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Journal articles on the topic 'Theater and society Australia'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

F. Recher, Harry, and Harry F. Recher. "A Zoological Revolution?" Pacific Conservation Biology 6, no. 1 (2000): 1. http://dx.doi.org/10.1071/pc000001.

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In May, I attended a one-day forum arranged by the Royal Zoological Society of New South Wales and The Australian Museum in Sydney, Australia. The purpose of the forum was to discuss proposals to use native fauna to assist in their own survival. The forum was titled A Zoological Revolution. The idea of a revolution in zoology, much less in biological conservation was novel, the proposals to be debated were controversial, and the Hallstrom Theatre was packed. The number of animal activists in the audience promised an enthusiastic exchange of ideas and I was not disappointed.

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2

Ryan, Robin, Jasmin Williams, and Alison Simpson. "From the ground up: growing an Australian Aboriginal cultural festival into a live musical community." Arts and the Market 11, no. 2 (August 16, 2021): 92–108. http://dx.doi.org/10.1108/aam-09-2020-0038.

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PurposeThe purpose is to review the formation, event management, performance development and consumption of South East Australia’s inaugural 2018 Giiyong Festival with emphasis on the sociocultural imaginary and political positionings of its shared theatre of arts.Design/methodology/approachA trialogue between a musicologist, festival director and Indigenous stakeholder accrues qualitative ethnographic findings for discussion and analysis of the organic growth and productive functioning of the festival.FindingsAs an unprecedented moment of large-scale unity between First and non-First Nations Peoples in South East Australia, Giiyong Festival elevated the value of Indigenous business, culture and society in the regional marketplace. The performing arts, coupled with linguistic and visual idioms, worked to invigorate the Yuin cultural landscape.Research limitations/implicationsAdditional research was curtailed as COVID-19 shutdowns forced the cancellation of Giiyong Festival (2020). Opportunities for regional Indigenous arts to subsist as a source for live cultural expression are scoped.Practical implicationsMusic and dance are renewable cultural resources, and when performed live within festival contexts they work to sustain Indigenous identities. When aligned with Indigenous knowledge and languages, they impart central agency to First Nations Peoples in Australia.Social implicationsThe marketing of First Nations arts contributes broadly to high political stakes surrounding the overdue Constitutional Recognition of Australia's Indigenous Peoples.Originality/valueThe inclusive voices of a festival director and Indigenous manager augment a scholarly study of SE Australia's first large Aboriginal cultural festival that supplements pre-existing findings on Northern Australian festivals.

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AMES, MARGARET, DAVE CALVERT, VIBEKE GLØRSTAD, KATE MAGUIRE-ROSIER, TONY MCCAFFREY, and YVONNE SCHMIDT. "Responding to Per.Art'sDis_Sylphide: Six Voices from IFTR's Performance and Disability Working Group." Theatre Research International 44, no. 1 (March 2019): 82–101. http://dx.doi.org/10.1017/s0307883318000846.

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This submission by IFTR's Performance and Disability working group features responses by six participants – voices projected from Canada, New Zealand, Norway, Wales, England and Australia – to Per.Art's productionDis_Sylphide, which was presented on 7 July 2018 at the Cultural Institution Vuk Karadžić as part of IFTR's conference in Belgrade at the invitation of the Performance and Disability working group. Per.Art is an independent theatre company founded in 1999 in Novi Sad, Serbia, by the internationally recognized choreographer and performer Saša Asentić, the company's artistic director. The company brings together people with learning disabilities, artists (theatre, dance and visual arts), special educators, representatives of cultural institutions, philosophers, architects and students to make work. This co-authored submission examines how the production responds to three important dance works of the twentieth century – Mary Wigman'sHexentanz(1928), Pina Bausch'sKontakthof(1978) and Xavier Le Roy'sSelf Unfinished(1998) – to explore normalizing and normative body concepts in dance theatre and in society, and how they have been migrating over the course of dance histories. The shared experience of witnessing the performance provoked discussion on the migration of dance forms across time and cultures, as well issues of access and (im)mobility, which are especially pertinent to a disability studies context.

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Goel, Raghav, Harsh Kanhere, and Markus Trochsler. "The 'Surgical Time': a myth or reality? Surgeons' prediction of operating time and its effect on theatre scheduling." Australian Health Review 44, no. 5 (2020): 772. http://dx.doi.org/10.1071/ah19222.

