org/10.1017/s0266464x22000161.
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German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have interacted with this new technology and how filmmaking can be an integral part of the theatre indicate clearly that filmmaking has played an invaluable role in recent theatre history. Speckenbach here also speaks of his collaborations with other directors, notably Sebastian Hartmann and René Pollesch, and about the future perspectives of this technology, which has changed the theatre altogether.Jan Speckenbach studied art history, philosophy, and media in Karlsruhe, Munich, and Paris during the 1990s. At the beginning of the new millennium he participated in the development of video theatre with Frank Castorf and, now a successful filmmaker, he also continues to work in the theatre. His short film Gestern in Eden [Yesterday in Eden] premiered at Cannes in 2008, while the full-length feature film Die Vermissten [The Missing] was shown at the 2012 Berlinale and Freiheit [Freedom] at the 2017 film competition at Locarno. In 2020 he directed the live-stream of Der Zauberberg [The Magic Mountain, after Thomas Mann’s novel] at the Deutsches Theater in Berlin (premiered online in November 2019), which was subsequently invited to the Berlin Theatertreffen. Thomas Irmer is the editor-in-chief of the Berlin-based monthly Theater der Zeit. He has co-edited two books on the work of Frank Castorf – Zehn Jahre Volksbühne Intendanz Frank Castorf (2003) and Castorf (2016). During the last forty years he has authored, among other significant writings, numerous analytical articles and interviews on Castorf’s creative output.
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EDN, Mary Ann Trupe, Jon Scott, Janna Scott, Thomas G. Lisack, Sue A. Oliver, Kathleen F. Esmiol, Tracy C. Anderson, John C. Hammond, and Patricia Bridges. "The Round Table: Introducing Students to Live Theater." English Journal 83, no. 1 (January 1994): 75. http://dx.doi.org/10.2307/820965.
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Wright, Craig. "Live Theater and the Limits of Human Freedom." Topoi 30, no. 2 (September 13, 2011): 145–49. http://dx.doi.org/10.1007/s11245-011-9102-y.
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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.
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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.
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Purnomo, Heny. "Reinterpretasi Teater Tradisi Dalam Perspektif Patronase." Terob : Jurnal Pengkajian dan Penciptaan Seni 13, no. 1 (October 30, 2022): 33–45. http://dx.doi.org/10.20111/terob.v13i1.8.
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Traditional art theatre that is owned and attached to a community can be used to understand the culture of a society. This is true because traditional arts and theater reflect the personality and way of life of the broader community. Traditional theatrical productions that are held live and move from one location to another (tobong) are becoming increasingly rare and are currently on the verge of extinction. Additionally, every performance is always in competition with other arts that have been transformed by other technological media television. Many forms of presentation produced using stage visuals were influenced by ludruk tobong, which had its peak in the 1970s and 1980s. Ludruk Tobong, a traditional populist-based theater, was born and raised in a society that has served as its primary patron. Every staging of a play incorporates "actors and patrons" as a representation of life, and this is also true of the ludruk tobong performance. When entertainment in multiple media can alienate an audience, the ludruk tobong packaging is now regarded as outmoded and does not offer market benefits, making it more difficult to carry out regeneration, which causes a gradual fall in both supporters and perpetrators. It's interesting to investigate social dynamics that affect the continued existence of traditional populist arts or theater through a patronage-based reinterpretation. This qualitative study aims to describe various supporting factors and explain the reinterpretation and patronage perspectives in ludruk tobong performances as traditional theater. To analyze the results of the study, the concept of traditional art and the analogy of Goffman's performance or dramaturgy were used as well as the concept of patronage and various other concepts that were also supported by the results of interviews in the field.
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Brosa Rodríguez, Antoni. "Las compañías teatrales españolas en internet." Triangle, no. 10 (May 21, 2020): 1. http://dx.doi.org/10.17345/triangle10.1-98.
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In this work, the Internet presence of Spanish theater companies will be analyzed by studying a corpus of own data. The internet concept is very broad. The great advances in this eld have developed many new functions. Although the fundamental and essential purpose of the Internet is communication, the real technological change begins with computerization and the ability to process, manipulate and control vast amounts of data. This change does not lie only in the methodology in communicating, but involves a deep change that aects the life of society in general. Internet is a virtual space where you can live: watch a movie, buy food or clothes, talking with friends, check bank details, play, etc. This profound change in society also comes to literature in general and theater in particular. Within this giant free showcase that is Internet, every author and every theater company seeks its place in order to be visible to the world. In this paper, we review the dierent ways in which the theater appears on the Internet and present a systematic and detailed analysis of the Internet presence of twenty companies of Spanish theater with very dierent idiosyncrasies that reect the current Spanish theater scene.
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Bell, John. "The Bread and Puppet Theatre in Nicaragua, 1987." New Theatre Quarterly 5, no. 17 (February 1989): 8–22. http://dx.doi.org/10.1017/s0266464x0001530x.
