Academic literature on the topic 'National Popular Theater'
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Journal articles on the topic "National Popular Theater"
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Demchenko, Mariia. "MARKETING MANAGEMENT IN THE FIELD OF THEATRE ARTS." Vìsnik Sumsʹkogo deržavnogo unìversitetu 2024, no. 2 (2024): 55–63. http://dx.doi.org/10.21272/1817-9215.2024.2-06.
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Even taking into account the difficult conditions of life in Ukraine, society always strives to restore itself by filling itself with positive emotions. Considering these aspects, the theater industry is still growing even faster than during the pandemic since 2020. Accordingly, today marketing is an important tool for the successful functioning and development of theatrical art, ensuring its accessibility, popularity and financial stability. The purpose of the article is to analyze the effectiveness of marketing management support in the field of theatrical art. The results of the analysis of queries in the Google search network, scientometric databases Scopus and Web of Science confirm the relevance of the researched topic. An analysis of the dynamics of search queries for the period from 2004 to May 2024 showed significant fluctuations in interest in marketing management and theater arts, which were caused by economic crises and the COVID-19 pandemic. After the recovery in 2022, new marketing platforms such as TikTok have contributed to positive changes in the field of marketing management. Geographical analysis shows a predominance of interest in theater arts in Canada, Australia, Great Britain and Ireland, while in China, Brazil, Germany and Ukraine there is a greater interest in marketing management. The author revealed an increase in the level of interest among the scientific community in the field of research into the effectiveness of marketing management in the theater industry. This is evidenced by the general increase in the number of scientific works over the past five years by almost 20%, taking into account the rather wide geography of publishing activity. A competitive analysis of four of the largest and most popular theaters of Ukraine - Lesya Ukrainka National Academic Drama Theater, Ivan Franko National Academic Drama Theater, Solomiya Krushelnytska Lviv National Academic Opera and Ballet Theater and Kyiv National Academic Molodyy Theatre - emphasized the importance of modern marketing strategies and active using social media to successfully promote theater productions.
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Lamb, Susan. "The Popular Theater of Samuel Foote and British National Identity." Comparative Drama 30, no. 2 (1996): 245–65. http://dx.doi.org/10.1353/cdr.1996.0000.
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Wang, Mingjin. "A Comparative Study of Public Art Education by the State Theaters in Korean and China." SHS Web of Conferences 158 (2023): 02008. http://dx.doi.org/10.1051/shsconf/202315802008.
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As a contributor to the construction of a modern public cultural service system, theaters, together with libraries, art galleries, cultural centers, etc., shoulder the social responsibility of public art education. Public art education takes public art service institutions as the carrier. At present, schools are the most popular and developed institutions among public cultural service institutions. With the advancement of socialization, public cultural and art institutions are flourishing. Funded and operated by the government, more and more public institutions bear the social responsibility of public art education in the new era and shape the diversified forms of public arts education. With National Theater of Korea and the National Theater for the Performing Arts as the objects for its research, this paper analyzes the similarities and differences between the measures for public art education in the two countries through a comparative study.
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Banta, Emily. "Agonistic Audiences: Comic Play in the Early National Theater." American Literature 92, no. 3 (September 1, 2020): 429–55. http://dx.doi.org/10.1215/00029831-8616139.
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Abstract This essay considers how rowdy theater audiences contributed to a broader cultural understanding of democratic politics in the early United States, showing how raucous and occasionally riotous theater patrons enacted a form of popular rule that was predicated on the paying audience’s sovereign right to pleasure. Agonistic audiences thrived on the conflictual dynamics of disorder and dissidence, but their unruly practices only rarely devolved into mob violence, precisely because theatergoers largely understood themselves to be at play. I examine various accounts of theatrical disturbance, including Washington Irving’s famous depiction of a disorderly audience, to demonstrate how patrons cultivated a comic mode of sociality, one that foregrounded and maintained the essential playfulness of social contest. Such comic play acknowledged a horizon of popular enjoyment that stood in excess of rational-critical public discourse. The comic mode has long been undertheorized in literary and cultural studies of the early United States, yet it holds key insight into the practices of both early national theater and early national politics. By way of example, I offer a comic reading of Royall Tyler’s The Contrast (1787) that reveals the imprint of the agonistic audience on the repertoire of the period, shedding new light on nineteenth-century genealogies of performance.
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Essien, Edet. "Theater for development in contemporary Nigeria: problems and prospects." International Journal of Humanities and Innovation (IJHI) 3, no. 1 (March 31, 2020): 17–21. http://dx.doi.org/10.33750/ijhi.v3i1.66.
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Theater has become more popular over the years. It is generally known to people as a building designed for the performance of plays, dances, etc. This paper is aimed at espousing the pertinence of theater in national development, especially in a developing African nation-state like Nigeria. In doing this, the paper identifies and discusses the exploitable prospects and problems that go along with the deployment of theater in enhancing Nigeria’s development. The paper concludes that despite the challenges, theater plays a vital role to play towards creating a reliable, effective, and responsive representative institution and in advancing the frontiers of development of the Nigerian society.
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Ioannidou, Eleftheria. "Performative Mo(nu)ments." Fascism 12, no. 2 (December 13, 2023): 117–41. http://dx.doi.org/10.1163/22116257-bja10068.
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Abstract The forms of popular and mass theater developed in Fascist Italy and Nazi Germany reached back to classical antiquity to reinvent theater as a secular rite. At first glance, the use of the theatrical medium is at odds with the classicizing monumentality that characterized the cultural expression of fascist regimes. Theatrical performances are by their very nature ephemeral events; unlike monuments, they do not leave their mark on civic space, and can barely provide a testament to generations to come. Drawing on performance theory and cultural history, the author argues that these antiquity-inspired performances provided powerful sites of re-enacting the myth of national rebirth. Fascist regimes used open-air theaters and forms modelled on Greek theater, whilst also tapping into the notions of performance that had been developed within the traditions of the theatrical vanguard to offer the experience of a reborn past. These performances brought forth grandiose visions of classical antiquity through living bodies and helped to embed the imagined past into a mythicized present. The intertwining between the theatrical medium and classical reception allow us to demonstrate the significance of embodied practices in shaping fascism’s political radicalism.
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Li, Qiang. "Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (October 22, 2023): 56–77. http://dx.doi.org/10.34064/khnum1-67.04.