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ObjectiveIn Australia, 2.7 million surgical procedures were performed in the year 2016–17. This number is ever increasing and requires effective management of operating theatre (OT) time. Preoperative prediction of theatre time is one of the main constituents of OT scheduling, and anecdotal evidence suggests that surgeons grossly underestimate predicted surgical time. The aim of this study is to assess surgeons’ accuracy at predicting OT times across different specialties and effective theatre scheduling. MethodsA database was created with de-identified patient information from a 3-month period (late 2016). The collected data included variables such as the predicted time, actual surgery time, and type of procedure (i.e. Emergency or Elective). These data were used to make quantifiable comparisons. ResultsData were categorised into a ‘Theatre list’ and ‘Scopes list’. This was further compared as ‘Actual–Predicted’ time, which ranged from an average underestimation of each procedure by 19min (Ear Nose and Throat surgeons) to an average overprediction of 13.5min (Plastic Surgery). Urgency of procedures (i.e. Emergency and Elective procedures) did not influence prediction time for the ‘Theatre list’, but did so for the ‘Scopes list’ (P<0.001). Surgeons were poor at predicting OT times for complex operations and patients with high American Society of Anaesthesiologists grades. Overall, surgeons were fairly accurate with their OT prediction times across 1450 procedures, with an average underestimation of only 2.3 min. ConclusionsIn terms of global performance at The Queen Elizabeth Hospital institution, surgeons are fairly accurate at predicting OT times. Surgeons’ estimates should be used in planning theatre lists to avoid unnecessary over or underutilisation of resources. What is known about the topic?It is known that variables such as theatre changeover times and anaesthesia time are some of the factors that delay the scheduled start time of an OT. Furthermore, operating time depends on the personnel within the operating rooms such as the nursing staff, anaesthesiologists, team setup and day of time. Studies outside of Australia have shown that prediction models for OT times using individual characteristics and the surgeon’s estimate are effective. What does this paper add?This paper advocates for surgeons’ predicted OT time to be included in the process of theatre scheduling, which currently does not take place. It also provides analysis of a wide range of surgical specialties and assesses each professions’ ability to accurately predict the surgical time. This study encompasses a substantial number of procedures. Moreover, it compares endoscopic procedures separately to laparoscopic/open procedures. It contributes how different variables such as the urgency of procedure (Emergency/Elective), estimated length of procedure and patient comorbidities affect the prediction of OT time. What are the implications for practitioners?This will encourage hospital administrators to use surgeons’ predicted OT time in calculations for scheduling theatre lists. This will facilitate more accurate predictions of OT time and ensure that theatre lists are not over or underutilised. Moreover, surgeons will be encouraged to make OT time predictions with serious consideration, after understanding its effect on theatre scheduling and associated costs. Hence, the aim is to try to make an estimation of OT time, which is closer to the actual time required.

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5

Emeljanow, Victor. "The Events of June 1848: the ‘Monte Cristo’ Riots and the Politics of Protest." New Theatre Quarterly 19, no. 1 (January 10, 2003): 23–32. http://dx.doi.org/10.1017/s0266464x02000039.

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Theatrical riots are usually dismissed as occasions during which aesthetic reactionaries battled reformers over stylistic issues of little relevance to pressing and immediate social concerns. Yet how true is this? What were the real issues which boiled over at such apparently confined and innocuous occasions as the Old Price Riots at Covent Garden in 1809, the Paris Ernani riot of 1830, the visit of a celebrated English actor which sparked the New York Astor Place riot in 1849, or the first night of a play which brought about the Playboy riots in Dublin in 1907? The complex social and cultural tensions on such occasions clearly operated during the two days of disturbance which came to be known as the Monte Cristo riots in London in 1848, and there are curious modern parallels. Victor Emeljanow is Professor of Drama at the University of Newcastle, Australia. His full length works include Anton Chekhov: the Critical Heritage, Victorian Popular Dramatists, and, with Jim Davis, Reflecting the Audience: London Theatregoing, 1840–1880 (University of Iowa Press, 2001), which was recently awarded the Society for Theatre Research's Book Prize for 2002.

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6

Bartsch, Shadi, and William J. Slater. "Roman Theater and Society." Phoenix 53, no. 1/2 (1999): 152. http://dx.doi.org/10.2307/1088131.