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PETER SCHUMANN's Bread and Puppet Theatre began 25 years ago as a new way of making modern theatre, and as Schumann sees it, still is. As he recently stated, “there are two aspects to this newness: (1) the proposal for a much bigger, wider space for the arts to exist in than the space that the arts occupy now – a way for painting, music, sculpture, and language to exist together and in response to the questions of the time in which they live; and (2) the puppet theatre aspect: puppet theatre not as a special branch of theatre but as a challenge to theatre, as a concrete proposal for the overcoming of its shortcomings – a liberation from that fixed old schmaltz – a proposal for much bigger form, much more compositional freedom and adventure than an actors' theater can ever come up with.”
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KAZAKOVA, A. Yu. "«Live visit» frame: cinema and theater in youth leisure." SOCIAL SCIENCES AND HUMANITIES. DOMESTIC AND FOREIGN LITERATURE. SERIES 11: SOCIOLOGY, no. 1 (2022): 56–75. http://dx.doi.org/10.31249/rsoc/2022.01.05.
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Alanis Gallegos, Eunice Susana. "Performatividades del “teatro en vivo” a través de redes sociales en tiempos de pandemia." Investigación Teatral. Revista de artes escénicas y performatividad 12, no. 20 (December 8, 2021): 28–49. http://dx.doi.org/10.25009/it.v12i20.2686.
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A partir del cierre de los teatros como medida preventiva por la pandemia de COVID-19, la comunidad teatral utilizó la tecnología de plataformas y redes sociales para crear y comunicarse con su público. ¿Qué tan cercanas estaban estas prácticas al teatro? En este trabajo se analizó el discurso detrás de tuits con las palabras “teatro en vivo” emitidos en abril y mayo de 2020. Los resultados invitan a reflexionar sobre dos espacios intermedios entre el teatro y el registro audiovisual; en estos espacios ubicamos la performatividad del lenguaje y los actos performáticos que acontecían de manera remota. Estos actos configuran un archivo y un repertorio cultural de voces y cuerpos en resistencia, para crear arte desde el único lugar que en dicha circunstancia había para convivir: el virtual. Performativities of “live theatre” through social networks in pandemic times Abstract Just after theaters closed in Mexico as a preventive measure to fight the COVID-19 pandemic, the theatrical community began using Internet platforms and social networks to create new productions and communicate with audiences. How close were these exercises to what is usually understood as “theatre”? This paper analyzes the discourse contained in several tweets posted between April and May 2020, that include the words “live theatre”. The results invite us to consider two intermediate spaces between theater and audiovisual registers. In these spaces we can locate language’s performativity, and those performative acts that different artists began to carry out remotely. These acts make up an archive and a cultural catalog of voices and bodies in resistance, which began to create art collectively in the virtual space (the only space available for collective work during the pandemic’s lockdown months).
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Meinecke, Drew. "The Paradise Theater (1941‐1951): African American Movie Palaces and the 1943 Racial Uprising in Detroit." Film Matters 13, no. 1 (March 1, 2022): 83–95. http://dx.doi.org/10.1386/fm_00206_1.
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This article reveals how the Paradise Theater culturally and socially impacted the lives of the surrounding Black population in Detroit between 1941 and 1951. Firstly, this article examines the programming of the Paradise Theater—especially its live performers/exhibitionists—and specifically highlights the significance of the Paradise Theater’s all-Black stage show policy. Secondly, this article demonstrates how factors such as the Detroit Uprising of 1943 caused the Paradise Theater to transition from a mixed-race house to a primarily Black space. Finally, this article discusses the many philanthropic efforts of the Paradise Theater, which impacted not only Black Detroit, but the entire nation.
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Fuoco, Ester. "Dream by the Royal Shakespeare Company: a dystopian experience of live performance, between avatars and virtual reality." Altre Modernità, no. 28 (November 30, 2022): 351–62. http://dx.doi.org/10.54103/2035-7680/19184.
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If, by definition, the performing event could not do without the co-presence in space and time of spectators and actors (Brook 21), history has shown us how profound reflections on the possibility of shifting the fundamental axes of theater have nevertheless come about. The increasingly substantial presence of video within performances, even if filmed in real-time, is one example that has called into question the fundamental concept of hic et nunc. The creation of performances for a single spectator has altered the anthropological binomial community/ritual in addition to the "non-human" entity of the performer, from metal theater to cyborg performance (Schrum). The Royal Shakespeare Company's new production (2021) Dream will be analyzed to discuss the particular artistic experimentation that has become widespread in the Covid era. This production, which is a technological performance watched by more than 20,000 people worldwide in just three days, brings performance and gaming technology together to explore new ways for the audience, a remote spectator, to experience live theater (Aebischer 21). As live play performances and readings continually crowd virtual platforms, theater is undergoing a radical shift from stage to screen and cyberspace. However, will these new formats survive in the post-pandemic times?
