Journal articles on the topic 'Theater rehearsals Case studies'
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1
Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States." Text Matters, no. 9 (December 30, 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.
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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City.
Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.
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Downing, Pat Bromilow, Fiona MacPherson, and William Davies King. "Global O'Neill:." Eugene O'Neill Review 36, no. 1 (March 1, 2015): 73–79. http://dx.doi.org/10.5325/eugeoneirevi.36.1.73.
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Abstract Production and rehearsal photographs from the 2014 Baxter Theatre Centre's Cape Town production of Desire under the Elms suggest the rich possibilities of an intercultural translation of Eugene O'Neill's play in a South African context. The Eugene O'Neill Review editor issues a call for studies of O'Neill's plays in a global context.
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Parmaksız, Ergün, and Hüseyin Demirbilek. "The ımportance of art therapy ın the qualıty of lıfe ın hemodıalysıs patıents." Ukrainian Journal of Nephrology and Dialysis, no. 1(69) (October 18, 2020): 27–33. http://dx.doi.org/10.31450/ukrjnd.1(69).2021.04.
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Dialysis causes many psycho-social problems in patients with chronic renal failure and decreases their quality of life by increasing their anxiety. We aimed to determine the influence of artistic activities on quality of life and reducing or eliminating dialysis anxiety.Methods. Among 180 hemodialysis patients, 8 patients were randomly selected as a study group and 8 patients as a control group. We performed our theater rehearsals in 16 sessions, two hours per week. State-Trait Anxiety Inventory (STAI), STAII and Social Anxiety Scales (SAS) were employed in both groups before and after the play. Results. The means of the eighth-month SAS fear and avoidance measures of the study group were found to be significantly lower than the control group and significantly lower than the baseline. The mean difference of the initial eighth-month SAS fear and avoidance in the study group was statistically significantly higher than the control group.Initial and eighth month SAS fear and avoidance difference averages of the study group were found statistically significantly higher than the control group.Conclusions. We determined that the therapies to be done with art have an important place in relieving or reducing anxiety in hemodialysis patients. In addition, it was the opinion that our patients would make positive contributions to their quality of life. However, further studies are needed to demonstrate whether theater rehearsals reduce anxiety in hemodialysis patients.
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Coffman, Victoria T., and Stephen L. Coffman. "Behavioral Rehearsal: A Way of Talking about the Dying Process." OMEGA - Journal of Death and Dying 32, no. 1 (February 1996): 63–76. http://dx.doi.org/10.2190/e1mh-wgwh-h475-ma2u.
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The authors suggest that theater activities can be used as a helpful approach to initiating more complex reflection about death among university students as well as hospice volunteers. Included in the article is an activity description and accompanying texts from a death-contemplation exercise which support this advocation. This performance skills activity produced serious student responses which were varied, articulate, and rich. Imagining and rehearsing death allows people to “act as if” and fantasize the circumstances surrounding one's death in a removed and relatively safe manner. These presentations can make the performance of life more meaningful, and the drama of death perhaps softer and more acceptable.
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Crossley, Tracy. "Active Experiencing in Postdramatic Performance: Affective Memory and Quarantine Theatre's Wallflower." New Theatre Quarterly 34, no. 2 (April 19, 2018): 145–59. http://dx.doi.org/10.1017/s0266464x18000052.
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Postdramatic approaches to performance and Stanislavsky's methodology seemingly occupy divergent performance traditions. Nonetheless, both traditions often require performers to mine their own lives (albeit to different ends) and operate in an experiential realm that demands responsiveness to and within the live moment of performing. Tracy Crossley explores this realm through an analysis of Quarantine Theatre's Wallflower (2015), an example of postdramatic practice that blends a poetics of failure with a psycho - physical dramaturgical approach that can be aligned with Stanislavsky's concepts of affective memory and active analysis.Wallflower provides a useful case study of practice that challenges the binary opposition between the dramatic and postdramatic prevalent in theatre and performance studies scholarship. Aspects of Stanislavsky's system, nuanced by cognitive neuroscience, can expand the theorization of postdramatic theatre, which in turn generates techniques that can prove valuable in the rehearsal of dramatic theatre itself. Tracy Crossley is a Senior Lecturer in Theatre and Performance at the University of Salford, Manchester. She is currently developing a practical handbook, Making Postdramatic Theatre, for Digital Theatre Plus.
