Journal articles on the topic 'Pictures in the theater'
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Wicks, Frank. "Picture This." Mechanical Engineering 126, no. 07 (July 1, 2004): 32–35. http://dx.doi.org/10.1115/1.2004-jul-3.
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This article highlights that the adage, a picture is worth a thousand words, is a flawed understatement. Our memories, knowledge, and opinions rely heavily on pictures. Words can only provide an explanation to information contained in a good picture. Time always moves forward, but a picture allows us to look back to some prior moment in time. Photography, which means writing with light, would require replacing the artist’s paper with a chemically coated screen, exposing the screen to the image, and then stabilizing the resulting picture. The first practical photographic process was announced in France in 1839 by Louis Daguerre, who had achieved fame as a designer of theater stages and lighting effects. George Eastman built a magnificent Colonial Revival Mansion on East Avenue in Rochester in 1905. It is a National Historic Landmark and is chartered by the State of New York as the International Museum of Photography and Film. It displays a rare collection of photographs, cameras, projectors, books, and motion pictures.
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Langworthy, D. ""LISTEN TO THE PICTURES"-ROBERT WILSON & GERMAN THEATER CRITICISM." Theater 23, no. 1 (December 1, 1992): 35–40. http://dx.doi.org/10.1215/01610775-23-1-35.
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Jannarone, Kimberly. "Jarry's Caesar Antichrist and the Theatre of the Book." New Theatre Quarterly 25, no. 2 (May 2009): 121–36. http://dx.doi.org/10.1017/s0266464x09000220.
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The familiarity bred by the notoriety in its own times of Alfred Jarry's Ubu Roi has been accompanied by neglect for his other work, especially that which seems of peripheral interest to the theatre practitioner. In this article, Kimberly Jannarone argues that his earlier Caesar Antichrist falls into the unusual category of ‘a piece of theatre not intended for the stage’ – apparently unstageable, yet not a closet drama since, in Jarry's scrupulous care for its published form, he created his own ‘theatre of the book’, anticipating the later modernist use of collage while also demonstrating in words and pictures his ‘pataphysical’ interest in the dialectics of opposites. Kimberly Jannarone received her MFA and DFA from the Yale School of Drama, and is currently teaching in the Department of Theater Arts at the University of California, Santa Cruz. She wrote on ‘Puppetry and Pataphysics: Populism and the Ubu Cycle’, in NTQ67 (2001).
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Smekalin, I. "Movies That Change Lives. Evaluating the Social Impact of Motion Pictures and the Practice of Evidence in Filmmaking." Positive changes 3, no. 2 (June 23, 2023): 28–38. http://dx.doi.org/10.55140/2782-5817-2023-3-2-28-38.
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Cinema is one of the most popular art forms among people of all ages. Just like music, theater, architecture, literature or painting, cinema certainly has an impact on people. At the same time, it has the capability to not just draw attention to social problems, but also to change people’s attitudes and behaviors — thus changing the world as a whole. This article provides an overview of various approaches to researching social impact of motion pictures and raises a number of important issues related to the current state of the impact assessment industry in motion pictures.
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Yurganov, Andrei L'. "On the original version of the play "Fear" by Stalinist playwright Alexander Afinogenov. 1930s." Herald of an archivist, no. 2 (2024): 480–94. http://dx.doi.org/10.28995/2073-0101-2024-2-480-494.
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The article examines the work of Stalinist playwright Alexander Nikolaevich Afinogenov (1904-1941) through the prism of his complicity in the ideological campaigns of the Bolshevik Party. The study of the impact of party-state ideology on the broad masses of people during the Stalinist era is a priority direction of historical science. However, this direction needs further thematic and problematic expansion. The ideological campaigns of the Bolshevik Party in the 1930s found their artistic expression on the theatrical stage, in the plays of the most famous playwrights. This interaction between propaganda and theater art has not been studied sufficiently. There are practically no generalizing works. This is partly due to the fact that sufficient empirical material has not yet been accumulated. Almost every play by A. N. Afinogenov corresponded to one or another vector of the ideological struggle of the All-Union Communist Party of Bolsheviks. The play "Fear" (1931), which became a full-scale artistic expression of one of the most powerful ideological campaigns conducted by the Bolshevik Party until the time of the "Great Terror" - the campaign to "purge" state and party organs, is of particular interest. The original manuscript of this play, found in the Moscow Art Theatre Museum, significantly expands the understanding of how the play was understood by contemporaries. The initiator of the changes in the text of the play was K. S. Stanislavsky, who persuaded A. N. Afinogenov to introduce the figure of the "investigator" into the play. A. N. Afinogenov significantly remade the main pictures of the play - the eighth and ninth, in fact, they were rewritten anew. The play "Fear" was staged in two theaters - in the State Drama Theater (Leningrad) and in the Moscow Art Theater (Moscow). In Leningrad, where the performances began earlier than in Moscow, they used the original text of the play (at least until the end of 1931), and in Moscow used the revised version. This in no way contradicted A. N. Afinogenov, the playwright, who saw his work as a continuation of the ideological struggle in the artistic images of Soviet dramaturgy. In the found original version of the play and in the revised version there are different accents in the characterization of the characters of the play (in the eighth and ninth pictures, the final ones). But it was not the artistic side of the theatrical work that mattered, but the ideological basis, the meaning of which in both editions was reduced to the most important postulate of totalitarianism - to recognize the class basis of morality, to renounce oneself, one's views, one's "own" science, to erase one's former life in order to enter the "objective" state of collective unanimity without one's own personality.
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Hennig-Thurau, Thorsten, Victor Henning, and Henrik Sattler. "Consumer File Sharing of Motion Pictures." Journal of Marketing 71, no. 4 (October 2007): 1–18. http://dx.doi.org/10.1509/jmkg.71.4.001.
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Illegal consumer file sharing of motion pictures is considered a major threat to the movie industry. Whereas industry advocates and some scholars postulate a cannibalistic effect on commercial forms of movie consumption, other researchers deny this effect, though sound evidence is lacking on both sides. Drawing on extant research and utility theory, the authors present hypotheses on the consequences and determinants of consumer file sharing and test them with data from a controlled longitudinal panel study of German consumers. The data contain information on the consumers' intentions toward and actual behavior in relation to the consumption of 25 new motion pictures, allowing the authors to study more than 10,000 individual file-sharing opportunities. The authors test the effect of file sharing on commercial movie consumption using a series of ReLogit regression analyses and apply partial least squares structural equation modeling to identify the determinants of consumer file sharing. They find evidence of substantial cannibalization of theater visits, DVD rentals, and DVD purchases responsible for annual revenue losses of $300 million in Germany. Five categories of file-sharing behavior drive file sharing and have a significant impact on how consumers obtain and watch illegal movie copies.
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Hennig-Thurau, Thorsten, Victor Henning, Henrik Sattler, Felix Eggers, and Mark B. Houston. "The Last Picture Show? Timing and Order of Movie Distribution Channels." Journal of Marketing 71, no. 4 (October 2007): 63–83. http://dx.doi.org/10.1509/jmkg.71.4.063.
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Movies and other media goods are traditionally distributed across distinct sequential channels (e.g., theaters, home video, video on demand). The optimality of the currently employed timing and order of channel openings has become a matter of contentious debate among both industry experts and marketing scholars. In this article, the authors present a model of revenue generation across four sequential distribution channels, combining choice-based conjoint data with other information. Drawing on stratified random samples for three major markets—namely, the United States, Japan, and Germany—and a total of 1770 consumers, the empirical results suggest that the studios that produce motion pictures can increase their revenues by up to 16.2% through sequential distribution chain timing and order changes when applying a common distribution model for all movies in a country and that revenue-optimizing structures differ strongly among countries. Under the conditions of the study, the authors find that the simultaneous release of movies in theaters and on rental home video generates maximum revenues for movie studios in the United States but has devastating effects on other players, such as theater chains. The authors discuss different scenarios and their implications for movie studios and other industry players, and barriers for the implementation of the revenue-maximizing distribution models are critically reflected.
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Stamm, Michael. "Watching News in Public: The Rituals and Responses of Newsreel Theater Audiences." JCMS: Journal of Cinema and Media Studies 63, no. 2 (January 2024): 96–118. http://dx.doi.org/10.1353/cj.2024.a919193.
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abstract: From roughly 1930 to 1950, newsreel theaters played important roles in urban and film cultures. These small (200- to 600-seat) theaters showed hour-long loops of news that patrons could drop into from morning to midnight. Some aspects of the newsreel theater experience extended the rituals of nickelodeon spectatorship of earlier decades, and others predated the post–World War II development of television news consumption. Newsreel theaters allowed patrons to pass the time watching motion picture news, and they became politically charged spaces offering ways for people to watch and react vocally to the news in public as members of groups.
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Kumb, Florian, and Reinhard E. Kunz. "Winner-Takes-All”: Influencing Factors of the Post-Theatrical Supply and Demand in Motion Picture Exhibition." Journal of Creative Industries and Cultural Studies 8 (2017): 77–117. http://dx.doi.org/10.56140/jocis-v8-4.
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The post-theatrical exhibition has become essential for motion pictures to break even. Nevertheless, besides the first attempts to study TV broadcasters and streaming providers as release windows, academic research in marketing has concentrated primarily on the initial theat-rical release. This article examines factors influencing supply and demand during the sequential release process of the motion picture industry. The authors build a modelling framework to ana-lyze the drivers resulting in comprehensive supply and strong demand in major exhibition win-dows (i.e., during the home video, video-on-demand, and free-to-air TV exhibition). They esti-mate the conceptual model of regressions using market data from Germany, including all 5 200 theater-released motion pictures between 2005 and 2014. The authors expand the existing suc-cess-breeds-success theory and use a winner-takesall theory to explain market supply and de-mand in sequential distribution. The results reveal a limited set of influencing factors (e.g., word-of-mouth communication or certain genres) that increase the probability of comprehensive exhibition and strong demand. Other influencing factors depend on the exhibition window (e.g., age ratings). The results add to existing theories of sequential distribution and can help research-ers and managers improve movie-specific exhibition strategies.