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Certo and Brinda. "Bringing Literature to Life for Urban Adolescents: Artistic, Dramatic Instruction and Live Theater." Journal of Aesthetic Education 45, no. 3 (2011): 22. http://dx.doi.org/10.5406/jaesteduc.45.3.0022.
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KATRAK, KETU H. "‘Stripping Women of Their Wombs’: Active Witnessing of Performances of Violence." Theatre Research International 39, no. 1 (February 10, 2014): 31–46. http://dx.doi.org/10.1017/s0307883313000539.
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This essay creates a theoretical frame interweaving Jill Dolan's concept of ‘finding hope at the theatre’ with Michel Foucault's concepts of ‘biopower’ and ‘biopolitics’ to argue that spectators’ affective responses to performed violence in live theatre include hope and imagining social change. I draw upon my own active witnessing of theatrical performances of two works –Ruinedby Pulitzer Prize-winning African-American Lynn Nottage, andEncounterby the Indian-American Navarasa Dance Theater Company. Along with Dolan and Foucault, I draw upon affect scholarship by James Thompson and Patricia T. Clough, and upon theorist Saidiya V. Hartman's discussion of slavery that makes the human into an abject ‘non-human’. Continuing forms of female enslavement and resistances to domination are evident in the representations of sexual slavery in the two works.
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Ushkarev, A. A. "Digital Theater. Conceptualization the phenomenon." Art & Culture Studies, no. 2 (June 2023): 58–91. http://dx.doi.org/10.51678/2226-0072-2023-2-58-91.
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An overview of the main trends in understanding the digital forms of theatre existence is made on the basis of scientific publications of recent years in Europe and the United States. It demonstrates the breadth of the subject field and author’s approaches, and the diversity of theoretical concepts and methods of studying digital hypostases of theatrical life. There are no immutable truths or taboos in the social sciences today, and interpretations of empirical facts are often polemical, depending on the author’s beliefs and attitude to social justice and inequality — social, racial, gender — or other problems of society. Nevertheless, despite disagreements, most researchers agree that it is extremely important today to reflect on the challenges posed in recent years by the rapid development of digital forms of theatrical offerings. Here everything acquires a new sounding: from existential questions of the adequacy of the existence of performing art in the digital environment, the impact of this environment on the market prospects of theatre and its relationship with the audience, to practical steps to comprehend and disseminate the experience of mastering the digital space. Most scientists consider the opposition of live and digital forms of theatre to be unproductive. Analysis of the evidence shows that digitalization is neither the death nor the salvation of theatre: rather, it represents an opportunity to use rapidly evolving technology and audience expectations to expand the reach of theatre. Following the public, the academic community accepts this type of theatre as an element of the cultural life of society and the ever-evolving relationship between theatre and the audience.
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Cho, Seong-Woong. "Stendhal and Literary Ambition." Hankuk University of Foreign Studies Literature Studies 89 (February 28, 2023): 27–53. http://dx.doi.org/10.22344/fls.2023.89.27.
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Stendhal, who is well known as art critic and romantic and realist novelist, was fascinated by the theater and often engaged in writing theatrical works without succeeding. His early vocation was to live in Paris by making comedies like Molière. He strengthened himself in critical reading and philosophical studying of the English, Italian and Spanish theatre. He took important theatrical works and developed them into his own immortal theatrical works. Selmours, Les deux Hommes and Letellier were advanced but were not finished. He failed to be a comic playwright because of his too much literary ambition, the change of literary circumstance and viewer's taste, and the lack of literary genius. The ambition to be the greatest comedy-writer did not come true, but he declared himself as a novelist and left his mark in novels.
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Djaha, Siti Susanti Mallida. "THE EMERGENCE OF NEW MEDIUM." Notion: Journal of Linguistics, Literature and Culture 1, no. 1 (May 30, 2019): 21. http://dx.doi.org/10.12928/notion.v1i1.712.
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This study aims at finding the development of new medium of drama in English literary history. From the very first emergence of drama, the plays that have been written were performed in the theater and in many kinds of theater were appears to represent some ideas from the society. As time passing by, these kind of theater had a kind of transformation to be the new medium that we called motion picture. This motion picture began with the silent movie, then it became the talking picture, and it was improved to be the cinema. In its development until today, which we had been known as the movie. This new medium emerged to replace the live theater performance especially in Edwardian era.
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Damrhung, Pornrat. "Cultivating the Garden of Theater Culture: A New Perspective on Traditional Theater in Thailand." MANUSYA 2, no. 2 (1999): 29–60. http://dx.doi.org/10.1163/26659077-00202003.