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Barker, Clive. "Games in Education and Theatre." New Theatre Quarterly 5, no. 19 (August 1989): 227–35. http://dx.doi.org/10.1017/s0266464x00003304.
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In his major work on Theatre Games (Methuen, 1987), Clive Barker provided both a practical textbook on the uses of game-playing for actors, and some theoretical background to its value. There, he largely stressed the function of games as a means to an end - the development of acting skills through the enrichment of the rehearsal process. In NTQ14 (1988). he described how he came to develop ‘games workshops’ for non-theatrical purposes, and considered the value of games-playing for adults by analogy with the function of the ‘kissing games’ of his own childhood and adolescence. In this article (based on a paper presented in November 1988 at the conference on theatre and education in Mohammédia, Morocco), he considers our changing perception of the relationship between the two senses of ‘play’, and the way in which ‘games’ have been institutionalized to avoid their inherent threat to an organized, work-disciplined society-a trend still being reinforced, as the improvisatory element of drama in schools becomes subject to the rigours of evaluation and examination. Clive Barker, whose career in the professional theatre began with Joan Littlewood's Theatre Workshop company, is co-editor of New Theatre Quarterly, and now teaches in the Joint School of Theatre Studies at the University of Warwick.
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nikiforova, sargylana valentinovna. "The formation of the theater spectator subculture in the cultural space of a provincial town." Человек и культура, no. 3 (March 2022): 69–82. http://dx.doi.org/10.25136/2409-8744.2022.3.37940.
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In order to determine the specifics and nature of the formation of the subculture of the theater spectator in Yakutsk, the history of relations between the theater and the spectator is considered. Variants of a strategy for the formation of a subculture of theatergoers in the youth environment of a provincial city (students of colleges and universities as the "backbone" of the audience) are proposed. The specifics of the subject of the study led to the use of interdisciplinary, sociocultural and cultural approaches, which made it possible to integrate the methods of cultural studies, sociology, art history, folklore and pedagogy. The culturological approach made it possible to determine the nature of changes in the cultural space. The synchronic method provided an opportunity to analyze in a slice mode and identify three stages in the formation of the subculture of the theatrical spectator. The dynamics of the formation of the subculture of theatergoers in Yakutsk in 1960-2020s is considered in detail. This is the time when the theater was formed as an organic institution of modern Yakut culture, but not something artificially introduced into the national culture. An indirect criterion base is determined, indicating the growth of the theater audience's competence: a change in the repertoire, problems, directing styles, participation in theater competitions and festivals, touring policy, pricing. Convergence of different types of cultural "consumption" is proposed: hybrid forms of work in cooperation with museums, philharmonic society, libraries; organization of creative meetings, excursions to rehearsals, pre-premiere screenings, charity events, etc. The regional specificity of the communication "theater - spectator" influences the formation of both moral and aesthetic views of the spectator; influences the national consciousness of the people, contributes to the strengthening of spiritual guidelines.
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Aquilina, Stefan. "Acts of Recognition: The Political Dimension of Terminology." Maska 31, no. 177 (June 1, 2016): 68–85. http://dx.doi.org/10.1386/maska.31.177-178.68_1.
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This article uses theories on the Politics of Recognition to attach a political dimension to terminology. More than a practice that facilitates communication in rehearsal or studio situations, terminology is a tool that aids in the recognition of one’s work and identity. Two case studies frame the discussion, namely, certain scholarly material written about theatre in Africa and the laboratorial practice developed by Frank Camilleri, a practitioner-academic whose work has featured in recent publications. (These choices are framed around the theories on recurrent practices as developed by Michel De Certeau.) Two terminological approaches are delineated, namely, the appropriation of terms and the formulation of alternative nomenclatures. The relevance of terminology to contemporary discourses on hybridity, creation of lineages and academic accreditation is also evaluated.