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Holman, Tomlinson. "Motion picture theater loudspeaker system." Journal of the Acoustical Society of America 81, no. 5 (May 1987): 1662. http://dx.doi.org/10.1121/1.395048.
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Dalila, Syina, Setyo Yanuartuti, and Indar Sabri. "Aesthetic Experience in Theatre in Non-Formal Education: a Review of Creativity Theory." Jurnal Kreativitas Pengabdian Kepada Masyarakat (PKM) 6, no. 7 (June 25, 2023): 2723–37. http://dx.doi.org/10.33024/jkpm.v6i7.10002.
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ABSTRACT Failure to foster creativity in learners from an early age will complicate their development at the next age level. This failure can occur due to misconceptions that art teaching should be oriented towards the process and aesthetic experience of learners, but also leads to the demand to become proficient in certain areas of art. An interesting phenomenon is found in the case of non-formal education which is more flexible in managing learning. This study focuses on the review of creativity theory on aesthetic experience in theater distribution in non-formal education. This study aims to find patterns of creation in students in theater learning and the role of educators in providing aesthetic experiences of students through theater learning. Aesthetic experiences in learners are essential to provide in order to achieve meaningful learning. This study uses a qualitative approach to obtain a comprehensive picture of the subject matter, with techniques of collecting data on interviews, observations, and documentation about theater learning in the Banyuwangi Courtyard Theater community. By applying the approach of Miles and Huberman, data analysis techniques are carried out to bring up facts that can provide a more specific view of the phenomenon discussed. Activities in qualitative data analysis are carried out interactively and take place continuously until complete. As a result, the pattern of creation in students in theater learning is a spontaneous response they get in a fun learning. While the role of educators in providing aesthetic experiences to students through theater learning is by fostering student creativity through a psychic approach and recognizing their potential and weaknesses. After educators understand the character of students, then educators can develop appropriate learning strategies, methods, and theories to create a meaningful learning process for maximum outcomes. Keywords: Aesthetic Experience, Theatre, Learning, Creativity, Non-formal Education
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Sendetskyi, Andrii. "Cultural and artistic dialogue of ukrainian theaters in polish periodicals at the beginning of the 21st century." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 23 (2022): 131–43. http://dx.doi.org/10.34079/2226-2849-2022-12-23-131-143.
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The paper gives an analysis of articles, reports, and reviews of specialized Polish periodicals from 2000 to 2010, which include interviews, reviews, impressions, and comments of theater experts about contemporary cultural and artistic events in Poland in which Ukrainian artists participated. To fulfill the tasks set in the research, the author considers the main theatrical magazines of Poland “Dialog. Miesięcznik poświęcony dramaturgii współczesnej”, “Didaskalia”, “Pamiętnik Teatralny”, “Scena”, “Teatr”, which have had a long history of activity since the last century. The analytical work of the study is part of the preparatory stage before digitizing the materials on the Ukrainian-Polish cultural dialogue and placing them in the Polish Academy of Sciences database. The current issue requires improving the content in the virtual information environment regarding the creative activity of Ukrainian theaters. Accumulation, storage, and research of available information in electronic format will enable immediate processing and speed up the solution of many current problems: visualize the quantitative indicators of the institution's activity; make it possible to forecast its development; contribute to the search for effective ways of functioning. The author considers that a significant unsolved aspect of the problem is the lack of research into the Ukrainian-Polish cultural-artistic dialogue, which concerns theatrical practices at the beginning of the 21st century. The fact justifies the originality of the research, as there has been no study of Polish periodicals on theater studies, whose publications reflect the activities of Ukrainian artists. The chronological framework in the study is essential, as it was marked by important political events in both countries: 2004, when Poland joined the European Union, and in Ukraine, the Orange Revolution. The preliminary result of the analysis of Polish theater publications illustrates a specific direction of each of them and is the basis for determining their thematic direction: retrospectives, festival events, and creative meetings; biographies of personalities and discovery of new names; literary reviews. The activity of Ukrainian actors and theater groups in the artistic life of Poland is one of the indicators of the work of governmental cultural diplomacy and personal contact between the two countries, which determines the strengths and weaknesses of international relations. Further investigation of the phenomenon will make it possible to trace the dynamics of international communication ties of the period recorded in theater journals. In the future, the author aims to explore similar information in mass media (press, television, websites) and conduct interviews in focus groups (theatre administration, theater critics, ambassadors). Such a comprehensive systemic approach will contribute to the demonstration of a complete and accurate picture of the Ukrainian-Polish cultural and artistic dialogue on the example of theatrical practices.
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Winter, Scarlett. "Zwischen gemalter Poesie und poetischem Theater. Grenzgänge des Medienkünstlers Joan Miró." Zeitschrift für Katalanistik 21 (July 1, 2008): 77–95. http://dx.doi.org/10.46586/zfk.2008.77-95.
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Summary: This article explores Joan Miró’s artistic experiments, which range from work in genres such as painting and poetry, music, dramatic performances to dance performances, and in which the artist puts his own mark on the image-text-dialogue and dramatic poetry. The artist’s curiosity to experiment and his interest in transboundary “dimensionalism” spark new techniques of intermedial combinatorics and reflection. Miró’s poetic writings, dramatic drafts and other forms of productions appear from this vantage point as pictorial texts, visionary spectacles and dream-analogous projections, which push the boundaries of space and time, of perception and the senses. Figures of speech and visual figures such as pictures, texts, sounds and bodies are rearranged in a play of metamorphoses and shiftings between various media. [Keywords: avant-garde, dimensionalism, intermedialty, Joan Miró, surrealisme]
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نزار شبيب كريم and حيدر جعفر الدغلاوي. "Pictures of death in the Iraqi theatrical performance." Funon Al-Basrah Journal, no. 22 (March 20, 2022): 187–206. http://dx.doi.org/10.59767/bfj.5300.1976.
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The research deals with the concept of death as one of the important phenomena that cast a shadow over the nature and entity of the individual. Human civilizations and religions have been interested in its two parts of heavenly and positivism, and the perception of it has become clear, each according to his beliefs and behaviors. With the development of human thought, currents and schools began to appear in various sciences by studying that phenomenon, especially after the outbreak of the World War and its consequences in human life at all levels, especially social and economic, and given the privacy that theater enjoys in terms of communication and reception, this study came to shed light on the phenomenon of death. This study included the introduction to the research in which the two researchers presented the research problem, its importance and its goal. Then the theoretical framework that dealt with a theoretical foundation for the research included two topics: death in ancient civilizations and religions, and the second: death in the world stage. After the analysis, the two researchers came up with a set of results, including:The show raised the ire of some specialists by daring to break the taboo barrier and smash the idea of the sacred.There were many images of death in the show, sometimes between bombings, and at other times between kidnapping and murder. I added some symbols with embedded images of death, including the cloak.
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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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Zaatov, Ismet A. "Crym Girey I – the founder of the classical theater in the Crimea (on the issue of 257 years experience of the Crimean Tatar`s first theatrical productions of the European type theater)." Crimean Historical Review, no. 1 (2020): 100–135. http://dx.doi.org/10.22378/kio.2020.1.100-135.
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The formation process of the Crimean Tatar theater can be divided into the following periods: medieval – folk theater (the initial round dance and toy puppet theater of shadows “Karagoz”, the theater of one actor “meddah”, the arena theater “orta oyuny”); Khan`s theater in the middle of the XVIII century (penetration into the Crimea of European theater traditions in the era of the Crimean Khan Crym Girey I); the revival of traditions of the Crimean Tatar theater late XIX–XX centuries (the activities of a theater-goers group of the Jadidist Crimean Tatar youth–followers of I. Gasprinsky, under the leadership of J. Meinov – the efforts of the Crimean Tatar noblewoman-myrzachkas under the leadership of A. Taiganskaya; organization of a professional Simferopol Tatar theater troupe under the People’s Commissar of Education of the Crimean ASSR in 1921 and creation and activities of the Crimean Tatar Drama Theater, headed by A. Taigan, and the Crimean Tatar amateur movement in the Crimea, and among the Crimean Tatar foreign diaspora of 1923–1944 (Soviet pre-deportation period); recreation and current activities of the Crimean Tatar theater in the Crimea,1989 (post deportation period). In this article, for the first time in the art history, is revealed the so-called Khan`s period in the formation of the Crimean Tatar theater, discussed the revolutionary activity in the field of Crimean Tatar art, the ascetic activity of the Crimean Khan Crym Girey I to promote the ideas of European theater traditions and create a classical theater in the Crimea. The picture of the actions undertaken by the Crimean ruler in the construction of theater business in the Crimea, as well as his thoughts and statements about the theater, was recreated according to the text published in the XVIII century, memories of personal meetings and conversations with Crym Girey I of European authors: German – von der Goltz, Polish – Pilshtynova, Russian – Nikiforov, Frenchman – de Tott, Austrian – Kleeman. Based on these recollections is built a clear and explicit picture of a role of Crym Girey I as a pioneer in bringing European theater traditions and creation of a classical theater in the culture of the Crimea, the Turkic and Muslim worlds.
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Shcherbakova, Marina I. "MEMORIES BY S.V. MAKSIMOV ABOUT A.N. OSTROVSKY: TO THE PREHISTORY OF MEMOIRS." Vestnik of Kostroma State University 29, S (November 15, 2023): 115–20. http://dx.doi.org/10.34216/1998-0817-2023-29-s-115-120.