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After questioning the conventional distinction between traditional and modem theater in Asia, this essay suggests that it may be more fruitful to view today’s live theater traditions as part of a garden of theater culture that includes both native and imported elements and both deep-rooted and recently transplanted traditions. The remainder of the essay amplifies this perspective using examples from Thailand’s theater traditions during the last century and a half. This prepares the way to consider the strengths and weaknesses of traditional theater staged in Thailand during the last decade or so, whether centered on juxtaposing various artistic forms onstage or performing artistic reinterpretations of traditional stories. In seeking to strengthen these approaches for future performances, the author suggests the need for pooling the discipline and creativity performers have in order to fashion patterns of artistic expression that convey significance both among artists and to their audiences.
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Zuhri, Syaifudin, and Kholik Kholik. "Pembelajaran Pementasan Teater dengan Metode Role Playing Berbasis Project Learning Bagi Mahasiswa Tbi IAI Al-Qolam." Jurnal Pembelajaran Sastra 3, no. 2 (April 1, 2023): 83–94. http://dx.doi.org/10.51543/hiskimalang.v3i02.52.
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One of the competencies that must be possessed by students of the Indonesian Language Education Study Program, especially at IAI Al-Qolam, is that students are able to perform theater performances. The curriculum of the Indonesian Language and Literature Education study program also requires students to take Theater Performance courses in the fifth semester. The competency will be mastered by students if they are able to performe based on project learning using the role playing method. Project learning will provide a real stage experience, they will be able to apply various theories related to theater that were previously taken in the Literary Studies course. The role playing method helps students become skillful in a theater performance. The capability of acting is a very important factor, because a character in a theater will have a better performance if the character is able to live up to every role he gets after casting. The role playing method is an effort to improve theater playing skills for students of the Indonesian Language Education Study Program at IAI Al-Qolam, which is expected to be an effective and fun learning method, so that students are motivated to play theater well.
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Diallo, Abdoulaye, Jean Braitewaite, George Mamboleo, Ashwini Tiwari, and Manisha Sharma. "Improving Latino/a American students’ attitudes toward persons with disabilities and use of live theater." Australian Journal of Rehabilitation Counselling 25, no. 1 (July 2019): 25–35. http://dx.doi.org/10.1017/jrc.2019.2.
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AbstractThis study investigated the efficacy of a live theater performance intervention for enhancing the attitudes of pre-service rehabilitation students toward people with disabilities. A convenience sample of 54 undergraduate students of Latino/a descent (females = 33 and males = 21), age range 18 - 24 completed a pre-post design attitude change intervention. Data were collected on the students’ attitudes toward persons with disabilities, using the scale of attitudes towards disabled persons, and gladness, using a liker scale. Multivariate analysis of covariance was used to analyze the data. Results indicated the live theater performance intervention was more effective in providing positive emotion of gladness and in improving the attitudes of the students towards PWDs compared to simple print media.
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Kuharski, Allen J. "Incubating Incubators." Theater 54, no. 2 (May 1, 2024): 17–29. http://dx.doi.org/10.1215/01610775-11127586.
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Allen Kuharski provides a critical summary and expanded framing of the first neh Institute on transmitting and archiving devised physical ensemble theater in American higher education. Kuharski delineates the goals, structure, and planning of the twelve-day gathering of fifty academics, teaching artists, editors, and archivists hosted by him and Quinn Bauriedel of Philadelphia’s Pig Iron Theater Company. The institute’s goal was to provide a platform for longer-term discussions of the historical, theoretical, and critical teaching of devised physical ensemble theater given the proliferation of the teaching of devising practices around the country. Kuharski also places the concerns of the institute within the larger forces challenging contemporary theater, discussing how on the one hand they seem to threaten the historic legacies of such alternative theater practices while on the other these practices may also provide our best future solutions for a vibrant and reformed American live performance practice. The article concludes with an argument for the central role of higher education in the future incubation of an innovative noncommercial American theater.
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Martin, Eric, and Claudio Battaglini. "Health Status of Live Theater Actors: A Systematic Literature Review." Medical Problems of Performing Artists 34, no. 2 (June 1, 2019): 108–17. http://dx.doi.org/10.21091/mppa.2019.2010.
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OBJECTIVE: Actors constitute an at-risk population based on the physical burden demanded from their profession, different health behaviors, and poor economic and health insurance status. The purpose of this systematic literature review was to search for evidence of the health and fitness of theater actors. METHODS: Pubmed, EBSCO (CINAHL and SPORTdiscus), the database of the Performing Arts Medicine Association, the Journal of Physical Education, Recreation, and Dance, and Medical Problems of Performing Artists were searched. Included studies had data extracted and were scored for methodological quality. RESULTS: The search identified 18 studies, examining actors at different career stages, including secondary school (n=2), university (n=3), and professional (n=13). Eight studies received a low methodological quality score (50% or less). Most studies reported cigarette smoking among 10–26% of their samples and regular alcohol use in 25–40%. However, among professionals, prevalence and risk of harm from levels of alcohol consumption were much higher. Marijuana consumption was reported by 11–25% of respondents, while use of other drugs ranged from 7–23%. Most respondents suffered 1–2 injuries each year, with one study indicating that 72% of injuries occurred during class or rehearsal. CONCLUSIONS: This systematic literature review highlights a large gap in the research about actors’ health. The high rates of substance use and injuries among actors indicate not only a large health burden but a hindrance to their ability to perform, which may negatively impact their livelihood.