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Fernandez, Doreen G., and Resil B. Mojares. "Theater in Society, Society in Theater: Social History of a Cebuano Village, 1840-1940." World Literature Today 61, no. 1 (1987): 159. http://dx.doi.org/10.2307/40142695.

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8

Chandran, D., C. M. Woods, M. Schar, N. Ma, E. H. Ooi, and T. Athanasiadis. "Cost analysis of injection laryngoplasty performed under local anaesthesia versus general anaesthesia: an Australian perspective." Journal of Laryngology & Otology 132, no. 2 (July 6, 2017): 168–72. http://dx.doi.org/10.1017/s0022215117001384.

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AbstractObjective:To conduct a cost analysis of injection laryngoplasty performed in the operating theatre under local anaesthesia and general anaesthesia.Methods:The retrospective study included patients who had undergone injection laryngoplasty as day cases between July 2013 and March 2016. Cost data were obtained, along with patient demographics, anaesthetic details, type of injectant, American Society of Anesthesiologists score, length of stay, total operating theatre time and surgeon procedure time.Results:A total of 20 cases (general anaesthesia = 6, local anaesthesia = 14) were included in the cost analysis. The mean total cost under general anaesthesia (AU$2865.96 ± 756.29) was significantly higher than that under local anaesthesia (AU$1731.61 ± 290.29) (p < 0.001). The mean operating theatre time, surgeon procedure time and length of stay were all significantly lower under local anaesthesia compared to general anaesthesia. Time variables such as operating theatre time and length of stay were the most significant predictors of the total costs.Conclusion:Procedures performed under local anaesthesia in the operating theatre are associated with shorter operating theatre time and length of stay in the hospital, and provide significant cost savings. Further savings could be achieved if local anaesthesia procedures were performed in the office setting.

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9

Davidson, Gordon, Robert Egan, and Robert Glaudini. "Theater and Society: "The Poison Tree"." Bulletin of the American Academy of Arts and Sciences 54, no. 3 (2001): 26. http://dx.doi.org/10.2307/3824684.

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10

Saefudin, NFN. "TEATER TUTUR BAPANDUNG DALAM MASYARAKAT BANJAR." UNDAS: Jurnal Hasil Penelitian Bahasa dan Sastra 15, no. 2 (December 1, 2019): 107. http://dx.doi.org/10.26499/und.v15i2.1525.

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The problem discusses in this study is how does the form of narrative theater bapandung (monologue) in Banjar society. The aim of this study is to reveal the form of narrative theater bapandung (monologue) in Banjar society. Banjar society in South Kalimantan has lots of oral traditions, one of them is narrative theater bapandung. A man is called story teller because of his cleverness telling a story in monologue way and playing several characters, that man is called pamandungan. The story in bapandung has lots of jokes played by pamandungan or the performance player. This study uses descriptive qualitative method. It is a method to get information about narrative theater bapandung in Banjar society deeply. The result shows about the description of narrative theater bapandung in Banjar society.

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11

Porter, John R., and Ruth Scodel. "Theater and Society in the Classical World." Phoenix 50, no. 1 (1996): 77. http://dx.doi.org/10.2307/1192686.

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12

Sellars, Peter, and Edward W. Said. "Theater Opera & Society: The Director's Perspective." Grand Street, no. 61 (1997): 192. http://dx.doi.org/10.2307/25000127.

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Pahomov, George, and E. Anthony Swift. "Popular Theater and Society in Tsarist Russia." Slavic and East European Journal 47, no. 4 (2003): 693. http://dx.doi.org/10.2307/3220262.

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14

Forenza, Brad. "Sustained Community Theater Participation as Civil Society Involvement." Nonprofit and Voluntary Sector Quarterly 46, no. 3 (July 20, 2016): 549–66. http://dx.doi.org/10.1177/0899764016660385.

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Community theaters proliferate in every state in the nation, yet they are rarely considered in civil society research. Participation in civil society is capable of producing individual (psychological empowerment) and community-level outcomes, yet less is known about how community theaters might be capable of producing the same. Guided by the empirically tested dimensions of intra-organizational empowerment, this qualitative study interrogates four internal processes of voluntary membership in a community theater (shared beliefs, opportunity role structure, social support, and leadership). Directed content analysis of 14 in-depth interviews support and extend our understanding of existing theory for this less examined population. Implications for policy, practice, and future research are discussed.