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For the first time, the article publishes archival materials related to the creative history of the memoir essays of the writer S.V. Maksimov about A.N. Ostrovsky “Literary Expedition” and “Alexander Nikolaevich Ostrovsky”. The time of the origin of the idea of memories is determined, the circumstances that accompanied the work of Maximov, their close connection with the memories of the founder of the oral story genre I.F. Gorbunov. Genre-forming techniques of Maximov’s everyday writing prose, which bring the writer’s books closer to his memoirs, are revealed. Feedback is also emphasized: in Maximov’s memoirs, pictures of everyday life, the color of the era, descriptions of the environment, folk types and characters predominate. Maksimov’s letters, in particular, to the Moscow collector and founder of the Theater Museum A.A. Bakhrushin. They contain a detailed commentary on the theatrical relics that Maximov sent Bakhrushin to Moscow: little-known details of the history of the Russian theater, the founder of which was Ostrovsky. It is concluded that Maximov’s memoirs about Ostrovsky are presented not only in the textually designed essays “Literary Expedition” and “Alexander Nikolayevich Ostrovsky”, but also in rough sketches, letters, reference and bibliographic notes and in the results of Maximov’s practical activities that contributed to perpetuating the memory of the playwright and popularizing the history of the national theater.
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Хуан, Сяоюй. "CONCEPT THEATER IN M. PLISETSKAYA’S INDIVIDUAL-AUTHOR’S PICTURE OF THE WORLD." Tomsk state pedagogical university bulletin, no. 4(222) (July 15, 2022): 73–84. http://dx.doi.org/10.23951/1609-624x-2022-4-73-84.
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Введение. В настоящее время изучение языковой картины мира (ЯКМ) осуществляется в различных областях гуманитарных наук. Вербализация и реконструкция индивидуальной картины мира являются важными задачами современной лингвистики, осуществляются на основе анализа конкретных концептов. Рассматривается концепт театр в индивидуально-авторской картине мира Майи Плисецкой.Цель – на фоне национальной картины мира определить понятийные, образные и оценочные составляющие концепта театр, которые характерны для индивидуально-авторской картины мира М. Плисецкой.Материал и методы. Исследование проводится на материале книги воспоминаний балерины М. Плисецкой «Я, Майя Плисецкая», а также в качестве материала выступают Национальный корпус русского языка и лексикографические источники разных типов. В работе используются традиционные методы и приемы семасиологического (компонентного, дефиниционного, контекстного, дискурсивного) исследования, а результаты этого анализа последовательно осмысливаются с когнитивных позиций и в результате этого выстраиваются ментальные модели.Результаты и обсуждение. Театр в русской картине мира является одним из главных концептов, он и занимает важное место в авторской картине мира М. Плисецкой. Сопоставление материалов толковых и ассоциативных словарей и анализы фрагментов текстов, извлеченных из Национального корпуса русского языка, позволяют выявить понятийные, образные и оценочные признаки концепта в национальной картине мира. В русской культуре и литературе театр не только относится к искусству, но и влияет на нравственные и моральные качества народа, приносит эстетическое наслаждение, способствует развитию личности. Для реконструкции индивидуально-авторского концепта театр моделировали ассоциативно-смысловое поле (АСП) театр в мемуарном дискурсе. В исследуемое поле входят 263 лексемы, которые разделены на шесть микрополей: танцевальная и музыкальная терминология; театр как здание или место; люди, имеющие отношение к театру; различные виды театральной деятельности; атрибуты театральной деятельности и театр в системе советского государства. Выявив ассоциации и оценочные дискурсы, связанные с театром, обнаружена высокая эмоциональность и экспрессивность. Признаки театра (в большинстве случаев Большого театра) на ценностном уровне можно разделить на четыре части: Большой в парадигме советской власти, закулисье Большого театра, театр как тяжелый и порой опасный труд и Большой как жизнь и судьба М. Плисецкой. Заключение. М. Плисецкая видела театр изнутри, это позволяет раскрыть особенности концепта в ее индивидуально-авторской картине мира: на понятийном уровне театр шире и богаче, чем в национальной картине мира, в АСП входят лексемы, связанные со сценой, балетом, музыкой, публикой, идеологической цензурой и др. На образном и ценностном уровнях в представлении автора театр многогранен, для автора в юности предстает как источник удовольствия и радости в тяжелое время, затем концепт театр соотносится только с Большим, эмоционально-оценочно усложняется: отношение балерины к театру двойственно: возмущение, презрение к Большому в парадигме советской власти, с другой стороны, театр для М. Плисецкой – вся жизнь, для сцены, публики, творчества, балета чаще всего встречаются положительные эмоциональные оценки. Ценностные признаки выражаются эмоционально-оценочной лексикой, языковыми и окказиональными метафорами, синтаксическим параллелизмом и эмоциональным контрастом. Introduction. At present, the study of the linguistic picture of the world is carried out in various fields of the humanities. Verbalization and reconstruction of an individual picture of the world are one of the most important tasks of modern linguistics, this is carried out on the basis of an analysis of specific concepts. This article discusses the concept of theater in the individual-author’s world picture of M. Plisetskaya.The aim of our study is determining the conceptual, figurative and evaluative components of the concept of theater, which are characteristic of the individual author’s world picture of Maya Plisetskaya (M. P.) in the background of the national picture of the world. Material and methods. The study is based on the book of memoirs of the ballerina Maya Plisetskaya “I, Maya Plisetskaya”, as well as the National Corpus of the Russian Language and lexicographic sources of various types. In this study we use traditional methods and techniques of semasiological research (component, definitional, contextual, discursive analysis), and the results of these analyzes are consistently comprehended from cognitive perspective and, as a result, mental models are built.Results and discussion. Theater in the Russian picture of the world is one of the main concepts, it occupies an important place in the author’s world picture of M. Plisetskaya. Comparison of materials from explanatory and associative dictionaries and analyzes of fragments of texts, which are extracted from the National Corpus of the Russian Language, allow us to identify the conceptual, figurative and evaluative features of the concept in the national picture of the world. In Russian culture and literature, theater not only refers to art, but also affects the moral qualities of people, brings to them aesthetic pleasure, and contributes to the development of individual. We modeled the associative-semantic field of theater in memoir discourse to reconstruct the individual-author’s theater. The field includes 263 lexemes, divided into 6 microfields: dance and music terminology, theater as a building or place, people related to the theater, various types of theatrical activity, attributes of theatrical activity and theater in the system of the Soviet state.Having identified associations and evaluative discourses, which are associated with theater, we found high emotionality and expressiveness, the features of the theater (in most cases the Bolshoi Theater) at the value level can be divided into 4 parts: Bolshoi Theater in the paradigm of Soviet power, backstage of the Bolshoi, theater as heavy and dangerous work, and Bolshoi as the life and fate of M. Plisetskaya.Conclusion. M. P. saw the theater from the inside, this allows us to reveal the features of the concept in her individual author’s picture of the world: at the conceptual level, theater is wider and richer than in the national picture of the world, our associative-semantic field includes lexemes, which are associated with the stage, ballet, music, audience, ideological censorship, etc. At the figurative and value levels, in the author’s view, theater is multifaceted; For the author, in her youth it appears as a source of pleasure and joy in difficult times, then the concept of theater correlates only with the Bolshoi, it becomes emotionally and evaluatively complicated: attitude of M. P. to theater is ambivalent: indignation, contempt for the Bolshoi in the paradigm of Soviet power, on the other hand, for M. P. theater is all her life, When it is about the stage, the public, and the creativity of the ballet, there are often positive emotional assessments. Value signs are expressed by emotional and evaluative vocabulary, linguistic and occasional metaphors, syntactic parallelism and emotional contrast.
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Kunii, Y., and R. Sakamoto. "ACQUISITION OF 3D INFORMATION FOR VANISHED STRUCTURE BY USING ONLY AN ANCIENT PICTURE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 15, 2016): 311–14. http://dx.doi.org/10.5194/isprs-archives-xli-b5-311-2016.
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In order to acquire 3D information for reconstruction of vanished historical structure, grasp of 3D shape of such structure was attempted by using an ancient picture. Generally, 3D information of a structure is acquired by photogrammetric theory which requires two or more pictures. This paper clarifies that the geometrical information of the structure was obtained only from an ancient picture, and 3D information was acquired. This kind of method was applied for an ancient picture of the Old Imperial Theatre. The Old Imperial Theatre in the picture is constituted by two-point perspective. Therefore, estimated value of focal length of camera, length of camera to the Old Imperial Theatre and some parameters were calculated by estimation of field angle, using body height as an index of length and some geometrical information. Consequently, 3D coordinate of 120 measurement points on the surface of the Old Imperial Theatre were calculated respectively, and 3DCG modeling of the Old Imperial Theatre was realized.
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Kunii, Y., and R. Sakamoto. "ACQUISITION OF 3D INFORMATION FOR VANISHED STRUCTURE BY USING ONLY AN ANCIENT PICTURE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 15, 2016): 311–14. http://dx.doi.org/10.5194/isprsarchives-xli-b5-311-2016.
Full textAbstract:
In order to acquire 3D information for reconstruction of vanished historical structure, grasp of 3D shape of such structure was attempted by using an ancient picture. Generally, 3D information of a structure is acquired by photogrammetric theory which requires two or more pictures. This paper clarifies that the geometrical information of the structure was obtained only from an ancient picture, and 3D information was acquired. This kind of method was applied for an ancient picture of the Old Imperial Theatre. The Old Imperial Theatre in the picture is constituted by two-point perspective. Therefore, estimated value of focal length of camera, length of camera to the Old Imperial Theatre and some parameters were calculated by estimation of field angle, using body height as an index of length and some geometrical information. Consequently, 3D coordinate of 120 measurement points on the surface of the Old Imperial Theatre were calculated respectively, and 3DCG modeling of the Old Imperial Theatre was realized.
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Gu, Cui, and Thanachart Lornklang. "The Use of Picture-word Inductive Model and Readers’ Theater to Improve Chinese EFL Learners’ Vocabulary Learning Achievement." Advances in Language and Literary Studies 12, no. 3 (June 29, 2021): 120. http://dx.doi.org/10.7575/aiac.alls.v.12n.3.p.120.