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Salmimaa, Marja, Jyrki Kimmel, Tero Jokela, Peter Eskolin, Toni Järvenpää, Petri Piippo, Kiti Müller, and Jarno Satopää. "Live delivery of neurosurgical operating theater experience in virtual reality." Journal of the Society for Information Display 26, no. 2 (February 2018): 98–104. http://dx.doi.org/10.1002/jsid.636.
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Riley, Ruth, Johanna Spiers, and Viv Gordon. "PreScribed (A Life Written for Me): A Theatrical Qualitative Research-Based Performance Script Informed by General Practitioners’ Experiences of Emotional Distress." International Journal of Qualitative Methods 20 (January 1, 2021): 160940692199918. http://dx.doi.org/10.1177/1609406921999188.
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This paper includes the script from a research-informed, theater-based production titled PreScribed (A Life Written for Me), which depicts the life of a distressed General Practitioner (GP) who is on the verge of breaking down and burning out. The authors provide context for the collaboration between artist and researchers and report on the creative methodological process involved in the co-production of the script, where research findings were imaginatively transformed into live theater. The researchers provide their reflections on the process and value of artistic collaboration and use of theater to disseminate research findings about emotions to wider audiences. It is concluded that qualitative researchers and artists can collaborate to co-create resonant and powerful pieces of work which communicate the emotions and experiences of research participants in ways that traditional academic dissemination methods cannot. The authors hope that sharing their experiences and this script as well as their reflections on the benefits of this approach may encourage researchers and artists to engage in this type of methodological collaboration in the future.
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Voronova, Tatiana. "Opera by Lev Kolodub "The Poet" as a Vector of the Director's Actualization of the Kobzar’s Image in Modern Ukrainian Realities." Ukrainian musicology 47 (October 21, 2021): 28–38. http://dx.doi.org/10.31318/0130-5298.2021.47.256716.
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Creative and ideological prerequisites of the director's appeals to L. Kolodub's opera "The Poet" are considered. The reasons for the need for a new scientific and creative understanding of opera in the sociocultural realities of a modern Ukraine are clarified. The scientific novelty of the research is determined, which consists of the original conceptual vision of updating the performance in accordance with the requirements of the present on the basis of synthesis of achievements of scientific thought and creative heritage of iconic figures of Ukraine and abroad. The purpose of the research is the need for new readings of the opera "The Poet" by Lev Kolodub as an ideological and integral work, devoid of the narrative of the Soviet era and the pathos of canonization of Kobzar as a "Superman", which is not characterized by human and romantic experiences, the research methods chosen: to determine the influence of world socio-cultural processes on the musical theater of Ukraine – system-analytical; to consider the creative heritage of L. Kolodub - biographical; to analyze the musical drama of the work — genre stylistic; to analyze the director's embodiments of the Opera — interpretative; to create your own concept of a creative art project — experimental modeling. The main results and conclusions of the study are obtained, which are as follows: a long break between the time of writing the opera "The Poet" by L. Kolodub (1984-1988) and its first stage reading (2001) is associated with subjective reasons due to the inconsistency of actions between musical theaters of Ukraine. The opera "The Poet" from the point of view of the composer's idea is definitely a new look at the image of Taras Shevchenko. In fact, Levko Kolodub invented a new genre of musical theater with this work — "biographical opera". Its versatility can be regarded as an attempt by the composer himself to "revive the classics" and bring them closer to the audience's perception. In this vein, this work provides a wide range of opportunities for director's reading and can live an active repertoire, ideologically true life at opera venues in Ukraine and diasporas. A comparative analysis of the Opera implementations in the Lysenko Kharkiv National Academic Opera and Ballet Theatre and the National Philharmonic of Ukraine allowed us to determine the difference between the director's approaches to solving mise en scene due to traditional (theater stage in Kharkiv) and non — traditional (concert hall in Kyiv, in the past-a room for balls of the merchant's House) locations. The post-graduate student predicted her own conceptual vision of the creative art project - the opera "The Poet" by L. Kolodub, which provides for the use of the latest achievements of scientific thought and original creative findings of leading figures of musical theater in Ukraine and abroad.
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Tracol-Huynh, Isabelle. "The Shadow Theater of Prostitution in French Colonial Tonkin." Journal of Vietnamese Studies 7, no. 1 (January 1, 2012): 10–51. http://dx.doi.org/10.1525/vs.2012.7.1.10.