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15

Rankin, James G. "Australia, a consumptive society." Drug and Alcohol Review 36, no. 2 (May 31, 2016): 270–77. http://dx.doi.org/10.1111/dar.12388.

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16

Adesina, A. A. "Catalysis society of Australia." Applied Catalysis A: General 155, no. 2 (July 1997): N13. http://dx.doi.org/10.1016/s0926-860x(97)90435-x.

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17

Stockenhuber, Michael. "Catalysis Society of Australia." ChemCatChem 10, no. 7 (March 26, 2018): 1481–82. http://dx.doi.org/10.1002/cctc.201800164.

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18

M., Juraeva, and Gofurova B. "FURKAT AND THEATER." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 10 (October 1, 2021): 118–24. http://dx.doi.org/10.37547/pedagogics-crjp-02-10-23.

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This article tells the story of Furkat, an enlightened poet, a promoter of science and European educational culture, and Russian theater.Furkat’s attitude to Russian culture and art was of fundamental importance at that time, in the late 18th and early 19th centuries. "The main and decisive issue of the time was the attitude to Russia, whether to join Russia or not, because the fate of the Uzbek people and the country, the future depended on the correct definition of this future, the right approach to this issue, the right solution," wrote Academician V.Y.Zahidov. Accordingly, the social forces fighting in the society were divided into two groups, and there were violent clashes between the two groups."In such a difficult situation, Furkat dreamed of bringing his people to the path of cultural development. His views on Russian theater and music were also related to this main issue of the time.However, this aspect of Furkat’s creative work has not been sufficiently studied in theater studies. What performances did Furkat see and what concerts did he attend? Some researchers have speculated that Furkat was only in performance “Suvorov”. That’s why we want to talk about it in more detail.

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19

Brosa Rodríguez, Antoni. "Las compañías teatrales españolas en internet." Triangle, no. 10 (May 21, 2020): 1. http://dx.doi.org/10.17345/triangle10.1-98.

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In this work, the Internet presence of Spanish theater companies will be analyzed by studying a corpus of own data. The internet concept is very broad. The great advances in this eld have developed many new functions. Although the fundamental and essential purpose of the Internet is communication, the real technological change begins with computerization and the ability to process, manipulate and control vast amounts of data. This change does not lie only in the methodology in communicating, but involves a deep change that aects the life of society in general. Internet is a virtual space where you can live: watch a movie, buy food or clothes, talking with friends, check bank details, play, etc. This profound change in society also comes to literature in general and theater in particular. Within this giant free showcase that is Internet, every author and every theater company seeks its place in order to be visible to the world. In this paper, we review the dierent ways in which the theater appears on the Internet and present a systematic and detailed analysis of the Internet presence of twenty companies of Spanish theater with very dierent idiosyncrasies that reect the current Spanish theater scene.

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20

Pabel, Hilmar M., and J. A. Fernandez-Santamaria. "The Theater of Man: J. L. Vives on Society." Sixteenth Century Journal 30, no. 2 (1999): 487. http://dx.doi.org/10.2307/2544718.

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Steever, Sanford B., and R. S. Perinbanayagam. "The Karmic Theater: Self, Society and Astrology in Jaffna." Journal of the American Oriental Society 105, no. 1 (January 1985): 187. http://dx.doi.org/10.2307/601582.

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22

Knapp, Bettina L., and Haiping Yan. "Theater & Society: An Anthology of Contemporary Chinese Drama." World Literature Today 74, no. 1 (2000): 237. http://dx.doi.org/10.2307/40155534.

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23

Fernandez-Santamaria, J. A. "The Theater of Man: J. L. Vives on Society." Transactions of the American Philosophical Society 88, no. 2 (1998): i. http://dx.doi.org/10.2307/1006630.

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24

Goldberg, Sander M. "Roman Theater and Society ed. by William J. Slater." Comparative Drama 31, no. 4 (1997): 589–92. http://dx.doi.org/10.1353/cdr.1997.0034.

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Henderson, Jeffrey. "Theater and Society in the Classical World. Ruth Scodel." Classical Philology 90, no. 1 (January 1995): 77–82. http://dx.doi.org/10.1086/367446.