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Vocabulary, as the fundament of any language, is one of the most crucial aspects of language learning. And it also draws great attention from Chinese learners of English as a foreign language (EFL). This study conducted an experiment to examine the effectiveness of the picture-word inductive model (PWIM) and readers’ theater on Chinese primary EFL learners’ vocabulary learning achievement. The samples were 34 fifth-grade students from a primary school of China. The students received a vocabulary learning treatment with the lesson plans constructed based on the picture-word inductive model and readers’ theater using Chinese Cheng-yu, and an English vocabulary learning achievement test was conducted before and after the treatment. Results of the test showed that the students’ mean scores in the posttest were significantly improved than in the pre-test, and results of the questionnaire showed that the participants were highly satisfied with learning English via picture-word inductive model and readers’ theater. The results indicated that learning English via picture-word inductive model and readers’ theater is an effective way for improving learners’ English vocabulary learning achievement as it provides the visual support and opportunities for learners to engage in vocabulary acquisition.
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Bell, J. "BREAD AND PUPPET'S STREET THEATER PICTURE STORIES." Theater 22, no. 3 (June 1, 1991): 8. http://dx.doi.org/10.1215/01610775-22-3-8.
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Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.
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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livshits) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.
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Oliveira Lopes, Rui. "A New Light on the Shadows of Heavenly Bodies." Religion and the Arts 20, no. 1-2 (2016): 160–96. http://dx.doi.org/10.1163/15685292-02001008.
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The distinct tradition of Indian shadow puppetry has been the subject of much interest among scholars, focusing mainly on its origin, the mutual exchange between different regions across Asia, and the relationship between theater performance and popular culture. This study discusses the similarities of shadow puppets with temple mural painting and loose-leaf paintings, and shows how puppets may have shifted technically from narrative paintings on loose-leaf folios toward motion pictures, in order to create a more interactive link between the audience and the storyteller. The first part of this paper explores the archetypal and psychological meanings of shadow in Indian culture and religion, as well as its relationship with the origins of painting. The main issues include archetypal references to the shadow of Hindu gods described in Vedic, epic, and Purāņic sources, the use of prototypes to transmit knowledge to humankind, and the analysis of shadow puppets as moving pictures. Secondly, the paper analyzes the materiality of puppets and their consistency with Indian aesthetics and art criticism in the form of theoretical principles found in classical texts and art treatises such as the Nāțyaśāstra, the Viṣṇudhārmottāra, and the Śilpaśāstra.
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AL-KUBAISI, Iman Abdul Sattar Atallah. "MENTAL CATHARSIS IN CHILD THEATER PERFORMANCES." RIMAK International Journal of Humanities and Social Sciences 03, no. 04 (May 1, 2021): 22–33. http://dx.doi.org/10.47832/2717-8293.4-3.3.
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In the twenties of the twentieth century there appeared a tendency declaring that art has a major task is to cleansing reality from everything that seems strange to it. But this proposition took another characteristic of the German director and writer (Berthold Brecht) after he initiated a revolution that declared its rejection of the previous concepts of theater and Aristotelian drama in the introduction of alienation in his theatrical doctrine, which was later called (dialectical theater), This is a shift towards another concept of purification that goes beyond the emotion towards addressing the mind and changing ideas, so Brecht has a different function to theater, which is to change and reject the miserable and revolutionary reality. In child theater performances, the research problem was formed in the following question: What are the representations of mental cleansing in child theater performances? As for the objectives of the research, it is represented by (revealing the concept of mental cleansing, and revealing representations of mental cleansing in child theater performances). The current research was determined by child theater performances in Iraq for the period from (2010-2020) that take mental cleansing as its goal. As for the second chapter, it focused on three axes. The first was philosophical mental cleansing, while the second axis was concerned with the philosophical foundations of the Barkhati approach, while the third axis focused From the theoretical framework on the Westernization of Berthold Brecht. As for the third chapter, it was clarified that the researcher adopted the descriptive approach (the method of content analysis) being more appropriate to the current study procedures, which dealt with the research community represented by the presentations that were made for the period between (2009-2018) in Baghdad, which reached (16) theatrical performances. After the sample was randomly selected by lot, it was (a little chalk circle) play. After analyzing the sample, the results of the research were extracted, which are responsible for answering the objectives of the research and the extent of their achievement. The first goal was achieved through what was reviewed in the theoretical framework and what was extracted from it. As for the second goal, which aims to reveal the representations of mental cleansing in theatrical performances directed at the child, it was achieved after analyzing the selected sample, and the results appeared as follows: 1. All child theater performances that follow the Brachitic approach aim at mental cleansing. 2. Mental cleansing occurs in child theater performances when the following methods are employed that keep the child mind attentive and critical, including: First / at the level of the text 1. Using the heritage and being inspired by it as a theatrical template for contemporary events through the style of history, and not committing to a Space-time through this history. 2. The necessity of the presence of the narrator who tries to break the hierarchy of events by narrating and commenting on some events, as well as employing songs and music that differ from the general atmosphere of the event. Second / at the level of the show 1. Using the scene through symbolic, not realistic, signs to keep the actor away from any reincarnation that casts its shadow on the audience through theatrical infection. 2. Not to adhere to the timing of lighting. 3. Using shadow imaginations or movies and pictures in conveying the event. 4. Westernization of performance by leaving space between the character and the actor
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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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Severina, Yelena. "Crimean Tableaux of Catherine II’s Court as the Visual Record of the Russian Empire’s Southern Expansion." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 10 (December 15, 2022): 113–40. http://dx.doi.org/10.21900/j.vivliofika.v10.1148.
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This article analyzes celebrations of Russian military victories over the Ottoman Turks during Catherine II’s reign on the examples of pictures (tableaux) featured in fireworks, illuminations, triumphal arches, processions, and instances of live theater. Performing the Crimean conquest via these artistic displays, from the early 1770s—the time when Crimea first begins to appear in them—and until Catherine’s final years, served as a way of incorporating the peninsula as a part of the imperial design and of announcing the Crimean Tatar as the latest member of the Russian Empire’s supporting cast. This paper argues that Crimea’s changing status in the ceremonial culture of Catherine’s court is reflected in these tableaux with their focus on the territory (Crimea) as opposed to its people (Crimean Tatars).
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Poliakova, Yu Yu. "Researches of Kharkiv’s Theater Culture of the 19th and the first half of the 20th cc.: Problems of Historiography." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 142–63. http://dx.doi.org/10.34064/khnum1-51.08.
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Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources, which contain the data on the history of theater in Kharkiv; to characterize their authors; to define the degree of their mastering of accessible information while writing books and articles on various periods in the development of theater culture in this city in the 19th c.; to establish the main challenges to researchers they have to face under modern conditions. In this study, the author has chosen to apply the traditional cultural-historic method of research. It generally consists of collecting primary information on a certain phenomenon or a prominent figure, working it out, finding its correlation with appropriate historic events, and then making an attempt to substantiate the meaning and importance of the phenomenon / figure studied, in the context of the development of arts in the region. The article based on memoirs, archive materials, periodic publications (containing articles on the activities of theater companies, theatrical managers, actors etc.) and literature on the history of drama as well as general publications, which include items on the theater life in the city. Due to the lack of an entire elaborated bibliographic system, researchers have to engage themselves in painstaking browsing through the entire corpus of periodicals. In Kharkiv, the main sources of relevant information are such periodicals as the “Ukrainskiy vestnik” magazine (1816–1819) and some newspapers: “Kharkovskie gubernskie vedomosti” (1838–1915), “Yuzhnyy kray” (1880–1919), “Utro” (1906–1916), Kharkov (1877–1880), Kharkovskiy listok (1898–1905) and more. Results. The former newspaper “Kharkovskie gubernskie vedomosti” published, in 1841, the essay “Theater in Kharkov” by dramatist and a prominent public figure Hryhoriy Kvitka-Osnov’yanenko (1778–1843), who described the very first period in the history of theater in Kharkiv (1780–1816). In the 1870s, the “Kharkovskie gubernskie vedomosti” started to publish regularly analytical and summarizing articles, which were an attempt at creating theater’s history of a certain period. There was, for one, an article “The Kharkov Drama Theater in Recent Ten Years” by Ivan Ustinov, published in 1877 and dedicated to the 10th anniversary of the Diukovs’ private theater company. I. Ustinov not only gave a brief analysis of the theater’s repertoire between 1867 and 1877, but also included biographies and short characteristics of the actors, which were playing then on Kharkiv stage. Ustinov also is famous as the compiler of the bibliographic index “The Books on Kharkov Governorate” (1886), with certain information on the history of theater in this city. In the 1880s, Konstantin Schelkov, a graduate of the Kharkiv University’s Law School, wrote his articles on the theater in the “Kharkovskie gubernskie vedomosti”. The newspaper published, among others, his article “Materials for the History of Theater in Kharkiv” (1881), in which he described the activities of the theater’s management headed by N. D. Alferaki in 1845–1848. In the early 1880s, another big newspaper, the “Yuzhnyy kray”, was started. Its columnist Nikolay Chernyaev took a great interest in the history of theater in Kharkiv. Mr. Chernyaev’s works include a systematic review of theater culture in Kharkiv from Catherine II epoch until 1843 as well as a number of essays on the development of theater in Kharkiv up to 1880. The author collected wide documentary material dedicated to specific periods of history as well as to certain artistic figures. Chernyaev studied many various sources: dailies and magazines, published in the capital cities and in provinces, many collections of documents, memoirs and so on. Chernyaev’s works proved to be useful to historians D. I. Bagalei and D. P. Miller who covered the history of theater in their famous book “The History of the City of Kharkov during 250 Years of its Existence.” In the first half of the 20th c., there were no integral and systematic researches on the history of the city of the previous century, so the monograph “The Beginnings of the Theater in Kharkov” by Arkadiy Pletniov, published in 1960, one can consider as summarizing. The author based much of his study on the works of N. I. Chernyaev. He also widely used the materials resting in the A. A. Bakhrushin Museum of Theater, Moscow, and in many archives. In his monograph, Dr. Pletniov did not limit himself with listing the events of theatrical life, but thoroughly analyzed the activities of the Board of Trustees and such managers as I. Shtein and L. Mlotkovskiy. In several supplements, one can find lists of main roles played on Kharkiv stage by its prominent actors (N. Rybakov, L. Mlotkovskiy, K. Solenik). Pletniov’s work, enriched by references and commentaries, played an important part in creating the complex picture of Kharkov’s theatrical life. Due to abundance of the facts and clear style, Dr. Pletniov’s book stays up to now a valuable source on the subject. Conclusions. The analysis of historiography concerning the theater in Kharkiv of the 19th and early 20th cc. enables the author to come to conclusion that the main challenges a modern researcher has to face are as follows: the absence of system in bibliographic manuals; lacunas in the funds of periodicals of most libraries; the absence of important documents in archives. Theater life in Kharkiv has been studied far from satisfactory level yet. The following problems of history especially need thorough research work from historical point of view: theater critique; drama art; architecture of theater buildings in Kharkiv; amateur theater companies; charity for theaters; and some other points. The task of modern researchers, as we see it, lies in gradual filling the gaps mentioned above.