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Prostitution in French colonial Tonkin was highly regulated and closely monitored by vice-squad police, physicians, administrators, and even by journalists. As a result, reports from these sources have preserved a wealth of information on the subject. Yet the records present prostitutes as faceless, nameless figures. They lived in the shadows of colonial cities, were forced to work in brothels or in their homes, not in the streets, and forced to hide from the police for fear of being locked up. Their stories now live on in the shadows of the colonial archives where the historian sifts through the fragmentary and often distorted traces of their existence.
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Packer, Randall. "Third Space Network: Theatrical Roots." Lumina 11, no. 2 (August 30, 2017): 82–109. http://dx.doi.org/10.34019/1981-4070.2017.v11.21446.
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This essay provides an overview of artistic work and experimentation leading to the concept of the Third Space Network: a live Internet broadcast and performance project for connecting artists, audiences, and cultural perspectives from around the world. The concept of the third space suggests the collapse of the local (first space) and remote (second space) into a third, socially constructed networked space. The third space can be viewed as a new realization of the community of theater in a globally connected culture: performance space for broadcasted live art, a forum for the aggregation of artist streams of media art, and an arena for social interaction. The following is a personal artistic history and contextualization of nearly thirty years of live performance, interactive media, installation, Internet art, and the spaces they inhabit. This essay connects early work in Music Theater from the late 1980s and early 1990s to more recent networked projects to frame the idea of the Third Space Network as a new theatrical environment rich in potential for live performance and creative discourse.
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Zelma, Janna. "Theatrical Performance and Literary Comprehension: Perceptions and Interpretations of Literary Works." Research and Advances in Education 2, no. 12 (December 2023): 17–21. http://dx.doi.org/10.56397/rae.2023.12.03.
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The dynamic intersection of literature and theatrical performance offers students an immersive educational experience beyond traditional classrooms. As education evolves, understanding the impact of live theatrical performances on literary comprehension becomes crucial. This study explores British students’ perceptions and interpretations when exposed to the synthesis of literature and theater, unraveling the intricacies of this experiential learning method. Embracing the rich tapestry of British literature, the research delves into classic and contemporary works, acknowledging theater as a transformative medium fostering a deeper connection between students and narratives. Objectives include exploring the impact of theatrical elements, analyzing cognitive and emotional responses, and considering the cultural context of British education. The study contributes to educational methodologies, bridging literature and theater for innovative approaches.
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Cherbo, Joni Maya. "Creative Synergy: Commercial and Not-for-Profit Live Theater in America." Journal of Arts Management, Law, and Society 28, no. 2 (January 1998): 129–43. http://dx.doi.org/10.1080/10632929809599548.
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Eberts, Shari. "How to Enjoy the Movies or Live Theater with Hearing Loss." Hearing Journal 71, no. 10 (October 2018): 44. http://dx.doi.org/10.1097/01.hj.0000547407.97702.b1.
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Aranyossy, Marta. "Technology Adoption in the Digital Entertainment Industry during the COVID-19 Pandemic: An Extended UTAUT2 Model for Online Theater Streaming." Informatics 9, no. 3 (September 15, 2022): 71. http://dx.doi.org/10.3390/informatics9030071.
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While the digitalization of products and services in the entertainment industry has gained momentum in the last decades, online theater streaming is a relatively new phenomenon boosted by the COVID-19 restrictions, which created new market opportunities—and demand—for theaters’ online presence. This study investigates a new online platform providing theater streaming services in Hungary from a customer-centric, technology acceptance point of view. The survey-based study is designed to examine which factors of the Unified Theory of Acceptance and Use of Technology 2 (UTAUT2) model are—and were—relevant in the under-researched live performance art sector of the digital entertainment industry under the unprecedented, coercive conditions of pandemic lockdowns. The results of the partial least squares structural equation modeling (PLS-SEM) show that habit is the most influential factor of theater webcasting adoption (before hedonic motivations and price value), suggesting that the new habits formed during the COVID-19 lockdowns might serve as a basis of a sustainable digital business model for theatres in the post-pandemic era as well. The analysis also tested for potential generational differences between cohorts of users, finding no significant ones, which suggests that, under this specific set of social, technology and market conditions, all generations react similarly and are equally relevant for widening the customer base. Keeping in mind some limitations (self-reported and cross-sectional data), these empirical results can not only enrich the scientific body of knowledge but can also serve as the basis of future marketing and communication strategies developed by partitioners.
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Nikiforova, Larisa V., and Anna M. Zinovyeva. "Theodore Géricault’s Living Picture “Raft of the Medusa” in Scenography: Visual Experience of the Romantic Era." Vestnik of Saint Petersburg University. Arts 13, no. 4 (2023): 639–63. http://dx.doi.org/10.21638/spbu15.2023.403.