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Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Italian vocal art to Chinese. Objectives, methods, novelty of the research. In this investigation, we tried to find common and distinctive features in Italian and Chinese musical theater by comparison, as well as to identify the factors that influence the perception of the theater work by the Chinese public. The scientific novelty of the study lies in the fact that for the first time the path taken to adapt Italian vocal art to the Chinese language, the national musical theater and its audience is analyzed, and the role of tradition in this process. The main research method is comparative, with the help of which the common and distinctive features of Chinese and Italian musical theater are revealed; methods of historical musicology and cultural studies were also used. Research results. The development of Italian and Chinese musical theater in certain historical periods took place in parallel, so they have a number of similar typological features. Both Chinese and Italian theaters synthesize different types of art: singing, ballet, visual series (decoration, costumes), dramatic action. At the same time, they are fundamentally different manifestations of theatrical art. In Chinese opera, the visual component is of great importance – costumes, make-up, decor, etc., and the content and plot vicissitudes are deliberately simplified so that the audience is not distracted, but can enjoy the spectacle. The difference of Chinese opera is circus art: the actors had to have acrobatic and fighting skills and impress the audience with them. In Italian opera at the stage of its formation, the visual series was given great importance, but due to the fact that the authors of the first opera models (Florentines) considered as a model the Greek drama with its idea of moral improvement through catharsis, its dramaturgy is radically different from that of the Chinese theater; therefore, tragedies and dramas were not perceived by the Chinese audience who went to the theater to be entertained and enjoy the skill of the actors. For quite a long period after the penetration of European culture, the Chinese public did not perceive works of Western art, treated them as exotic and often did not understand their essence, aesthetics and value in general. The main obstacle was usually the language, but also the content of the theatrical works of European playwrights, translated into Chinese, did not find a response in the audience, despite the rather significant commonality in plots, themes, and issues. The public did not understand complex ideas that were accompanied by dramatic events or had a tragic ending. Conclusion. Italian and Chinese opera have many common features, but differ in their basis, and the Chinese audience did not perceive Western art for so long because of the fundamental difference in the approach to the visual and content aspects. The originality of Chinese theater drama consists in maximum visualization, which distinguishes it from European drama, in which the content is the basis of the work. The formation of modern opera performing art in China took place in the middle of the 20th century, and this process has a distinctive feature: modern national opera in European traditions was created in order to interest the Chinese public, to draw their attention to the new art. The first example of such an opera (yangban xi) – “The White-Haired Girl “(1945), created by the team of authors of the Academy of Fine Arts named after Lu Xin, became popular among the Chinese, which confirmed the correctness of the creative approach that combined European forms and Chinese performance traditions. In addition, the work was adapted for plastic (ballet), screen and traditional theater (xìqǔ) arts. The appearance of such productions contributed to the fact that the public gradually got used to European opera, and today Chinese opera art is widely represented on the national and world stages. In the years since the appearance of the first Western-style national opera, Chinese singers have mastered various classical vocal styles: Italian bel canto, traditional Chinese singing, Chinese bel canto, and now represent their own national vocal school on world stages.
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Butwin, Joseph. "Democracy and Popular Culture Before Reform." Browning Institute Studies 17 (1989): 1–21. http://dx.doi.org/10.1017/s0092472500002637.
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The theatricality of modern politics is an axiom available to every headline writer, every talk show host, and every college professor. National and international politics have become a branch of theater which is a branch of advertising. And most people who bother to note this commonplace complain about it. With the presidency of a movie actor, the headline writers have tended more and more to acknowledge the metaphor that animates their own activity. The press with its words and pictures, the newsreel, and then television have very self-consciously assumed the function of the stage in this century. Politicians step in as its actors while ad agencies produce, and we the people quietly sequestered in our living rooms play an uneasy role as a dispersed and silent audience, the weakest component of a global metaphor that has been with us at least since Shakespeare's time.
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Mally, Lynn. "Exporting Soviet Culture: The Case of Agitprop Theater." Slavic Review 62, no. 2 (2003): 324–42. http://dx.doi.org/10.2307/3185580.
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In this article Lynn Mally examines the efforts of a Comintern affiliate called MORT (Mezhdunarodnoe ob“edinenie revoliutsionnykh teatrov) to export models of Soviet theatrical performance outside the Soviet Union. Beginning with the first Five-Year Plan, MORT was initially very successful in promoting Soviet agitprop techniques abroad. But once agitprop methods fell into disgrace in the Soviet Union, MORT abruptly changed its tactics. It suddenly encouraged leftist theater groups to move toward the new methods of socialist realism. Nonetheless, many leftist theater circles continued to produce agitprop works, as shown by performances at the Moscow Olympiad for Revolutionary Theater in 1933. The unusual tenacity of this theatrical form offers an opportunity to question the global influence of the Soviet cultural policies promoted by the Comintern. From 1932 until 1935, many foreign theater groups ignored MORT's cultural directives. Once the Popular Front began, national communist parties saw artistic work as an important tool for building alliances outside the working class. This decisive shift in political strategy finally undermined the ethos and methods of agitprop theater.
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TYMOFIEIEVA, Yulia. "TRANSFRONTALITY OF LITERARY IMAGES: EXTRAPOLATION OF THE ITALIAN PUPPET HERO PULCINELLA." 7, no. 7 (December 26, 2022): 86–107. http://dx.doi.org/10.26565/2521-6481-2022-7-05.
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The article concerns one of the most important characters of national Italian puppet theatre, the marionette Pulcinella, and its influence on the images of folk heroes of puppet and drama theaters, street performances and literary works in European countries. National invariants of this character in the theaters and literatures of Western and Central Europe from the time of the appearance of this character to the beginning of the twentieth century are highlighted. Due to the expansion of economic and political ties, from the beginning of the 17th century, Pulcinella, together with itinerant artists and puppeteers, begins its transition to most European national folk theaters and literature. Depending on the geography of the country, its national character traits and national stereotypes, Pulcinella changes his image, his name, his behavior, and language. However, what is the most important, each national puppet retains both external and internal features of their original predecessor, Pulcinella. Examples provided in the article prove that most of the national invariants of Pulcinella possess his main character trait, that is, a fight against injustice and fierce criticism of authorities. Such characters as the English Punch, the Dutch Pickelgering, the French Polychenelle and Guignol, the German and Austrian Hanswurth, the Spanish and Portuguese Don Cristobal, the Czech Kaszparek and the German Kasperle invariably pursue two main goals: to protect the wronged and to defeat the evil In each of the countries, the characters created on the prototype of Pulcinella, were warmly accepted by the public and became very popular, especially with common people. At the same time, they differed from the original with their national coloring; they became the mouthpiece of national character traits, national ethnic stereotypes. The article seconds the opinion of many literary scholars that the origins the marionette character of Pulcinella can be traced to the Italian folk theater hero of Maccus, mainly because Pulcinella adopts the features of that ancient character's appearance, such as an irregularly shaped head, a large hump on his back, a hooked nose, a large belly and lively shrewd eyes. With small changes and variations, these features of appearance are received not only by Pulcinella, but also by the numerous national invariants of this character in Europe. However, all these national invariants also preserve the typical traits of Pulcinella's character, such as cockiness, cunning, thirst for justice and victory in an argument. In the 19th century, the Pulcinella marionette ‘returns’ to Italy and transforms into the wooden puppet Pinocchio. Carlo Collodi’s novel becomes so popular that it is translated in many countries of the world, and the new characters modelled on Pinocchio, acquire national features, such as Zeppel Kern by the German writer Otto Julius Birbaum. This begins a new round of Pulcinella's influence on the world culture.