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26

Zaelani, Mohamad. "INDONESIAN THEATER 1985-1995: A PERSPECTIVE OF DESCRIPTION PROCESSES SOCIAL CHANGE AND VALUE." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 17, no. 1 (January 31, 2018): 123–36. http://dx.doi.org/10.21009/bahtera.171.10.

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AbstractThis research seeks to depict the history of Indonesian theater development from 1985 to 1995. This period is deliberately chosen because at that time it is seen that New Order power reached the top of its consolidation. Is there correlation between theater as a part of the reflection of society's expression and the repressive-authoritarian situation of the New Order government? With the approach of sociology of art, during that period, theater in Indonesia reflectedthe changes in society socially and in terms of values. One of these changes was the collapse of the conception of human wholeness (in terms of flesh and blood) in theater in Indonesia, because humans weremerely the object of the state power that tended to be authoritarian.Keywords: Indonesian theater 1985-1995, social changes and values, silent theater, theater ideas.

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27

Müller, Sven Oliver. ":The Swastika and the Stage: German Theater and Society, 1933–1945.(Cambridge Studies in Modern Theater.)." American Historical Review 114, no. 2 (April 2009): 496–97. http://dx.doi.org/10.1086/ahr.114.2.496.

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28

López Pérez, Sidoní. "Confrontation and reconcilement in contemporary native american theater." HUMAN REVIEW. International Humanities Review / Revista Internacional de Humanidades 11, Monográfico (December 27, 2022): 1–10. http://dx.doi.org/10.37467/revhuman.v11.4344.

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Contemporary Native American theater consists of a long list of plays which normally include indigenous and mixed-blood characters who often find themselves living between two worlds, that is, Native culture and white American society. Therefore, it is common to find a significant confrontation and conflict between the two cultures, which is usually solved at the end of the plays with the characters’ reconcilement or synthesis between their Native heritage and the white domineering society. In this way, Native Americans can ensure their Native cultural existence and survival whilst simultaneously adapting to the changes and customs required by white American society.

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29

Рой, Уляна. "До історії постановки драми Війт заламейський на сцені українського народно- го театру товариства „Руська Бесіда” (переробка Івана Франка з п’єси Педро Кальдерона Саламейський алькальд)." Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 1, no. 1 (2015): 123–36. http://dx.doi.org/10.15804/pomi201508.

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To the Hixtory of Staging The Mayor of Zalamea on the Stage of Rux’ (Uhrainian) National Theater of the Society „Ruska Besida" (the Rehash of Franko from the Play of Pedro Calderon The Mayor of Zalamea). Ukrainian theater of the society Ruska Besida was one of the essenfial components in the development of Ukrainian culture in Eastern Galicia. Cultural development was also provided by the acfivifies of Ivan Franko. His work for the theater was often underesfimated and superficially studied. This was especially true when the rehash of Ivan Franko The Mayor of Zalamea appeared in the repertoire. The history of staging of this play is important to the history of Ukrainian theatre.

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Craig, Janelle. "Clinical Coders' Society of Australia." Health Information Management 25, no. 3 (September 1995): 88. http://dx.doi.org/10.1177/183335839502500307.

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31

TOOULI, JAMES. "The Gastroenterological Society of Australia." Journal of Gastroenterology and Hepatology 12, no. 5 (May 1997): S5—S7. http://dx.doi.org/10.1111/j.1440-1746.1997.tb00440.x.

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32

Williams, Isla M. "NEURO-OPHTHALMOLOGY SOCIETY OF AUSTRALIA." Australian and New Zealand Journal of Ophthalmology 16, no. 2 (May 1988): 57. http://dx.doi.org/10.1111/j.1442-9071.1988.tb01249.x.

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33

Petrović, Miomir. "Theory of Freytag's pyramide and its applicability to modern literature." Drustveni horizonti 1, no. 2 (2021): 241–53. http://dx.doi.org/10.5937/drushor2102241p.

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Since the beginings, the theater has been often used for expressions of philosophical thought in the form of direct dialog. With theatrical positions it must be concluded that the theater often plays a part stands for para-theater operations and assigned to the limit when it became unclear whether this is a theater in general. However, the debate "for" or "against" engaged theater looks today more than out of place, since both have a clear opinion confirming the history of theater. If we look at the numerous theories of drama from a wider perspective, the perspective of the media, we immediately see that the theater aesthetics rests on the principles of mass communication, collective perceptions, interactions of the world scene and world audience and evoking event theater professionals cannot speak and not to talk, simultaniosly, about the world, society, the collective. It is clear that the dramatic literature has directly or indirectly involved, the nature of its invoices and creative means of expression.