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This article demonstrates the connections between visual and the theatrical mise en scène, raises the question of the inclusion of a live painting in the theatrical narrative as a form of interpretation of original painting, and finally presents the diversity of visual experience of the era in which static images coexisted with the moving ones. For the first time Géricault’s painting was animated on stage in 1820, a year after it was exhibited at the Salon (W. T. Moncrieff ’s melodrama “The Wreck of the Medusa, or the Fatal Raft”, London). Then in 1839 audiences saw it in Paris in a drama by Ch. Denoyer at the Théâtre Ambigue Comique and in an opera by F. Flottov to a libretto by the Cognard brothers at the Théâtre Renaissance. Denoisier’s drama proved to be the most suitable for transfer to other stages, and from 1847 to 1876 Géricault’s picture came to life at the Alexandrinsky Theatre in St. Petersburg, and on other Russian stages until 1914. As far as we know, none of the Russian art and theatre historians have paid attention to the stage embodiment of the famous picture. In the works on the history of Russian theater, Ch. Denoyer’s play is mentioned, but no more than that. On the contrary, foreign researchers of the 19th century art treat with great interest the interaction of painting, theater, and new optical spectacles in a single field of visual experience, including such classics of visual studies as P. Virillo and J. Creri. But neither they nor others have touched the Russian material. The article fills the gap in Russian art history and presents an analysis of the contexts in which the story of the Géricault’s living picture aroused interest; it traces the history of the transfer of Géricault’s painting to the Russian stage basing on archiveal sources.
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Susandro, Susandro, Afrizal H, Saaduddin Saaduddin, and Edy Suisno. "PARABOLIC DRAMA: PENYANGKALAN TEORETIK TERHADAP TEATER ABSURD." Melayu Arts and Performance Journal 3, no. 1 (April 1, 2020): 49. http://dx.doi.org/10.26887/mapj.v3i1.1342.
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ABSTRACTSamuel Beckett's Waiting for Godot is one of the dramas that Martin Esslin calls the Absurd Theater. Furthermore, For Esslin, Theater of the Absurd is not only a term but a theater theory to know conventions and understand the meaning of a drama. In this way, Esslin puts the Absurd Theater into the trajectory of the development of the world's theater arts style, as well as leading the reader or audience to a perception that the life or routine that humans live in is meaningless, pointless and futile. However, the Theater of the Absurd, in the view of Michael Y. Bennett, a term that is supported by unstructured and abstract concepts. Therefore, it is necessary to develop an alternative, a term which he calls Parabolic Drama. A more structured term in understanding Waiting for Godot and other dramas that contain parallel philosophical values. This article tries to explain the dialectic of the two theater theories above, the extent to which they can bind one drama and encompass another drama. ABSTRAKWaiting for Godot karya Samuel Beckett merupakan salah satu drama yang disebut dengan istilah Teater Absurd oleh Martin Esslin. Lebih jauh, Bagi Esslin, Teater Absurd tidak hanya suatu istilah melainkan teori teater untuk mengetahui konvensi serta memahami makna suatu drama. Dengan begitu, Esslin menempatkan Teater Absurd ke dalam lintasan perkembangan gaya seni teater dunia, sekaligus menggiring pembaca atau penonton pada suatu persepsi bahwa kehidupan atau rutinitas yang dijalani manusia tidaklah bermakna, tidak ada tujuan dan sia-sia. Namun, Teater Absurd, menurut pandangan Michael Y. Bennett, istilah yang didukung oleh konsep-konsep yang tidak terstruktur serta abstrak. Oleh karena itu, perlu dibangun suatu alternatif,istilah yang disebutnya dengan Parabolic Drama.Istilah yang lebih terstruktur dalam memahami Waiting for Godotserta drama lain yang mengandung nilai filosofis yang sejajar.Artikel ini mencoba memaparkandialektika kedua teoriteater di atas,sejauh mana keduanya dapat mengikat suatu drama dan melingkupi drama lainnya.
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Annichev, О. Ye. "The interaction of theatrical journalism and theatrical criticism in the modern media." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 115–26. http://dx.doi.org/10.34064/khnum1-51.06.