Dissertations / Theses on the topic "National Popular Theater"
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Cook, Patricia Margaret Anne de Gruchy Carleton University Dissertation Canadian Studies. "National cultures and popular theatre; four collective companies in Quebec and Newfoundland." Ottawa, 1986.
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Garlick, Barbara. "Australian travelling theatre 1890-1935 : a study in popular entertainment and national ideology /." Online version, 1994. http://bibpurl.oclc.org/web/19943.
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Torres, Carla Michele Ramos. "Em Cena: o teatro no Centro Popular de Cultura da União Nacional dos Estudantes (CPC da UNE) 1961-1964." Universidade Estadual do Oeste do Paraná, 2008. http://tede.unioeste.br:8080/tede/handle/tede/1740.
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Previous issue date: 2008-08-26This study purposed to analyze the Popular Center of Culture of the national Union of the Students (CPC of the UNE) through the theater, in the period of its actuation between the years 1961 and 1964. The theater works is understood as a way of expression of the cultural practices of the social people from a determined epoch for this reason it presents in this research as an object of study and as historical source. We try to show how the history of this entity was being built during decades, such for researches as for its ex components through registered speeches. This way, when looking at the entity from the present questions, the several authors were appreciating some particulars from this group. To contextualize the theories and the practices of the CPC of the UNE, we examined the documentation produced by the group, such documentation very restricted, and the conceptions developed in the period by its members. We got to the conclusion that the CPC's universe was heterogeneous, it means, there were different concepts of art, of politics and of people. With the intention of amplifying the debates about the national theater and the popular theater, we observed the question which were discussed in Brazil in the epoch before the entity building, to understand its actuation in intellectual spaces, since the end of the 50's. We noticed that the CPC, in spite of the expression CPC of the UNE , didn't appear from the students' projects but from the aspiration which existed in the Arena Theater of amplifying the public and projecting on the stage subjects which expressed the national reality. The CPC's drama was studied with the aim of the comprehension how the authors of the theatrical texts conceived the office of theater. For it, we emphasize in the thematic plays, the characters' the representations, the language, the scene elements and the use of the narrative resource. This dissertation is inserted in the discussion of the popular culture, because in the theatrical works exist political conceptions, definitions of people and aesthetic referral back to an effective communication with the public
Este estudo propôs analisar o Centro Popular de Cultura da União Nacional dos Estudantes (CPC da UNE), no período de sua atuação, entre os anos de 1961 e 1964, através do teatro. A obra teatral é compreendida como uma forma de expressão das práticas culturais dos sujeitos sociais de uma determinada época, por isso ela se apresenta nesta pesquisa como objeto de estudo e como fonte histórica. Procuramos mostrar como a história dessa entidade foi sendo construída ao longo das décadas, tanto por pesquisadores como pelos seus ex-integrantes através dos depoimentos concedidos. Percebemos que os pesquisadores observaram a entidade cepecista através dos questionamentos que estavam vivenciando. Assim, em cada período foram valorizadas certas particularidades desse grupo. Para contextualizar as teorias e as práticas do CPC da UNE examinamos a documentação produzida pela equipe, bastante restrita, e as concepções desenvolvidas no período pelos seus membros. Notamos que no ambiente cepecista havia diferentes conceitos de arte, de política e de povo. Com intuito de ampliar os debates acerca do teatro nacional e do teatro popular, enfatizamos questões em pauta no Brasil no período que antecedeu a formação da entidade no sentido de entender a emergência do CPC da UNE por meio das discussões teatrais promovidas nos setores culturais e intelectualizados, desde os anos finais da década de 1950. Concluímos que apesar da expressão CPC da UNE , essa entidade não surgiu dos projetos estudantis e sim de aspirações de alguns integrantes do Teatro de Arena em ampliar o público teatral e projetar nos palcos abordagens relacionadas à realidade nacional. A dramaturgia cepecista foi estudada com a finalidade de compreendermos como os autores dos textos teatrais estavam concebendo a função do teatro. Para isso destacamos nas peças: as temáticas, as representações das personagens, a linguagem, o emprego de elementos cênicos e o uso do recurso narrativo. A dissertação em tela, está inserida na discussão da cultura popular, uma vez que é possível verificar nas obras teatrais concepções políticas, definições de povo e encaminhamentos estéticos voltados para uma efetiva comunicação com o público
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Vielmas, Violaine. "Cοrrespοndance littéraire et jοurnaux de travail de Jean Vilar : éditiοn, étude et cοmmentaire." Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMR061.