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Yusupov, Dr Azat A. "FEATURES OF THEATER-SPECTATOR INTERACTION." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 11 (November 1, 2021): 68–72. http://dx.doi.org/10.37547/history-crjh-02-11-14.

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In this article, the traditions of perceiving the relationship between the theater and the actor exclusively as a performance and the artists playing in it were studied and analyzed, that the theatrical product is perceived by the theater workers themselves not as a volumetric and stereoscopic phenomenon, but, as a rule, is traditionally one-dimensional. Meanwhile, in modern society, theater acquires significance for the public not only as an art phenomenon, but also as an element of fashion, prestige, social status, the context of certain behavior, as a way of spending leisure time, self-presentation, education, etc.

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Essien, Edet. "Theater for development in contemporary Nigeria: problems and prospects." International Journal of Humanities and Innovation (IJHI) 3, no. 1 (March 31, 2020): 17–21. http://dx.doi.org/10.33750/ijhi.v3i1.66.

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Theater has become more popular over the years. It is generally known to people as a building designed for the performance of plays, dances, etc. This paper is aimed at espousing the pertinence of theater in national development, especially in a developing African nation-state like Nigeria. In doing this, the paper identifies and discusses the exploitable prospects and problems that go along with the deployment of theater in enhancing Nigeria’s development. The paper concludes that despite the challenges, theater plays a vital role to play towards creating a reliable, effective, and responsive representative institution and in advancing the frontiers of development of the Nigerian society.

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Bosher, Kathryn. "Theater of the People: Spectators and Society in Ancient Athens." Phoenix 66, no. 3-4 (2012): 438–40. http://dx.doi.org/10.1353/phx.2012.0046.

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Wichmann-Alczak, Elizabeth. "Theater and Society: An Anthology of Contemporary Chinese Drama (review)." Theatre Journal 54, no. 2 (2002): 325–26. http://dx.doi.org/10.1353/tj.2002.0066.

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Mackerras, Colin. "Theater and Society: An Anthology of Contemporary Chinese Drama (review)." China Review International 7, no. 2 (2000): 564–68. http://dx.doi.org/10.1353/cri.2000.0092.

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Koustova, Emilia. "Eugene A. Swift, Popular theater and society in Tsarist Russia." Cahiers du monde russe 44, no. 44/4 (October 1, 2003): 721–24. http://dx.doi.org/10.4000/monderusse.4108.

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40

Antochi, Carmen. "The Female Artist in Romanian Inter-War Theater." Review of Artistic Education 17, no. 1 (March 1, 2019): 189–95. http://dx.doi.org/10.2478/rae-2019-0020.

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Abstract In Romania at the beginning of the twentieth century women were concerned with the home environment. In an urban environment, however, there had been a re-alignment towards education, women from affluent families having an artistic preoccupation, with them being determined and epochal. Though loved and admired on the stage, the women who embraced an artistic career were not looked upon with total respect by the society as a whole, because they were straying away from ‘their calling’. The opening towards the occident had lit the flame in our womens hearts to reach equality in rights, to occupy a place in society and to fight a prejudice image.

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Рогачев, Сергей Вячеславович. "The Heraldic “Theater” of Russian Cities." Городские исследования и практики 1, no. 4 (May 31, 2017): 47–57. http://dx.doi.org/10.17323/usp14201647-57.

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The usurpation of the right to unite the surrounding territories bestowed some exclusive rights upon Moscow. Which other coat of arms apart from that of Moscow could surround itself with such a suite, such an entourage, of serving shields of arms on its heraldic map? An almost ideal social and geographical model is drawn up around the capital by the coats of arms of Moscow’s retinue: all three principal forces of society are gathered in this national nucleus — those being craftsmen, parishioners and warriors — forming the trade, monastic and defense appendages to St. George’s robe.

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42

Jacobsen, Roswitha. "Theater als Medium höfischer Kommunikation." Daphnis 42, no. 2 (2013): 467–89. http://dx.doi.org/10.1163/18796583-04202007.