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Background. Topicality of the theme. With the advent of the Internet, Internet journalism has appeared. In relating to theater, in essence, it is theatrical criticism, which has only undergone major changes. In recent years, there have been lively discussions in professional circles about the state and prospects of theater criticism as a profession, about the nature of theater criticism, its self-identification in the modern information space. Round tables with the participation of leading theater critics are devoted to the issues of the current state of theater criticism, a number of relevant materials have been published in specialized publications, often with indicative headings: “Who needs theater critics?” [1], “Theater criticism: final or transformation?” [9]; interviews of theater critics, in which they uphold the positions of the profession and, at the same time, speak about urgent problems and the need to update it taking into account rapidly changing realities: with S. Vasilyev [2], N. Pivovarova [5], Ya. Partola [6]; discussion articles on the status and prospects of the profession by M. Harbuziuk [3], M. Dmitrevskaya [4], N. Pesochinsky [7], I. Chuzhynova [10], S. Schagina, E. Strogaleva, E. Gorokhovskaya [11]. Thus, there are several points of view on this topic: that theatrical journalism has replaced theatrical criticism; that theatrical critics of the old school did not have time to adapt to the changing world and use new tools in this profession, and young critics just occupy their niches in the youth media and on the Internet; that the profession of a critic does not go beyond the framework of participation in expert councils, jury membership, attendance at theater festivals, and writing reviews on request. The question, however, is still open. The main goal of this article is to determine the degree and main character of the interaction of journalism and theatrical criticism in modern media. Results of the study. Those who are seriously engaged in theater studies and academic theater criticism feel the need for specialized publications, the number of which in Ukraine is reduced to a minimum. Therefore, those who had the opportunity to publish reviews in the socio-political periodicals, have to combine three professional areas in one, becoming a theater journalist. Academically trained theater critics can write and often write good books, but, as a rule, do not know how to write for newspapers and magazines. But graduates of journalistic departments who write about the theater are not familiar with professional terminology, which is able to give a correct assessment of the premiere performance. The question arises: how to combine those and these, that the theater journalism was both fascinating and acute, and moderately scandalous, but at the same time accurate and high-quality? To grow such specialists is a matter of work, there can be no conveyor system here. Modern theater criticism, gradually becoming obsolete, rather survives from the common theatrical space. The theater critic cannot be a free artist, and live on the money from the results of his work, because in non-capital cities the number of journals in which the theater specialist would have had time to publish his works has decreased by several times. In cities such as Poltava, Sumy, Chernigov, the issues relating to theatrical premieres are not covered by critics (they are simply not there), but by journalists who write on various topics and rarely specialize in one. The substitution of theatrical critique by journalism is quite natural, for example, for cities where there is no professional training of theater critics, however in Kiev, Kharkiv and Lviv theater studies continue, and a certain number of graduates hope for the viability of this profession. Theatrical criticism and theatrical journalism are in their own way demanded in certain circles. Criticism is closer to theaters, journalism – to the audience. It is difficult to debate with this statement that new epoch came with the Internet. Now, the spoken word has a completely different value. For example, а word thrown on Facebook can have the same effect on public opinion as a big, built, hard fought text. This does not mean that you do not need to write large texts and publish them on paper. You just need to understand and accept the new reality, its advantages and disadvantages, its danger and its benefits. It is a very important problem of our consciousness and the problem of our theater. The Internet has given a new push to the development of new type of media-translations, actively working in social networks. Sites appear on the network where online remote screenings of performances are held. They provide Internet audiences with the opportunity to be acquainted with the history of national and world theater art; they are introduced to modern avant-garde performances. Of course, this also brings the theater closer to a wide, as a rule, young audience and opens up new opportunities for a different kind of theater journalism. Сonclusions. Thus, the Internet becomes an active means of influencing the minds in the modern media space. The Internet influences everyone and everything, changing attitudes towards theatrical art, as well as contemporary theater criticism and theater journalism. However in this case, it is essential to remember that not the Internet, but only professional theater criticism that has been and remains the breeding ground for the scientific work of theater critics and art historians, while creating the history of dramatic, opera and ballet theater.
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Dergach, M. "PLAYBACK-THEATRE IN THE SYSTEM OF SOCIALIZATION AND RE-SOCIALIZATION OF PERSONALITY." Bulletin of Taras Shevchenko National University of Kyiv. Series “Psychology”, no. 2 (9) (2018): 17–20. http://dx.doi.org/10.17721/bsp.2018.2(9).4.
Full textAbstract:
The article reveals the peculiarities of playback theater as a psychodramatic technique, analyzes the current practice of using playback theater in the system of socialization and re-socialization. The author found that socialization, as a necessary process for interaction with the outside world, is manifested in the assimilation and appropriation of social experience for the purpose of productive functioning in it and to construct an image of the common and own world (as a part of the common), which allows a person to live a life while preserving individuality. and creatively influence the world. Within this provision, playback theater should be regarded as a technology of the paratheater system of dramatherapy, which is relevant at any stage of the socialization of the individual or as a means in the mechanisms of socialization. Playback theater contributes to the development of tolerance for social differences, the acceptance of another with all its features, values. Thanks to him, we learn to listen to understand others, because in the performance the main thing is the story of the viewer, the realization of which is impossible in reality without careful perception. The author has found that playback theater as a paratheater system of drama is a rather interesting and important means of socialization and re-socialization of the personality, it can be used in any group of people to solve problems of a wide range. The article describes in detail the content of the playback theater application, namely: social integration of individual subgroups into society; social and psychological adaptation of personality; social-psychological and therapeutic support for people who are in emotional and psychological state; creation of a more favorable social and psychological climate for the team; social and psychological support in complex events; development of personal qualities of children in educational institutions; social and psychological support of people in recreational activities; playback theater as a means of creating space for social networking. Prospects for further research on the topic of the article are to study the attitude of the audience to the performances of the playback theater, the search for the means of expression of the actors, the impact of playback on the children's audience.