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Cette thèse repose sur une triple démarche éditoriale, génétique et littéraire. Jean Vilar appartient à l'histoire sociale et théâtrale en tant que fondateur et directeur du festival d'Avignon, de 1947 à 1971, directeur du Théâtre national populaire, de 1951 à 1963, comédien, metteur en scène et chef de troupe. C'est aussi un polygraphe dont l'ambition initiale était de devenir écrivain. Cette thèse réfute l'idée de concurrence entre la vocation littéraire et théâtrale. La pratique de l'écriture nourrit celle de la recherche scénique et sa position de directeur alimente une correspondance et un journal de travail au sein desquels s'expriment un style propre, un ton reconnaissable et une vision du monde. La démarche éditoriale repose sur la constitution d'un corpus de 328 lettres, pour la plupart inédites, transcrites, classées et commentées. Elles témoignent des échanges avec les personnalités théâtrales, littéraires, politiques et intellectuelles, de la sortie de guerre aux années 1970. Le journal de travail de Vilar, intitulé « mémento », est transcrit et annoté dans son entièreté, de 1952 à 1970. Il se compose de trois carnets dont seuls le premier et le début du deuxième avaient été publiés. Nous présentons et étudions le troisième, inédit, que Vilar a tenu de sa démission du TNP à sa mort. La démarche génétique consiste à comparer les différentes versions du « Mémento » : du journal de bord initial à sa réécriture. Quel regard l'artiste retiré porte-t-il sur le passé et comment le transforme-t-il ? Quelle image de son œuvre et de lui-même construit-il pour la postérité ? Comment la réécriture de soi hybride-t-elle le journal entre carnet de bord et autobiographie professionnelle ? L'analyse littéraire du corpus consiste enfin à étudier les caractéristiques de la plume d'un Vilar épistolier et diariste pour en dégager la spécificité, fondée sur un mélange de d'exigence professionnelle forte et d'amitié tendreThis PhD thesis follows a threefold editorial, genetic, and literary approach. Jean Vilar holds a prominent place in social and theatrical history as the founder and director of the Avignon Festival (1947–1971), the director of the Théâtre National Populaire (1951–1963), as well as an actor, director, and troupe leader. Additionally, Vilar was a prolific writer whose original ambition was to become an author. This thesis refutes the idea of competition between literary and theatrical vocations. The practice of writing enriches his theatrical research, and his position as director fosters a body of correspondence and work diaries where a distinct style, recognizable tone, and vision of the world emerge. The editorial approach focuses on the creation of a corpus of 328 letters, most of which are previously unpublished, transcribed, classified, and annotated. These letters reflect Vilar’s exchanges with theatrical, literary, political, and intellectual figures from the post-war period to the 1970s. Vilar’s work diary, entitled "Mémento", has been fully transcribed and annotated for the period from 1952 to 1970. It consists of three notebooks, of which only the first and the beginning of the second had been published. This study presents and analyzes the third, previously unpublished, which Vilar maintained from his resignation from the TNP until his death. The genetic approach compares the different versions of the "Mémento", from the initial logbook to its later rewritings. What perspective does the retired artist take on the past, and how does he transform it? What image of his work and of himself does he construct for posterity? How does this self-rewriting blend the journal between a logbook and a professional autobiography? Finally, the literary analysis of the corpus aims to study the characteristics of Vilar’s writing as a letter-writer and diarist, highlighting its specificity, based on a combination of high professional standards and tender friendship
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Edmondson, Laura. "Popular theatre in Tanzania : locating tradition, woman, nation /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Mariano, Maira. "Teatro e engajamento político: a dramaturgia de Paulo Pontes." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-15122015-132619/.
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O objetivo dessa tese é estudar a produção teatral de Paulo Pontes, dramaturgo que atuou na cena teatral brasileira entre as décadas de 1960 e 1970. Assim sendo, serão analisados os seguintes textos teatrais: Opinião (embora escrito em parceria com Oduvaldo Vianna Filho e Armando Costa), Paraí-bê-a-bá, Brasileiro, profissão esperança, Um Edifício chamado 200; Check-up; Dr. Fausto da Silva, Em nome do Pai, do Filho e do Espírito Santo; Madalena Berro Solto e Gota dágua. Paulo Pontes inscreve-se na história do teatro brasileiro em um período politicamente tenso e de luta: em plena ditadura militar. Portanto, fez-se necessário recuperar, além desse contexto histórico, a formação do artista e do homem político, a fim de compreender a interlocução de sua obra com a época. Pretende-se defender a ideia de que a práxis teatral de Paulo Pontes estava intimamente relacionada ao contexto sócio-político brasileiro, assim como às suas convicções políticas. O dramaturgo foi além de seu campo de atuação, assumiu também o papel de intelectual de esquerda, engajado em um projeto nacional-popular de cultura. O teatro, em sua concepção, necessitava adotar a perspectiva popular para compreender a complexidade da realidade nacional. Assim, busca-se contribuir para o reposicionamento deste dramaturgo na história do teatro brasileiro.The purpose of this thesis is to study the Paulo Pontes dramatic production, playwright who staged in the Brazilian theater scene between 1960 and 1970. Therefore, the following dramas are analyzed: Opinião (though written with Oduvaldo Vianna Filho and Armando Costa), Paraí-bê-a-bá, Brasileiro, profissão esperança, Um edifício chamado 200; Check-up; Dr. Fausto da Silva, Em nome do Pai, do Filho e do Espírito Santo; Madalena Berro Solto and Gota dágua. Paulo Pontes is part of the history of Brazilian drama in a politically tense period and conflict: during the military dictatorship. Therefore, it was necessary to recover, beyond this historical context, the formation of the artist and the politician in order to understand the dialogue of his work with the time. It is intended to defend the idea that the Paulo Pontes scenical praxis was closely related to the Brazilian socio-political context as well as to their political convictions. The playwright was beyond their field, also took the leftist intellectual\'s role, engaged in a national-popular project culture. The theater, in his view, needed to adopt the popular perspective to understand the complexity of the national situation. Thus, we seek to contribute to the repositioning of this playwright in the history of Brazilian theater.
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Falcon, Cécile. "Théâtres en voyage : les grandes tournées internationales de la Comédie-Française, du Théâtre national populaire et de la Compagnie Renaud-Barrault, 1945-1969." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30081.
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Après la Seconde Guerre mondiale, la France, affaiblie politiquement et économiquement, développe une politique culturelle extérieure qui utilise les manifestations artistiques, et en particulier les tournées théâtrales, pour assurer le rayonnement de sa culture et de sa langue. Par l’intermédiaire de l’Association française d’action artistique (AFAA), elle envoie de par le monde ses plus grandes compagnies, la Comédie-Française, le Théâtre national populaire de Jean Vilar, et la Compagnie Renaud-Barrault qui devient théâtre national en 1959. Dans un monde façonné par la Guerre Froide, les tournées les plus prestigieuses ont lieu aux États-Unis, en Union Soviétique et en Amérique latine. Le but de cette thèse est de déterminer dans quelle mesure les compagnies théâtrales, instrumentalisées par la diplomatie culturelle française, utilisent aussi ces tournées pour leur propre statut dans le champ culturel français, pour leur économie, ou pour l’affermissement de leur propre identité. La première partie explore les origines et le développement du cadre politique et institutionnel qui a permis la naissance de tournées théâtrales subventionnées et fait du théâtre français un produit d’exportation. Le deuxième mouvement se concentre sur la caractérisation de ce théâtre envoyé à l’étranger, sur son économie et son répertoire. Le troisième temps analyse les différents impacts du déplacement du théâtre à l’étranger. Quelles sont les conséquences possibles de cette situation sur la représentation elle-même et les attentes du public étranger ? Au-delà de la question de la réception, c’est la dimension politique, l’impact esthétique et le rôle symbolique des tournées qui seront mis en lumièreAfter World War II, a politically and economically weakened France develops a cultural foreign policy that uses artistic manifestations, and in particular theatrical tours, in order to ensure the influence of its culture and language. Thanks to the French Association for Artistic Action (AFAA), which was directly supported by the ministry of Foreign Affairs, France sends its greatest theatre companies all over the world, the Comédie-Française and the National Popular Theatre of Jean Vilar, as well as the Renaud-Barrault Company that becomes a national theatre in 1959. In a world shaped by the Cold War, the most prestigious tours take place in the United States, the Soviet Union, and Latin America. This thesis aims at determining to what extent these theatrical companies are not only exploited by the French government for cultural diplomacy, but manage themselves to benefit from the touring system, be that for their own status within the French cultural field, for their own economic solvency, or for the strengthening of their own identity. The first part explores the origins and development of the political and institutional frame that enabled the birth of this system of subsidized, international theatrical tours that made an export out of French theatre. The second part focuses on the characterization of French theatre abroad, on its economy and its repertory. The third section analyses the different impacts of the displacement of theatre abroad. What are the possible consequences on the performance itself and on the expectations of the international audience? Beyond the question of reception, the thesis will shed light on the political consequences, the aesthetic impact and the symbolic role of the tours
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Peslin, Daniela. "Le Théâtre des Nations : (1957-1968) : Premier Festival International de Théâtre après la deuxième guerre mondiale." Paris 3, 2008. https://faraway.parisnanterre.fr/login?url=https://www.vlebooks.com/vleweb/product/openreader?id=UPN&accId=9224405&isbn=9782296214781&uid=^u.