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Shchukina, Yu P. "Features of Volodymyr Morskoy’s theatrе criticism (1920–1940 years)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 70–83. http://dx.doi.org/10.34064/khnum1-51.03.
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Background. Today, analyzing the Ukrainian theatrical movement of the first half of XX century, we can’t bypass V. Morskoy’s critical legacy. Volodimir Saveliyovich Morskoy (the real name – Vulf Mordkovich) is one of the providing Ukrainian theatrical and film critics of the first half of the XX century. He left us his always argumentative, but sometimes contradictious evaluations of dramatic art masters: the directors of Kharkiv Ukrainian drama theatre “Berezil” (from 1935 it named after T. Shevchenko) L. Kurbas, B. Tyagno, L. Dubovik, Yu. Bortnik, V. Inkizhinov, M. Krushelnitsky, M. Osherovsky; the producers of Kharkiv Russian drama theatre named after A. Pushkin – O. Kramov, V. Aristov, V. Nelli-Vlad and many others. Due to the critic’s persecution by the repressive machine of USSR, his evaluations of theatrical process were not quoted in soviet time researches. They still were not entered to the professional usage, were not published and commented in the whole capacity. Methods and novelty of the research. The research methodology joints the historical, typological, comparative, textual, biographical methods. The first researcher, who made up incomplete description of the bibliography of dramatic criticism by V. Morskoy, became Kharkiv’s bibliographer Tetyana Bakhmet. She gave maximally full list of critic articles (more than eighty positions) for the 1924, 1926–1929, 1937, 1948–1949 years. Kharkiv’s theater scientist Ya. Partola [16] in the first encyclopedic edition, that contains the article about V. Morskiy, gave the description of the only publication by critic known for today, in Moscow newspaper “Izvestiya”. Forty six critical articles, half of which didn’t note in bibliographies of both scientists, were collected and analyzed in periodical funds of Kharkiv V. Korolenko Central Scientific Library by the author of this article. Objectives. V. Morskoy was writing the reviews about the new films; the programs of popular and philharmonic performers; was researching the musical theater. This article has the purpose to characterize the features of V. Morskoy’ critical reviews on the dramatic theater performances. Results. It was managed to find out the articles by V. Morskoy hidden for the cryptonym “Vl. M.”, which dedicated to the performances of the “Berezil” theater of the second half of 1920th: “Jacquery”, “Yoot”, “Sedi“. The critic wrote about the setting “Jacquery ” by director V. Tyahno : “Berezil in setting of ‘Jacquery’ emphases it’s ideology, approaching ‘Jacquery’ to nowadays viewer” [2]. Perceiving critically some objective features of avant-garde stylistic, such as cinema techniques, V. Morskoy remarks: “The pictures are discrete, too short, some of them are lasting for 2–3 minutes, they made cinematographically” [2]. In the same time, the young critic already demonstrates the feeling and flair to the understanding of acting art. So, he accurately pointed out the first magnitude actors from the “Berezil” ensemble: A. Buchma, Yo. Ghirnyak, M. Krushelnitsky, B. Balaban [2]. V. Morskoy connected his view to “Jacquery” with the tendency of the second half of the 1920th: “For recently the left theaters became notably more right, and the right one – more left”[2], that reveals his theatrical experience. His contemporaries due to the author’s sense of humor easily recognized the style of V. Morsky’s reviews. Critical irony passes through the his essay about the setting by director V. Sukhodolskiy “Ustim Karmelyuk” in the Working Youth Theatre: “Focusing attention to Karmelyuk, V. Sukhodolskiy left the peoples in shade. Often they keep silence – and not in the Pushkin sense “[14]. Despite on the “alive” style, one of the features of V. Morskoy journalism was adherence to principles. His human courage deserves a high evaluation. In 1940, after the three years after the exile of Les Kurbas, the leader director of “Berezil” Theater, to Solovki, the critic published in the professional magazine the creative portrait of this disgraced director’s wife – the actress Valentina Chistyakova [15]. V. Morskoy arguments on the relationship between the modern works and the tradition of prominent predecessors has always been ably dissolved in an analysis of a performance. Each time V. Morskoy was paying attention to the distinctions of principals of playwriting, stage direction and even creative schools, in the second half of 1930th – 1940th, when the words “stage direction”, “currents”, in condition of predomination the so-called “social realism” method, in the soviet newspapers practically were not mentioning. For example, the critic saw of realistically-psychological directions in the O. Kramov’s performance “Year 1919”[9]. In 1940, V. Morskoy made a review of the performance of the then Zaporizhhya theater named after M. Zankovetska “In the steppes of Ukraine”, insisting on the continuity of the comedies of O. Korniychuk in relation to the works of Gogol and others of playwrights-coryphaeuses: “The play of O. Korniychuk is characterized by profound national form...” [7]. However, in the fact that in the Soviet Union at that time reigned as the doctrine the methodology of the “socialist realism”, the tragedy of honest criticism comprised. In controversy with the critic O. Harkivianin, V. Morskoy expressed the credo about the ethics and fighting qualities of the reviewer: “Apparently, Ol. Kharkivianin belongs to the category of peoples, who see the task of critic in order to give only the positive assessments. The vulgar sociological approach to the phenomena of art could be remaining the personal mistake of Ol. Kharkivianin. But when he presents him as the most important argument, everyone becomes uncomfortable”[8]. In 1949, the political regime fabricated the case of a “bourgeois cosmopolitan” against the honest theatrical critic and accused him in betraying of public interests adjudged V. Morskoy to untimed death at a concentration camp (Ivdellag, 1952). However, the time arbitrated this long discussion in favor of V. Morskoy. Conclusions. For the objective analysis of theater life of the city and the country as a whole, it is imperative to draw from the historical facts contained in the reviews of V. Morskoy, and the methodology of the review while investigating studies of theatrical art and theatrical thought of 1920–1940th. Thus, the gathering of the full kit of the critical observations of the famous Kharkov theater expert of the first half of the XX century is the important task for further researchers.
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Silva, Rosângela Margarida da, Dayanne Cicera da Silva, Crislaine Maria da Silva, and Luiz Augustinho Menezes da Silva. "Teatro de fantoches como recursos alternativos para o ensino de morcegos." Research, Society and Development 12, no. 4 (March 23, 2023): e2512440879. http://dx.doi.org/10.33448/rsd-v12i4.40879.
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The puppet theater is an alternative teaching resource for the development of activities aimed at Environmental Education, with the aim of facilitating teaching and student learning, streamlining classes and demystifying incoherent aspects. In this research, it has a qualitative approach and is characterized as a participant. We used a theatrical play to teach students Biology content, such as the importance of bats and more information about these animals, in a relaxed way, and to deconstruct the negative perceptions they have about bats. Students from public and private schools, aged between three and twelve, participated in the event. Theatrical presentations took place in schools and in the auditorium of the Dois Irmãos State Park, lasting 40 minutes, and were conducted taking into account the age group and interactions (questions) of the audience. When the presentation of the play ended, students were encouraged to draw pictures of bats. To collect the information, we used three methods: notes on the students' perceptions in the on-board notebook before and during the puppet theater; analysis of the drawings produced and analysis of the sentences produced in the materials. To analyze the data, we used observation and the methodology of the collective subject discourse and imagery analysis of the drawings produced. Over the course of the intervention, we found that the students changed their negative perception they had about these animals to a positive one and reconstructed previous distorted concepts. Of the 88 materials analyzed, 73 represented bats in a positive way, through drawings or written information. The results of the research indicated that the puppet theater is a viable and effective didactic resource for students to learn the content 'bats' in Early Childhood Education and early years of Elementary School.
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Blažić, Milena Mileva. "Subversive Children's Literature - a Puppet Play Georgie and the Three Thieves by Alenka Gerlovič in the Context." Amfiteater 9, no. 2021-2 (December 5, 2021): 170–72. http://dx.doi.org/10.51937/amfiteater-2021-2/170-172.
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The article deals with the puppet play by the painter Alenka Gerlovič (1919–2010), entitled Jurček in trije razbojniki (Jurček (George/Georgie) and the Three Thieves). The play premièred at the Partisan Puppet Theater in 1944 and was published in 1950, with pictures from the puppet show. It is an expression of the author‘s ethical attitude towards Fascism and Nazism and the horrors of war. As the analysis shows, Alenka Gerlovič‘s play places her among the world‘s leading youth writers who have commented on the events of the war. Alenka Gerlovič uses Jurček to create an "imaginary screen" that allowed the audience to maintain a distance from the atrocities in the wartime situation and at the same time to be part of the anti-fascist struggle, also as a symbolic weapon and ethical act.
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Krøgholt, Ida. "The Picture of Snow White." Peripeti 14, S6 (January 1, 2017): 37–39. http://dx.doi.org/10.7146/peri.v14is6.110661.
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As reality theater The Picture of Snow White (1994) demonstrates how certain fragments of reality can function as the material of the performance, and at first glance The Picture of Snow White resembles the readymade’s approach to form.