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Since historical research gave up the paradigm of absolutism a new understanding of dynastic rule, as a process of communication and interaction aimed at securing acceptance, has become established. This has been accompanied by a new perspective on the institutions of courtly culture, which play a key role as important media in this process. In accordance with current media-theoretical discourse, this paper describes the contribution of specific aspects of one particular medium: the theatre. The theatre is embedded in two frames, which themselves are media: the court and the courtly festival. Thanks to its rigid techniques of selection and reduction, theatre is able to construct ‘the world’ according to contemporary knowledge systems in a straightforward manner. It can also serve as a tool for both the symbolic representation and the management of current problems. Above all, it enables the self-reflexivity of courtly society, which is itself characterized to the core by forms of theatricality.

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Chebotarev, Sergey A. "Art of theater direction in the 20th–21st centuries." Neophilology, no. 28 (2021): 718–25. http://dx.doi.org/10.20310/2587-6953-2021-7-28-718-725.

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We analyze the cultural and historical development of art of theater direction in the 20th–21st centuries. We consider the features of director’s theater on the example of Anatoly Vasiliev’s theater, Mark Zakharov’s theater, Zhenovach’s theater, Pyotr Fomenko’s theater, etc. We note that throughout the entire period there is a transformation of the role of the director in the theater. We note that throughout the entire period there is a transformation of director’s role in the theater. The significance of the theater director – artist grows into more complex forms of his existence: the playwright – the organizer of the performance – the teacher and educator of the theatrical collective. We conduct an analysis of directing schools allow us to draw the following conclusions. Firstly, the Russian theater at the turn of the 20th–21st centuries managed to preserve its traditions even in the conditions of the most powerful computer and television boom. Secondly, the theater continued to occupy one of the leading places in the spiritual, moral and aesthetic edu-cation of society. Thirdly, the direction of domestic theater adopted and multiplied the best tradi-tions of realistic art, coming from K. Stanislavsky, V. Nemirovich-Danchenko, E. Vakhtangov, M. Chekhov, taking into account modern trends and interests of the audience. Fourthly, there was an active search for new forms in directing and acting, experimental theaters and studios were formed. Fifthly, a huge place in directing was given to the production of classics. We note that the period under review provided an opportunity to fully reveal the originality in directing and acting.

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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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Arentz, Susan. "Fertility Society of Australia annual conference." Australian Journal of Herbal and Naturopathic Medicine 31, no. 4 (December 11, 2019): 146–47. http://dx.doi.org/10.33235/ajhnm.31.4.146-147.

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Rajamani, Vignesh. "Sister Society agreement signed in Australia." IEEE Electromagnetic Compatibility Magazine 2, no. 3 (2013): 82. http://dx.doi.org/10.1109/memc.2013.6623301.

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BELL, KENNETH W. "THE CONTACT LENS SOCIETY OF AUSTRALIA." Australian Journal of Optometry 55, no. 9 (June 28, 2008): 365–66. http://dx.doi.org/10.1111/j.1444-0938.1972.tb06288.x.

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Critchley, Kim. "Royal Society of South Australia Incorporated." Transactions of the Royal Society of South Australia 136, no. 2 (January 2012): 137–59. http://dx.doi.org/10.1080/03721426.2012.10887168.

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Critchley, Kim. "Royal Society of South Australia Incorporated." Transactions of the Royal Society of South Australia 136, no. 2 (January 2012): 160–99. http://dx.doi.org/10.1080/03721426.2012.10887169.

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Aria, Kezia. "White Australia has a Blackie Blackie Brown history." NEW: Emerging scholars in Australian Indigenous Studies 5, no. 1 (March 6, 2020). http://dx.doi.org/10.5130/nesais.v5i1.1570.

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The gatekeepers for institutions of fine arts, classical music and theatre in Australia are traditionally white, upper middle-class people. Nakkiah Lui’s existence and success as an Indigenous playwright is a radical disturbance in this bubble of society as, by nature, stories and storytellers that challenge cultural hegemony will always be political, and Blak artists entering theatre demonstrate a fusion and adaptation of Indigenous oral traditions into Australia’s highbrow society. Aboriginal playwrights and performances have a complex history in terms of audience reception as they often deal with difficult and confronting topics that ‘regular’ theatre audiences may not engage with (Grehan 2010). Not only do they have the burden of representing ‘all’ Aboriginal people, but the stories they share are often those whose voices were historically silenced, erased or dismissed (Morris 1992).

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