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Le Théâtre des Nations fut le lieu unique de confrontation des créations théâtrales, lyriques et chorégraphiques internationales de 1957 à 1968. Ce plus grand festival de théâtre du monde concentra les forces capables de perpétuer les valeurs du théâtre et de bouleverser les structures traditionnelles du répertoire. Après le traumatisme de la seconde guerre mondiale, il contribua à l’émergence en France et en Europe d’une volonté d’ouverture sur le monde. Il accueillit de grands auteurs qui, par la confrontation de leurs projets sur la scène parisienne, confirmèrent l’existence d’une communauté internationale du Théâtre. Alors inconnus, la plupart sont aujourd’hui les grands maîtres du XXe et du XXIe siècle. En accueillant de même certains créateurs révolutionnaires, il fera souffler un vent de jeunesse et de liberté préfigurant les événements de Mai 68. L’analyse des événements précurseurs permet de comprendre les conditions de son institutionnalisation et la définition de ses trois missions qui ont permis d’explorer en onze ans un champ illimité de culture au bénéfice des professionnels, des artistes et des spectateurs: la découverte des traditions théâtrales majeures venues de quatre continents, la recherche de nouvelles formes scéniques, et la consécration des troupes les plus prestigieuses. L’étude du Théâtre des Nations exige aussi d’adopter une approche sociologique et historique car il fut impliqué dans les grandes questions de l’époque, entre autres la reprise des relations politiques et diplomatiques d’après guerre, et la reconnaissance des droits d’artistes originaires de régimes totalitaires ou d’anciennes colonies. Le plus international de tous les festivals internationaux, le Théâtre des Nations reste ce qu'il a toujours été, un défi au mondeThe Theatre of Nations - Théâtre des Nations - was the unique place of confrontation of international theatrical, lyric and choreographic creations from 1957 till 1968. The biggest festival of theatre in the world concentrated forces able to perpetuate the values of theatre and to change the structures of theatre directory in depth. After the traumatism of World War II, this Festival contributed to launch in Europe a will of opening to the world. By welcoming authors challenging their visions on the Parisian stages, it confirmed the actuality of an international community of theatre. Barely known at the time, most of these authors are today the grand masters of the XXth and XXIst century. By receiving also revolutionary creators, the festival blew a wind of youth and freedom forecasting May 68 events. The analysis of previous similar attempts helps to understand the context of its emergence and the definition of its three missions which allowed exploring in eleven years an endless field of culture for the benefit of the professionals, the artists and the audience: the discovery of the major traditions coming from four continents, the research of new forms of scenic arts, and the consecration of the most prestigious theatre companies. A sociological and historical approach helps also to analyze this phenomenon which was involved in the biggest questions of its time, among them the after war resumption of political and diplomatic relationships, and the recognition of the rights of artists born in totalitarian countries or ancient colonies. The most international of all international festivals remains what it always was, a challenge to the world
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Astier, Aude. "Observatoire, conservatoire, laboratoire : l’institution théâtrale publique en France et en Italie à l’heure du néo-libéralisme et du postmodernisme : le TNS durant l'exercice de Stéphane Braunschweig, le TNP sous la direction de Christian Schiaretti et le Piccolo Teatro dirigé par Luca Ronconi et Sergio Escobar (1999-2014)." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100127.
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Issue d’une volonté démocratique d’émancipation du citoyen et d’élaboration d’une société nouvelle, l’institution théâtrale publique, en France comme en Italie, apparaît à nouveau, depuis le tournant des années 2000, comme en proie à une triple crise (politique, structurelle et artistique) qui permet d’interroger les rapports politiques et symboliques qui se jouent entre l’art et la société à l’intérieur d’un cadre institutionnel aiguillé par une mission de service public. À travers les exemples du Théâtre National de Strasbourg, du Théâtre National Populaire et du Piccolo Teatro de Milan, il s’agit donc d’envisager l’institution théâtrale publique dans l’ensemble de ses acteurs et de ses composantes (esthétiques, politiques, économiques, symboliques, architecturales et sociales) via le prisme des processus et stratégies de justification de leurs directeurs respectifs afin de déterminer et d’interpréter l’évolution des institutions et la transformation des fonctions qu’elles revendiquent et mettent en œuvre. En distinguant les différentes stratégies élaborées par les directeurs, se dessinent les postures adoptées par les artistes et les pouvoirs publics vis-à-vis de la société néo-libérale et des enjeux institutionnels, postures qui s’articulent et répondent à une contamination de la sphère culturelle par la sphère économique. Elles révèlent une scission, accentuée par le rôle donné au spectateur, entre les institutions qui cherchent à compenser cette contamination par la recherche d’interactions et d’expérimentations avec la société et celles qui la déplorent et y répondent par une mise à distance du réel et une concentration sur leur conception de l’art théâtralStemmed from a democratic will of emancipation of the citizen and of working out of a new society, the public Theater, in France as well as in Italy, seems again to be a prey to a triple crisis (political, structural and artistic), since the turning point of 2000. This allows to question the political and symbolic connections which are at stake between art and society within institutional limits led by a public service mission. Through the examples of the “Théâtre National de Strasbourg” (TNS), Villeurbanne’s “Théâtre National Populaire” (TNP) and Milano’s “Piccolo Teatro”, the point is to consider the public Theater with the whole of its participants and constituents (esthetic, political, economic, symbolic, architectural and social) via the prism of their respective managers’ process and strategies of justification, in order to determine and explain the evolution of the institutions and the transformation of the duties they assume and implement. By distinguishing between the various strategies elaborated by the managers, we can give shape to the positions, held by the artists and the authorities towards the neo-liberal society and the institutional issues. These positions are linked and answer a contamination of the cultural sphere by the economic sphere. They reveal a division, increased by the role given to the audience, between the institutions, which try to compensate this contamination by ways of interactions and experimentations with the society, and those, which deplore this situation and answer it by standing aloof from reality and focusing on their conception of dramatic art
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Smith, Tamara Leanne. "Too foul and dishonoring to be overlooked : newspaper responses to controversial English stars in the Northeastern United States, 1820-1870." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-921.