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Kabdiyeva, Saniya. "Chinghiz Aitmatov’s Mythopoetic Picture of the World through the Context of Modern Stage Interpretations (In Russian)." Saryn 12, no. 1 (March 22, 2024): 83–100. http://dx.doi.org/10.59850/saryn.1.12.2024.170.
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The theatrical process in Central Asia is characterized by a common history of formation and development, basic principles and at the same time the originality and artistic heterogeneity of national theaters. A theater festival that is currently acquiring important significance as a space for dialogue between cultures serves as an indicator of its transformation in the region. Using the example of the winning performances of the VI International Theater Festival “Aitmatov and Theater” (2023), the mythopoetic picture of the world of Chinghiz Aitmatov is studied in the context of modern stage interpretations.The festival featured productions of prose rather than drama. This determined the features of the aesthetic structure of performances created within logocentric oriental cultures. The article analyzes the performances of Ulanmyrzha Karypbayev, one of the leading young directors in Central Asia. His productions such as “Borandy becket” (Station under Storm) and “Ak keme” (White Steamship) were among the best. They reveal the most characteristic features of U. Karypbayev as a director: a rich metaphorical system, theatrical polyphony, ritualization, grotesque, complex mise-en-scène. A large-scale play “Zhan pida” (Scaffold) directed by Nurkanat Zhakypbai current open the topics of historical memory, national identity and essential issues of existence. His stage interpretation is characterized by multi-layered visuals, exquisite plastic solutions, picturesque crowd scenes, a complex musical score, and a monologue principle in the acting performance. The directors Bair Badmayev and Gafur Mardanov created the story of Mother’s life path in the context of the national picture of the world in the stage versions of Mother Earth.The festival demonstrated a modern theatrical interpretation of Aitmatov’s works in Central Asia, characterized by leaving a usual path of words on stage and turning to more deeper interpretations. It is obvious that compositionally complex stage works are created with all components existing on an equal basis: words, stage action, scenography, rich plastic score, authentic musical sequence with performers on stage. Directors raise current issues, artistically comprehend reality and embody it in ideas, images, stage solutions that reflect the richness and diversity of the theatrical art in Central Asia.
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Udina, Vera I. "The metamorphoses of musical theater in the culture of pre-revolutionary Russian province." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 46 (2022): 224–36. http://dx.doi.org/10.17223/22220836/46/19.
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Article is devoted to system characteristic of the musical theater in the context of the culture of the pre-revolutionary Russian province. On the example of the opera genre top trends of historical development of provincial theater of Russia throughout XVIII - the beginnings of the 20th centuries are analyzed: the periodization of musical and theatrical process in the province, the social, cultural and historical conditionality of this process. According to the selected stages change of genre musical and scenic dominants (the early comic opera, the vaudeville, the operetta, the Russian and European classical opera) is traced. Transformation of different institutional forms of existing of opera art on the provincial stage (farmstead, city stationary theater, an enterprise, an opera partnership) in the context of socially historical development of domestic culture of the pre-revolutionary period is revealed. Important typological characteristic of a provincial opera scene is its character, “reflective” in relation to capital theater. It was shown in tour practice as the most mobile form of distribution of opera art across all Russia. In the article considerable attention is paid to such problems, methodologically important for characteristic of pre-revolutionary provincial musical theater, as territorial and geographical correlation of different Russian regions to capital cities, historically changing conditions of cultural interaction between the center and peripheries. On this basis some art features of opera culture of the prerevolutionary Russian province are analysed: the essence of the opera repertoire (national and foreign), performing forces, level and quality of opera settings, public relation to musical theater, etc. The conclusion is drawn that opera theater - an important component of musical culture of the Russian province. The opera studied the history of development which analysis significantly supplements an overall picture of evolution of domestic musical theater on the provincial stage.
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Nesen, Iryna. "The Role of Costume in the Formation of the Character Image in the Theater of the Corypheses (1882 – 1914)." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 154–58. http://dx.doi.org/10.32461/2226-3209.2.2021.239997.
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The purpose of the article is establishment of relations between scenic outfit and characters personalities in performances of the Theater of the Corypheses (1882 - 1914). In the methods set we are founding on historic basics and inter-disciplinary approaches. In bounds of historic-comparison and, partially, mythological methods liaisons between costumes typology of adjacent periods are tracked. Formal method helps to analyze costume as metaphors of meaning, and iconological approach allows determining semantic time symbols. Scientific novelty of the research is based on the system analysis of printed editions and archived materials and determines scenic costume as concrete image, which becomes inseparable from character’s personality. Conclusions summarized in the article give possibility to state that the Theater of the Corypheses during its activity behaved to scenic outfit as to a complex set which was appearing as a result of collection and studies of different sources and actual material. Near sources of formation of theatrical costume traditions where famous directors which in the same time had significant acting and writing experience and acquired encyclopedic knowledge. Into the set of theatrical costume in addition to clothes, shoes, hats and accessories, makeup, features of the actor's posture, a picture of his movements are included. Thus, the stage activity of the Theater of the Corypheses is a set of costumes, which became iconic and were imitated by various drama theaters that operated in Ukraine in subsequent historical periods. An important professional component in the process of creating theatrical costumes was added by artists-connoisseurs of the Ukrainian past, who in the early XX joined the preparation of performances on historical themes, began to create sketches for all stage costumes.
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Senelick, Laurence. "Émigré Cabaret and the Re-invention of Russia." New Theatre Quarterly 35, no. 1 (January 16, 2019): 44–59. http://dx.doi.org/10.1017/s0266464x1800060x.
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Before the October Revolution, political exiles and Jewish refugees spread the image of Russia as a vast prison, riven by violence and corruption. After the Revolution, émigrés who scattered across the globe broadcast their idea of a fabulous, high-spirited Russia. Cabaret – an arena for theatrical innovation, stylistic experimentation, and avant-garde audacity – was a choice medium to dramatize this idea to non-Russian audiences. Throughout the 1920s, émigré cabarets enjoyed great popularity: Nikita Baliev's Chauve- Souris in New York, Jurij Jushnij's Die Blaue Vogel in Berlin, J. Son's Maschere in Italy, among others. Although the acts were polyglot and the compère pattered away in a pidgin version of whichever language was current, the chief attraction was an artificial Russian - ness. Cabarets promulgated a vision of a fairy-tale, toy-box Russia, akin to the pictures on Palekh boxes. This candy-box depiction was then perpetuated by nightclubs staffed by waiters in Cossack blouses and balalaika orchestras. Nostalgic regret for a factitious homeland deepened among the departed. In contrast, Soviet Russia came to look even more hostile and desolate. With time, the distance between the lives they had lived and those portrayed to foreigners increased, and became unmoored from reality. Laurence Senelick's most recent books include Soviet Theater: a Documentary History (2014, with Sergei Ostrovsky), the second, enlarged edition of A Historical Dictionary of Russian Theatre (2015), and Jacques Offenbach and the Making of Modern Culture (Cambridge University Press, 2017).
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Лурье, Зинаида Андреевна. "THEATER IN THE PEDAGOGY OF PHILIP MELANCHTHON." Tomsk state pedagogical university bulletin, no. 5(223) (September 26, 2022): 157–67. http://dx.doi.org/10.23951/1609-624x-2022-5-157-167.
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Рассматривается театр в педагогике Филиппа Меланхтона в первую очередь на материале его предисловий и комментариев к изданиям Теренция 1517–1519 гг., 1524–1528 гг. и 1545 г., к которому он возвращался на протяжении почти всей своей деятельности. Ранние редакции были написаны в контексте предпринятой им риторической реформы на факультете искусств Виттенберга; вторая редакция была подготовлена в рамках школьной реформы в Саксонии (для нее составлены схолии), и, наконец, последняя отражает опыт изучения Меланхтоном древнегреческой драматургии (трагедий Еврипида, Софокла и комедий Аристофана). Несмотря на достаточное число научных публикаций, исследующих обозначенные источники в различных контекстах (этике Меланхтона, его представлениях об античной драматургии и пр.), статья сосредотачивается на представлении Меланхтона о театре как педагогической практике.Анализ источников позволяет говорить о том, что Меланхтон редко разделял дискурсы театра и драмы, говоря в совокупности об их образовательных и воспитательных функциях. Разделяя богословское и светское знание (так называемое «Евангелие» и «Закон»), Меланхтон считал необходимым изучение античной литературы, философии и драматургии как ценных «историй», богатых примерами универсальной общечеловеческой этики и картинами социально-политической деятельности (речи, собрания, заседания совета и пр.). Эта идея была разработана им в его многочисленных работах по этике и богословию. Моделирование учебного процесса в школе Меланхтона на основании схолий к Теренцию позволяет предложить, что на уроках изучение текстов строилось прежде всего вокруг грамматических упражнений и изучения выражений и лексики. Тогда убеждение Меланхтона в пользе театра/драмы для этизации и социализации учеников, наряду с упоминаниями постановок в его текстах, позволяет предположить, что именно театральную деятельность Меланхтон видел инструментом формирования этики. Разумеется, он был далек от специального осмысления образовательных функций театра, однако практика постановок была заложена им как учебная практика. Мы предлагаем говорить о театре в педагогике Меланхтона как антропопрактике. The article deals with the theater in the pedagogy of Philipp Melanchthon, primarily on the material of his prefaces and comments on the publications of Terence in 1517–1519, 1524–1528. and 1545, to which he returned throughout almost his entire career. Early editions were written within the background of his rhetorical reform at the Wittenberg Faculty of Arts, the second edition was prepared as part of the school reform in Saxony (with scholia being compiled) and, finally, the last edition reflects Melanchthon’s experience of studying ancient Greek dramaturgy (the tragedies of Euripides, Sophocles and the comedies of Aristophanes). Despite a sufficient number of scientific publications exploring the indicated sources in various contexts (Melanchthon’s ethics, his ideas about ancient drama, etc.), the article focuses on Melanchthon’s idea of theater as pedagogical practice.Analysis of the sources suggests that Melanchthon rarely shared the discourses of theater and drama, speaking together about their educational and educational functions. Sharing theological and secular knowledge into categories of Gospel and Law, Melanchthon considered it necessary to study ancient literature, philosophy and drama in particular as valuable “stories” which are rich in examples of universal human ethics and give pictures of various socio-political activity (speeches, meetings, council meetings, etc.). This idea was developed by him in his numerous works on ethics and theology.Modeling of the educational process in Melanchthon’s school based on the scholia to Terence allows us to suggest that the study of texts in the classroom was built primarily around grammar exercises and the study of expressions and vocabulary. Then his conviction of Melanchthon in the use of theater/drama for ethical and social up-bringing, along with the mentions of productions in his texts, suggests that the theatrical activity was that tool of the formation of ethics. Of course, Melanchthon was far from specific understanding the educational functions of the theater, but the practice of staging was laid in his method as an educational practice. We propose in this sense to talk about the theater in Melanchthon’s pedagogy as an anthropological practice.