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In the nineteenth century, theatre and newspapers were the dominant expressions of popular culture in the northeastern United States, and together formed a crucial discursive node in the ongoing negotiation of American national identity. Focusing on the five decades between 1820 and 1870, during which touring stars from Great Britain enjoyed their most lucrative years of popularity on United States stages, this dissertation examines three instances in which English performers entered into this nationalizing forum and became flashpoints for journalists seeking to define the nature and bounds of American citizenship and culture. In 1821, Edmund Kean’s refusal to perform in Boston caused a scandal that revealed a widespread fixation among social elites with delineating the ethnic and economic limits of citizenship in a republican nation. In 1849, an ongoing rivalry between the English tragedian William Charles Macready and his American competitor Edwin Forrest culminated in the deadly Astor Place riot. By configuring the actors as champions in a struggle between bourgeois authority and working-class populism, the New York press inserted these local events into international patterns of economic conflict and revolutionary violence. Nearly twenty years later, the arrival of the Lydia Thompson Burlesque Troupe in 1868 drew rhetoric that reflected the popular press’ growing preoccupation with gender, particularly the question of woman suffrage and the preservation of the United States’ international reputation as a powerfully masculine nation in the wake of the Civil War.
Three distinct cultural currents pervade each of these case studies: the new nation’s anxieties about its former colonizer’s cultural influence, competing political and cultural ideologies within the United States, and the changing perspectives and agendas of the ascendant popular press. Exploring the points where these forces intersect, this dissertation aims to contribute to an understanding of how popular culture helped shape an emerging sense of American national identity. Ultimately, this dissertation argues that in the mid-nineteenth century northeastern United States, popular theatre, newspapers, and audiences all contributed to a single media formation in which controversial English performers became a rhetorical antipode against which “American” identity could be defined.text
Books on the topic "National Popular Theater"
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Vilar, Jean. Jean Vilar: Du tableau de service au théâtre : notes de service de Jean Vilar. 2nd ed. Bruxelles: P.L.B.L.F., 1985.
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Vilar, Jean. Jean Vilar: Du tableau de service au théâtre. 2nd ed. Louvain-la-Neuve: Cahiers théâtre Louvain, 1985.
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Bataillon, Michel. Un défi en province: Planchon. Paris: Marval, 2001.
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Tŏk-chun, Chŏng, ed. Hanʾguk ŭi taejung munhak. Sŏul-si: Sohwa, 2001.
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Chŏng-ok, Sin, and Sin Hyŏn-suk 1944-, eds. Hanʾguk esŏ ŭi sŏyang yŏnʾgŭk: 1900-yŏn-1995-yŏn kkaji. Sŏul-si: Sohwa, 1999.
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1962-, Kim Chae-han, ed. DMZ. Sŏul-si: Sohwa, 2000.
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1959-, Kim Wŏn-dong, and Pak Chun-sik 1960-, eds. Punkwŏn kwa hyŏksin. Sŏul-si: Sohwa, 2004.
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Hong-u, Kim, and Hong Kwang-yŏp, eds. Kachʻi wa Hanʾguk chŏngchʻi. Sŏul-si: Sohwa, 2005.
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Nam-sun, Hŏ, ed. Hanʼguk ŭi adong pokchipŏp. Sŏul-si: Sohwa, 2002.
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1947-, Chang Tae-hong, ed. Kyŏngje sahoe kujo wa pokchi. Sŏul: Sohwa, 2003.
Find full textBook chapters on the topic "National Popular Theater"
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Hoogland, Rikard. "Transnationality: An Advantage or a Hindrance for a Career in Theatre? Swedish Actors in Finland, the Struggle for National Independence, and the Question of Language on Stage." In European Theatre Migrants in the Age of Empire, 173–91. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-69836-1_9.
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AbstractIn a time of rising nationalism and the struggle for independence in Finland at the end of the nineteenth century and the beginning of the twentieth century, theatre became a popular tool for the introduction of a transnational and bilingual identity encompassing Finnish and Swedish as stage languages. Because the Finland-Swedish variant of Swedish had long been dismissed as not being a proper stage language, native Swedish actors were engaged to ‘purify’ the Swedish language on Finland’s stages and help gain acceptance for bilingual theatres. Several of these actors and actresses migrated from Sweden to Finland and became part of the development of the Swedish-speaking theatre. This chapter follows two of these Swedish actors, who were both engaged at the Swedish-speaking national theatre in Helsinki (Svenska Teatern): Ernst Ahlbom and Karin Swanström. Their professional biographies are—as will be shown—a testament to both the transnational character of Scandinavia at the time and the parallel process of nation-building and the construction of national imaginaries through and within the theatre.
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Koski, Pirkko, and Kayleigh Töyrä. "Popular and commercial elements and National Theatre press debates." In Finland's National Theatre 1974–1991, 187–95. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003047667-16.
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Kruger, Loren. "Attending (to) the National Spectacle: Instituting National (Popular) Theater in England and France." In Macropolitics of Nineteenth-Century Literature, edited by Jonathan Arac and Harriet Ritvo. Philadelphia: University of Pennsylvania Press, 1991. http://dx.doi.org/10.9783/9781512800371-011.
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Brennan, T. Corey. "Popular and Revolutionary Fasces." In The Fasces, 136–55. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197644881.003.0009.
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Abstract In the seventeenth and eighteenth centuries, theater and pageants played an especially powerful role in communicating the basic nature and functions of the fasces. In France, the emblem was familiar enough that after the storming of the Bastille in July 1789, the revolutionaries almost immediately chose the fasces as a symbol of their movement’s strength, power, commitment to justice, unity, and—with a conscientious nod to the tradition on the insignia in Rome’s Republic—dependence on the assent of the people. When combined with a Roman freedman’s cap, they meant for the fasces to connote liberty, too. In 1792, in a first for any nation, the fasces figured in the semi-official seal of the new revolutionary state. The spirit of revolutionary coin types with fasces had a certain influence in the Americas even beyond France’s colonies in the New World, finding a place on the money of Mexico (1823–1863), then Ecuador and Chile (after 1830). In North America, it was the distinctly non-Roman theme of the fasces representing unity that prevailed, facilitated by the Second Continental Congress’s decision in August 1776 to adopt e pluribus unum (Latin for “out of many, one”) as a national motto. Though the new nation’s official seal (adopted 1782) did not include the fasces, it soon featured prominently in the repertoire of patriotic images, including an official place in American political life when the House of Representatives in 1789 adopted a fasces-like mace to serve as the badge of its sergeant-at-arms.
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Rosenthal, Laura J. "All Roads Lead to Rhodes." In Ways of the World, 19–53. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501751585.003.0002.
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This chapter explores the reopened theater with particular attention to William Davenant. He transformed English theater in significant ways. Restoration theater artists not only intensified onstage explorations of an increasingly interconnected global network, but also defended the revived theater as more sophisticated than a posited barbaric past. Further, they understood theater as a mechanism for national refinement. Davenant became the most successful advocate for this vision, arguing for the positive effects of theater through its capacity to help England emerge from its crude provincial past and match the more advanced European and Asian empires. The Siege of Rhodes transformed theatrical possibilities, featuring moveable scenery, a new genre (the heroic), and the professional actress. At the moment of the Stuart restoration, after defeat and exile, it also marked the first English stage representation of an admirable Ottoman Empire. Davenant's production flattered, but also revealed the vulnerabilities of the restored monarch's cosmopolitics. Even though the play features the defeat of Christians at the hands of Ottomans, The Siege does not promote fear or hatred, but rather envy of this empire's sophistication and power. Ottomanphilia became fashionable in the Restoration. Charles II wore Eastern clothing to the opening of Roger Boyle's play Mustapha. Davenant's immensely popular Siege of Rhodes inaugurated, a new form of cosmopolitanism that promoted the widespread consumption of global objects and ideas as signs of sophistication.
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Dobrenko, Evgeny. "Introduction." In Late Stalinism, 1–34. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300198478.003.0001.
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This chapter provides a cultural and intellectual history of the era in which the shaping of the Soviet nation was completed. It talks about the era when mental and cultural dominants that determined the character of Russia were definitively affirmed. It also looks into cultural texts of literature, theater, cinema, art, music, scientific and historical texts, and popular literature through which history reveals its internal logic. The chapter analyzes Stalinism that communicated the new agenda, gave the new political course form through media, and inculcated the new ideological modulations. It explores the prism of Soviet art in order to trace the political and ideological transformation of the Stalinist regime from revolutionary international utopianism to conservatively patriarchal national Bolshevism.
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Lambright, Anne. "Dead Body Politics." In Andean Truths, 88–106. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382516.003.0004.
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This chapter examines the theatrical interventions by Grupo Cultural Yuyachkani, Peru’s premier popular theater collective, at the CVR’s public hearings in Huanta and Huamanga. From an established repertoire on Peruvian cultural heterogeneity, ethnic and gendered violence, and the war, Yuyachkani presented two plays whose protagonists are dead (one indigenous male, one mythic female) and called upon more (indigenous) dead when creating new pieces to accompany the endeavor, suggesting that after years of sustained—real and symbolic—violence, only the dead can embody the national situation, serve as the nation’s memory, and bridge individual and collective trauma. Challenging the therapeutic efforts of the CVR, dead bodies of marginalized subjects, and their ghosts, serve to explore collective and individual trauma, and mediate between the people and the state.
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Siegel, Joel E. "Jazz Singing: Between Blues and Bebop." In The Oxford Companion To Jazz, 220–34. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0018.
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Abstract Debates about what constitutes jazz singing, and which vocalists should be embraced by or excluded from the jazz community, have raged for decades. Earlier in the century such definitions and discriminations were of less consequence. From the mid-’20s through World War II, American music evolved and flourished in a myriad of over-lapping styles-folk, gospel, blues, jazz, musical theater, swing, and Tin Pan Alley ballads and novelties. These two decades of artistic ferment and fusion were, arguably, the most fertile epoch in the development of our national popular music. In such a fecund era, there was little need or time for categories. If Al Jolson, who derived his style from vaudeville and minstrel shows, could be celebrated as “the jazz singer,” it’s evident that the term has never been precisely defined. Some singers (Ethel Waters, Bing Crosby) began performing and recording with jazz accompaniment, then expanded their horizons (and downplayed the jazz elements) to conquer Broadway, Hollywood, and the Hit Parade. Others (Annette Hanshaw, Lee Wiley) grew increasingly influenced by jazz musicians as their careers evolved.
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Fulcher, Jane F. "Wartime Nationalism, Classicism, and Their Limits." In The Composer as Intellectual, 19–85. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195174731.003.0002.
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Abstract On 16 December 1915, the director of the recently reopened Paris Opera displayed his political acumen to a government still skeptical of opera’s relevance in wartime. Drawing on innovations in his own private theater, Jacques Rouche mounted a seemingly anodyne work, resembling classic “Opera-ballet” and bearing the pallid title of Mademoiselle de Nantes.1 The production, in reality, was ingenious-a brilliant departure in wartime propaganda-not through blatant “brainwashing” but through means far more powerful for being so insidiously indirect. Central to the work’s scenario is a concert with musicians and audience dressed in period costume; the former are presenting a performance of French music before the grandchildren of Madame de Montespan. More specifically, the eighteenth-century progeny of this famous mistress of Louis XIV are listening to selections of Lully and Charpentier which illustrate the birth and growth of opera in France. The “homology” between the performances here was charged: the audience that was present in the opera was being manipulated astutely toward identification with what was being represented on the stage. The concert depicted historically was instilling national memory as well as cultural identity, creating a sense of its unity and continuity as the patrimony of all future generations. So too was the performance at the Opera: the audience in the theater was witnessing its own past on the stage and, in identifying with the historical audience, imbibing the same lesson of French identity and tradition. Its heritage, it learned, was classic; in addition, since the illustrious days of Louis XIV it has been bound instrumentally to state power, defining the French community and insuring its prestige. In this and similar productions Rouche inserted the Opera into a network of wartime propaganda through clever mediation, or the attempted control of the production of meaning. This included popular culture as well, for, as French cultural officials understood, different levels of culture offered different “modes” of understanding and had to be surveilled in distinctive ways.
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Crease, Stephanie Stein. "Introduction." In Rhythm Man, 1—C0P22. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190055691.003.0001.
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Abstract This book is the first complete biography of William Henry “Chick” Webb (1905–39), innovative drummer and bandleader in Harlem, who ushered an unknown teenage vocalist named Ella Fitzgerald to national fame during the Swing Era, when his big band became one of the most popular in the country. Webb was born in East Baltimore and had spinal tuberculosis as a child, leaving him only four feet tall with a hump on his back. He moved to Harlem in 1925, in the midst of the Harlem Renaissance, and, thanks to Duke Ellington, formed a dance band that became one of the top Black big bands of the 1930s as house band at Harlem’s trendsetting Savoy Ballroom, home of the Lindy Hop and legendary “big band battles.” Webb’s band also performed at the Apollo Theater and toured frequently. He was one of the most influential drummers of the Swing Era to Gene Krupa, Jo Jones, and younger drummers like Max Roach and Art Blakey, and others later on. Several of his early hires, in addition to Ella Fitzgerald, have had a lasting impact on American jazz and pop music. Webb’s life was cut short when chronic illness finally overcame him at age thirty-four. He died in June of 1939 at the beginning of an East Coast tour, at the peak of his band’s success.