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Tatarenko, Maryna. "Directing of the contemporary French avant-garde theater Nanter-Amandier: stylistic and conceptual innovations." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 245–50. http://dx.doi.org/10.32461/2226-2180.39.2021.238733.
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The purpose of the article is consideration of stylistic and conceptual innovative ideas directed by the modern French avant-garde theater Nanter-Amandier. The methodology consists of the application of empirical, art history, analytical, axiomatic, functional methods of researching the concept of ideas of avant-garde directing of Nanterre-Amandier theater, its innovations, and search for radical reforms of stage skills, phenomenal artistic techniques of theatrical forms. Scientific Novelty. For the first time, empirical analysis and substantiation of the concept of ideas of avant-garde directing of the Nanterre-Amandier Theater, its innovations in the search for original artistic and creative solutions of stage forms. Conclusions. Directors of the modern French avant-garde theater J.-P. Vincent, J.-L. Martinelli and F. Ken successfully embodied innovative artistic techniques by transforming the reality surrounding the modern human and transmitting it to the viewer - this breaks the close relationship of artistic intentions with the socio-cultural environment. The depiction of the world by modern directors of the French avant-garde theater is characterized by a deep and holistic rethinking of it in accordance with the specifics of socio-historical processes, the development of scientific and technological progress, the general philosophical and aesthetic picture of the world, and others.
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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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Mutama, Chelsea, and Nina Carina. "KAJIAN INOVASI DESAIN BIOSKOP DALAM UPAYA PENGEMBALIAN MINAT GENERASI MILENIAL TERHADAP MOTION PICTURE ENTERTAINMENT." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 1, no. 2 (January 26, 2020): 767. http://dx.doi.org/10.24912/stupa.v1i2.4436.
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The Millennials Generation or Gen Y, are those born between the year of 1981-2000. The characteristic and lifestyle differences between them and previous generations have resulted in the emergence of new problems and trends in the millennial era, including a phenomena known as The Death of Cinemas that affected the closing of some cinema venues and the drop of cinema ticket sales. According Research conducted by National Cinemedia in the year 2016, The Death of Cinemas is caused by millennials’ dissatisfaction of movie theater venues. There had been no significant changes in the last 20 years while the ticket price had increased 2 times as expensive. This further resulted in 2% decrease of ticket sales per year. Other results showed that movies have a great significance on millennials, not only as entertainment, but also education, influencer, even passion. So this project, titled CineFlicks : Movie Theater & Animation Course aims to restore the essence of motion picture entertainment for millennials and support the advancement of animation, as one of the most preferred movie genre for millennials. The design method used in this project is typology. By studying the evolution of types and variations of movie theater, the designer hopes to understand the design aspects that have changed and those that have always been maintained in movie theater planning. By doing this, the designer hopes to create a certain innovation that will able to respond millennials’ movie-going behaviors as well as possible. AbstrakGenerasi Milenial atau Gen Y adalah mereka yang lahir antar tahun 1981-2000. Perbedaan karakteristik dan gaya hidup mereka dengan generasi-generasi sebelumnya menimbulkan berbagai permasalahan dan trend baru, salah satunya adalah fenomena The Death of Cinemas yang ditandai 2 hal utama, yaitu penutupan beberapa bioskop dan penurunan pedapatan bioskop dari penjualan tiket. Sejak dampak dari fenomena ini semakin terasa, 2 perusahaan yang bergerak di bidang marketing & management bioskop melakukan riset untuk memahami penyebab peristiwa ini dan cara menanganinya. Berdasarkan hasil riset National Cinemedia (NCM) berjudul Millennials Movie Going Experience, yang dilakukan tahun 2016 mengenai penyebab fenomena The Death of Cinemas, diketahui bahwa mayoritas mengalami ketidakpuasan akan movie theater venue yang tidak mengalami perkembangan signifikan dalam 20 tahun terakhir, namun diiringi dengan kenaikan harga tiket hingga dua kali lipat. Film memiliki signifikansi besar dalam dunia generasi milenial, tidak hanya sebagai hiburan, tapi juga sarana edukasi, influencer, dan passion. Jadi, proyek ini bertujuan mengembalikan esensi dari motion picture entertainment bagi generasi milenial dan mendukung perkembangan animasi, sebagai genre film yang mengalami peningkatan pesat sebagai preferensi. Metode yang digunakan dalam perancangan adalah metode tipologi. Dengan mempelajari perkembangan movie theater venue, perancang berharap dapat memahami faktor-faktor yang berubah atau dipertahankan seiring perkembangan zaman, agar dapat menghasilkan sebuah inovasi desain yang dapat merespon movie-going behaviours dari generasi milenial dengan sebaik mungkin.
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Hofer-Robinson, Joanna. "‘Kaleidoscopes of Changing Pictures’: Representing Nations in Toy Theatre." Journal of Victorian Culture 23, no. 1 (January 2018): 45–63. http://dx.doi.org/10.1093/jvc/vcx002.
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Batarshin, Roman Raifovich. "The phenomenon of digitalization of the drama theater: digital as the latest experience of the Tovstonogov BDT." Философия и культура, no. 5 (May 2023): 11–24. http://dx.doi.org/10.7256/2454-0757.2023.5.40616.
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The development of the vital potential of the drama theater is in a continuous search for new forms of expression. Today, in an attempt to establish itself on the territory of a multicultural environment, as well as in an attempt to gain a unique method of communication with society, the theater as an art sphere expands the boundaries of its purpose. Going beyond the stage space turns out to be an important subject of research from the point of view of the search for the artistic existence of the theater in the conditions of digital reality. This article discusses the issue of finding a place for a drama theater in a digital environment where the energy of human relations is significantly minimized and manifests itself in a specifically different way. The subject of the research for the author was the cultural and creative activity of the Tovstonogov BDT. The St. Petersburg Bolshoi Drama Theater does not need recommendations: it has a great history in the twentieth century, an attractive stage "today" for the audience and, undoubtedly, interesting prospects. In the practice of BDT under the leadership of Andrei the Mighty (2013-2023), there are such turns of dramatic action that are not directly connected with the stage and are almost out of place for the "repertory" theater. The phenomenon of the theater, as if removed from its ancestral roots, leaving the walls breathing tradition, is considered in the article as an experience of cultural and theatrical "exit" to the "stage" of digital reality. Among such experiments, the most significant are the social action "Help the doctors", as well as the experiments of "Minecraft" performances. In addition to the usual comparative historical method for art studies, others will be used, first of all, the formal method, which distinguishes the St. Petersburg school of theater studies. Scientific novelty is determined by the subject of research itself: BDT is considered as a phenomenon of a multi-genre cultural space, in which, as before, a special place is rightfully given to the actor, his role, as well as to the viewer who finds himself in the conditions of a new socio-cultural picture of the world.
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Penskaya, Elena N. "Mikhail Bulgakov and Aleksandr Sukhovo-Kobylin. Textology of a Theater Album." Imagologiya i komparativistika, no. 14 (2020): 219–45. http://dx.doi.org/10.17223/24099554/14/11.
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Personal collections of documents related to the performances of SukhovoKobylin’s and Bulgakov’s own plays have never been compared. Bulgakov practically never mentions Sukhovo-Kobylin in his texts. However, the “meeting” of the two playwrights took place in the space of the theatrical album. Unlike the literary album that has been studied many times, there are no special studies about the typology of the theatrical album and its cultural semantics. The textological study of album “autocollections” as drama companions contributes to the acquisition of semantic “keys” not only to certain texts, but also to those meta-links that they form as well as to the compilation of mobile text transcriptions. The album laboratories of the two playwrights make this similarity clear. The theatrical albums by Sukhovo-Kobylin (a blue blotter with envelopes of versions of plays that are part of the “Pictures of the Past” trilogy, held in the Russian State Archive of Literature and Arts) and Bulgakov (eight albums in the Handwritten Section of the IRLI) reveal two layers. One is an “encyclopedia” of theatrical history of plays, posters, reviews, accompanied by the author’s notes, and a detailed “dossier of censorship ordeals”. The other layer is newspaper clippings with author’s marginalities, marks that simulate a vocabulary universe and the library of plots reflecting newspaper reality and later turned into works. Thus, it is known that Sukhovo-Kobylin was one of the characters in V. Chernoyarov’s feuilleton “The National Team”, published in the magazine “Novyy Zritel” in 1926 and pasted into Bulgakov’s album related to the play The Days of the Turbins at the Moscow Art Theater in 1926. The specified album is an auto-documentary source of Theatrical Novel. The metamorphoses of the texts in the album, accompanied by the author’s notes, marginalities, typologically bring together the theatrical albums of Sukhovo-Kobylin and Bulgakov. They are related semiotically and visually to the scenario of a conventional play, the director’s staged copy, or the exhibition plan of the exposition. The playwrights quite obviously collect the dossier, the “data bank”, fixing the junctions, the path from the manuscript to the publication and the scene (especially in Bulgakov’s case), as if they were making up a biography of their own text. Bulgakov appreciates the author’s recipes and technical guidelines for making an author, formulated in feuilletons of the 1920s. By coincidence, Sukhovo-Kobylin got into this feuilleton environment.