Conference papers on the topic "National Popular Theater"
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Zabelina, Daria. "THE REVIVAL OF THE PHILIPPINE NATIONAL THEATER — KOMEDYA." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.39.
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Komedya, or moro-moro, is a genre of the Philippine national theater that was flourishing from the second half of the 17th century until the second half of the 19th century. The genre formation was a part of catholic missioners propaganda activities. In time, komedya became the most popular dramatic genre in colonial Philippines. The common features of komedya are: 1) the central theme of komedya is fight between Christians and Muslims, where Christians always win; 2) actions described in komedya never take place in the Philippines, but in an exotic country, for instance in Turkey or in Armenia; 3) Spanish missioners played an important role in the formation of the genre; 4) komedya is the national theater; 5) komedya is a secular genre as adventures dominate over the religious motives. In the middle of the 19th century komedya was criticized by the most progressive Filipinos for being extravagant, lacking logic and not touching upon current Philippine problems. By the beginning of the 20th century komedya was not staged anymore almost everywhere in the Philippines. Its place was taken by the other genres. A number of actions to bring komedya back to its former popularity have been undertaken from the 1970s with the great support of the cultural center of the Philippines and University of the Philippines. It is important to mention that the genre is being changed in order to correspond the needs of the modern Philippine society. For example, the Muslim conflict is not the main topic of the modern Philippine national play as it contradicts the national policy of the Philippines.
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Ayala, Susana. "Becoming the Puppeteer: Reflections on Global Language and Culture by Puppetry Students in Yogyakarta, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-6.
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Puppet theater on the island of Java is an ancient art which has maintained some of its characteristics considered traditional, but has also been transforming innovations such as the wayang with hip-hop music among other popular expressions. The art of puppetry has also been institutionalized and is itself a degree program at the National Institute of Arts of Indonesia. In this paper, I show the outcomes of my research among students and shadow puppet art teachers in Java, Indonesia. There are two special characteristics in training puppeteers: The main use of Jawanese language and the development of communities of practice as ways of working in the teaching and learning process. As such, these contexts motivate students to be constantly reflecting on the Javanese language and culture. I note the process and the reflections of the participants on the Javanese language shift, and the uses of language in puppet performances which consider the reception of young Javanese. To analyze the data, I draw from fieldwork and interviews, I use the theoretical concepts of discursive genres and dialogism proposed by Bakhtin and I propose that the art of puppetry is a social field that encourages vitality and linguistic diversity on the island of Java.
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ROMAN, Diana. "The Actor, Between the Self from Theatre and the Other from Music." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.
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The worlds of music and theatre have been brought together under the sign of scenic creation since the origins of the appearance of the theatre, the interdisciplinary artistic dialogue between the two arts sharing common aesthetic, psychological, psycho-social landmarks. The interactions between these worlds gave birth, finally, going through different forms and long searches, to the most original and popular theatre genre, the Musical. At the same time with technology and the digital revolution, live music, the orchestra, the musicians present on the stage of the theatre, were replaced with recordings, original stage music faces increasingly rare performance in theaters. The amazing intersection of theatre and music must be seen as a matter of course. My research will focus on the analysis of the fragile relationship between identity and alterity in the case of a few artists at the congruence between theatre and music (Ada Milea – A lost letter in concert, The Explorer, Chirița in concert, Răzvan Mazilu – Cabaret, Maria de Buenos Aires, Bobo Burlăcianu – Cats, The City, Metamorphosis, Alexander Hausvater – The Machine. Musical, Ada Lupu-Hausvater – Hamlet, Tibor Càri – The little prince). If a few years ago shows like Rocky Horror Show by Alexander Hausvater were considered original or controversial precisely because they skilfully crossed the boundaries between theatre and music, today we realize that the hybrid genre is also on an upward trend in terms of public taste (proof is The Young Actor`s Gala 2022 theme) and dramaturgy (Eugen Rotaru – Musical Theatre Plays), and of actors with professional training in both fields, tempted by the border between the arts. The cocreation experiences between the actor and the musician also bring with them important pedagogical aspects, resulting in an improvement of the work of each individual artist. The requirement to constantly search for new ways of artistic expression remains important, wich inevitably brings together artists from different art forms.
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Marushiakova, Elena, and Vesselin Popov. "Images and Symbols of the Gypsies (Roma) in the Early USSR." In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.6-2.
Full textAbstract:
The October Revolution and the subsequent creation of the USSR, located on a vast area in Eurasia, was a spectacular historical attempt to create a ‘new society,’ characterised by radical changes in all social and cultural spheres, as well as the creation of new, Soviet symbolisms. This general historical context reflected on all spheres of life, including the state policy towards the Gypsies (labelled today as Roma), which was particularly active in the 1920s and 1930s. The name ‘Gypsies,’ which was used at that time, is more appropriate in our case, because in this general category, in addition to Roma (living scattered throughout the USSR), several other communities either did not identify as Roma or were not Roma by origin (Dom and Lom in the South Caucasus region, and the Lyuli or Jugi in Central Asia), but all shared Indian origin. Soviet policy towards the Gypsies had various dimensions, including codification of the Romani language, creation of Gypsy national literature and of a Gypsy national theater, Gypsy schools, Gypsy collective farms, and artisan’s artels. Along with this, new public images and symbolisms related to the Gypsies were created, and were presented in various forms in the USSR itself and broadcast to the West for propaganda. The new Soviet Gypsy symbolisms, were, using Stalin’s popular formulation of Soviet literature as an analogy, ‘national in form and socialist in content.’ Based on this formulation, the two main directions in which these images and symbols were developed and popularised were determined – firstly, based on the ancient social and cultural traditions of the Gypsies, and, secondly, in the presentation of the new, socialist dimensions which were occurring in their lives. In the synopsis, we will analyse examples of public images and symbols, distributed through various channels – photographs in the press (Gypsy and mainstream), the layout and illustrations of books, posters, stage plays, movies, etc. – covering both indicated directions. At the same time, we reveal how this new symbolism affected the Gypsy community and Soviet society as a whole, as well as a wider dimension, outside the USSR, including that of the present-day. Part of this symbolism (of the first type) is presently used, in a modified form, in digital spaces, mostly by various Roma organisations worldwide creating a new virtual world of Pan-Roma unity.