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Zhilichev, P. E. "Absurdist Drama and Its Academical Reception in Russian and Western Literary Criticism." Bulletin of Kemerovo State University 24, no. 5 (November 7, 2022): 626–34. http://dx.doi.org/10.21603/2078-8975-2022-24-5-626-634.
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This paper attempts to identify and systematize the main approaches to the theater of absurd and absurdist drama in Western and Russian literary studies. The term theater of the absurd was originally introduced by Martin Esslin. This concept has become a common denominator and refers to the dramatic work of such famous authors as Samuel Beckett, Eugène Ionesco, Harold Pinter, Arthur Adamov, and Jean Genet. Martin Esslin and his followers brought in several important features into the absurdist drama, i.e., alogism, disjointed communication, wordplay (Patrice Pavis), etc. They attempted to conceptualize the theater of the absurd as a part of a broader typological unit, e.g., Michael Bennett’s theater of parabola. Russian scholars and critics have developed a range of important concepts as well. They see absurd as a violation of basic rules of communication (Olga Revzina, Isaac Revzin). The Union of Real Art (Mikhail Yampolskiy, Dmitry Tokarev) focuses on the principle of serialized eventfulness. Others concentrate on the meta-descriptive nature of absurd (Evgenyi Kluev) and develop the concept of absurdity as a picture of the world (Olga Burenina-Petrova). Both in Western and Russian studies, the conceptualization of the theater of the absurd follows two opposite poles: absurd can be interpreted as either a linguistic phenomenon (deconstruction of communication), or as a certain way of human existence. During the 1980–2000s, post-structuralist philosophy played a major role in the re-thinking of the absurd, while the interaction of philosophical and literary approaches determined the principles of historical aesthetics. As suggested by contemporary researchers, the discourse of the absurdist drama has the following features: deconstruction of cultural codes; actualization of the archaic basis of theater; parodying literal and theatrical conventions; problematization of the semiotic linkage (sign and its referent); depiction of mosaic consciousness and unstable cosmos.
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Fokin, Pavel E., and Ilya O. Boretsky. "The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)." Dostoevsky and world culture. Philological journal, no. 4 (2020): 219–41. http://dx.doi.org/10.22455/2541-7894-2020-4-219-241.
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The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.
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Fokin, Pavel E., and Ilya O. Boretsky. "The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)." Dostoevsky and World Culture. Philological journal, no. 4 (2020): 219–41. http://dx.doi.org/10.22455/2619-0311-2020-4-219-241.
Full textAbstract:
The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.
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He, Qiliang, and Lily Xiangxiang Jiang. "The Aural/Visual Synchrony: Opera Film, Close-up, and Cinematic Literacy in Mao-era China (1949–1966)." CHINOPERL: Journal of Chinese Oral and Performing Literature 43, no. 1 (July 2024): 1–22. http://dx.doi.org/10.1353/cop.2024.a932318.
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Abstract: In the first two decades of the People’s Republic of China (PRC; 1949–present), the filmmakers were caught in a dilemma between a fast-growing film industry and Chinese moviegoers’ pervasive lack of cinematic literacy, that is, a proper understanding of cinematic techniques, such as the use of shots in films. To make motion pictures a mass culture by enhancing cinematic literacy among Chinese viewers, filmmakers produced over one hundred opera films—a filmic genre that resorts to cinematic techniques to represent Chinese theater on the silver screen. Considering Chinese audiences’ familiarity with China’s operatic arts, such as singing and music, filmmakers in post1949 China deftly synchronized close-up shots with operatic music/singing in opera films to highlight characters’ heightened emotions and thereby popularize a filmic mode of narration and presentation. This paper argues that close and close-up shots provided an avenue for a transition from stage to screen as a chief means of entertainment and a widely accepted mode of representation in the early years of the PRC.
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МАРКОВА, М. М. "Olonkho as a source of plastic education of an epic theater actor." Vestnik of North-Eastern Federal University. Series "Economics. Sociology. Culturology", no. 4(16) (June 5, 2020): 26–34. http://dx.doi.org/10.25587/svfu.2020.16.4.002.
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Статья посвящена осмыслению роли олонхо в вопросах пластического воспитания в формировании профессиональных навыков артиста эпического театра. Эпическое наследие народа саха является уникальным явлением, содержащим в себе истоки для поисков в разных областях, в том числе и в театральной педагогике. Органичное «со-бытиé» в олонхо – это и театр «переживания» и театр «представления». Пластическое воспитание артиста невозможно рассматривать отдельно от дисциплин профессионального цикла: актерского мастерства, сценической речи, народного пения – тойук. Любое физическое действие на сцене продиктовано внутренним действием. Действие объединяет в единое целое мысли, чувства, воображение и физическое (телесное, внешнее) поведение актера, который владеет двумя потоками сознания – «Я» – образа и «Я» – артиста. Олонхо аккумулирует в себе пластический рисунок роли, внутренний монолог персонажа, описание его внешней характерности, его оценку. В статье описана постановка дипломного спектакля студентов АГИКИ. Спектакль-олонхо «Кыыс Дэбилийэ» (сказитель Н. П. Бурнашев) – это современное динамичное действо, основанное на опыте, традициях и знаниях предков, переосмысленное молодым поколением в ключе современного площадного театра, тем самым вносящее свою мощную энергетику, искрометность и задор в эпическое полотно древнего текста. Основными средствами художественной выразительности являются тойук, звукоподражание, пластика, основанная на элементах обрядово-ритуальных действ, народных игр, танцев и песен. В спектакле можно увидеть синтез эпического театра с его «эффектом отстранения» и реалистического театра. Источником пластической выразительности, разработки образов, боевых сцен является текст олонхо. Профессиональный театр Якутии сформирован русской театральной школой, школой Малого театра. Мастера кафедры театрального искусства бережно хранят традиции своей школы. Опыт воспитания артистов для профессионального театра олонхо показал, что наряду с достижениями мастеров по воспитанию пластической культуры артиста в контексте русской театральной школы, нам важно внедрить в дисциплины цикла по пластическому воспитанию элементы двигательной культуры народа саха. The article reviews the role of olonkho in plastic education as one of aspects of developing professional skills of an epic theater actor. The epic heritage of the Sakha people is a unique work that contains the origins of the search for theater pedagogy. Organic “co-existence” in the olonkho is both the theater of “experience” and the theater of “performance”. Plastic education of an actor cannot be considered separately from the disciplines of the professional cycle: acting, stage speech, folk singing – toyuk. Any physical action on the stage is dictated by an internal action. The action combines into a single whole the thoughts, feelings, imagination and physical (bodily, external) behavior of the actor, who owns two streams of consciousness – the character’s “I” and the actor’s “I”. Olonkho accumulates a plastic picture of the role, an internal monologue of the character, a description of his/her external characterization, his/her assessment. The article describes the diploma staging of 4th year students of performance-olonkho “Kyys Debiliye”, narrator N. P. Burnashov. It is a modern dynamic action, based on the experience, traditions and knowledge of ancestors, yet interpreted by the younger generation in the spirit of modern areal theater, thereby introducing its powerful energy, sparkling and enthusiasm into the epic canvas of the ancient text. The main means of artistic expression are toyuk, onomatopoeia, plastic, based on elements of ceremonial and ritual acts, folk games, dances and songs. In the play you can see the synthesis of the epic theater with its “effect of distancing” and realistic theater. The text of olonkho is the source of plastic expressiveness, the development of characters, battle scenes. The professional theater of Yakutia was formed by the Russian theater school, the Maly Theater school. Masters of the department of theater art carefully preserve the traditions of their school. Conclusions and suggestions on the education of the plastic expressiveness of an epic theater actor are given. The experience of educating actors for the professional olonkho theater showed that it is important to introduce elements of the motor culture of the Sakha people into the disciplines of the plastic education cycle.
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Vavryshchuk, Serhii. "“Winds Are Blowing” by Hanna Havrylets in the Theatrical Interpretation of the Chamber Choir "Kyiv"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 50–65. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251795.
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The author has characterized the demonstrative features of the choral theater genre and their embodiment in the performance of historical oratorio "Winds are blowing" by Ganna Havrylets by the Municipal Academic Chamber Choir "Kyiv". The author defines the affiliation of this play to the type of choral theater "History in the Faces", as 12 historical songs recorded by O. Koshyts during the Kuban expedition (1903-1905) were selected, processed and combined into a dramatic integrity by composer Ganna Gavrilets. They focus on pictures of the national liberation struggle of the Ukrainian people. The theatrical concept of staging in the communicative link is built: composer - conductor - arranger - director - spectator. It was found that in order to dynamize the performance the authors of concert-theatrical performance (conductor Mykola Hobdych, director Vasyl Vovkun) made structural changes (removed individual numbers, added the final instrumental number), enriched the timbre sound palette of the chamber choir with additional instruments (bandura, reed pipe or flute, percussion), which are used by choristers simultaneously with singing. Approaches to the theatrical performances with personification images and general choral scenes, alternating in the form of contrast of drama of the work were underlined. It is established that in the choral works of the cycle with personified imagery the emphasis was on more effective individual acting means (facial expressions, plastics, movements), in epic songs - on more static but symbolically filled mise-en-scène factors (graphic-spatial forms of stage arrangement of performers on stage). It is noted that the directors contributed to the better disclosure of the content of the play through the integrated use of the background (eg, costumes), mise-en-scène and acting means of theatrical choral performance. These artistic techniques also increased the spectacle, concert and stage representativeness and created a variety of acoustic effects.
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Guback, Thomas. "The Evolution of the Motion Picture Theater Business in the 1980s." Journal of Communication 37, no. 2 (June 1, 1987): 60–77. http://dx.doi.org/10.1111/j.1460-2466.1987.tb00983.x.
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