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Basuki, Ribut, and Meilinda Meilinda. "The Use of Dramatic Theater in BIPA (Bahasa Indonesia untuk Penutur Asing) Classes: A Case in Petra Christian University, Surabaya, Indonesia." SHS Web of Conferences 76 (2020): 01044. http://dx.doi.org/10.1051/shsconf/20207601044.
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The teaching-learning techniques of BIPA (Bahasa Indonesia untuk Penutur Asing - Indonesian for Speakers of Other Languages) for language skills are oftentimes separated from that of ‘cultural’ skills. Even worse, BIPA teachers tend to devote only a little attention to students’ cultural sensitivity. Dramatic Theatre, when used appropriately, offers engaging techniques for the teaching-learning of both language and cultural skills. Dramatic theatre’s ‘production process’ is very useful in developing linguistic and cultural sensitivities to the students. The teaching-learning of BIPA using the Dramatic Theatre production process at Petra Christian University, Surabaya, Indonesia has shown that it is a promising teachnique to be developed and implemented. The students’ involvement in the process from the preparations, rehearsals, and finally performance gives them a chance to enjoy and, especially, learn the Indonesian linguistic as well as cultural nuances more or less authentically. This paper is an evaluation of BIPA through dramatic theatre at PCU. It will show how students are involved in the production process, learn Bahasa Indonesia, and grasp Indonesian culture both from the play they perform and the process of production itself. It finally gives evaluation and recomendation for further use of dramatic theatre for BIPA at PCU.
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Vejvodová, Veronika. "Poprvé na scéně. K premiéře Dvořákovy Rusalky v Národním divadle v roce 1901." Muzeum Muzejní a vlastivedná práce 60, no. 2 (2022): 39–51. http://dx.doi.org/10.37520/mmvp.2022.016.
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The study brings a new perspective and unknown facts about the world premiere of Dvořák’s most famous opera Rusalka, which was first performed on 31 March 1901 at the National Theatre in Prague. Through previously unheeded sources and literature, the text provides a detailed description of the circumstances of the premiere and the dramatic situation in the management of the National Theatre, which underwent a major change in 1900. The premiere of Rusalka was given exceptional care by the theatre: the composer attended rehearsals of the orchestra led by the newly elected head of the opera, Karel Kovařovic, who had a reputation as an excellent conductor. Great attention was also paid to the costume and stage design. However, the premiere was jeopardised on the day of its performance by the main character of the prince, the European renowned tenor Karel Burian, who cancelled the performance on the same day. He was replaced by Bohumil Pták, who, according to his recollection of these events, had studied the role with Burian. The issue of the premiere of Rusalka also opens up the topic of the relationship between Kovařovic and Dvořák, two prominent figures of Czech opera at the end of the 19th century, which is discussed against the background of the later so-called struggle for Dvořák (1913).
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Mally, Lynn. "Exporting Soviet Culture: The Case of Agitprop Theater." Slavic Review 62, no. 2 (2003): 324–42. http://dx.doi.org/10.2307/3185580.
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In this article Lynn Mally examines the efforts of a Comintern affiliate called MORT (Mezhdunarodnoe ob“edinenie revoliutsionnykh teatrov) to export models of Soviet theatrical performance outside the Soviet Union. Beginning with the first Five-Year Plan, MORT was initially very successful in promoting Soviet agitprop techniques abroad. But once agitprop methods fell into disgrace in the Soviet Union, MORT abruptly changed its tactics. It suddenly encouraged leftist theater groups to move toward the new methods of socialist realism. Nonetheless, many leftist theater circles continued to produce agitprop works, as shown by performances at the Moscow Olympiad for Revolutionary Theater in 1933. The unusual tenacity of this theatrical form offers an opportunity to question the global influence of the Soviet cultural policies promoted by the Comintern. From 1932 until 1935, many foreign theater groups ignored MORT's cultural directives. Once the Popular Front began, national communist parties saw artistic work as an important tool for building alliances outside the working class. This decisive shift in political strategy finally undermined the ethos and methods of agitprop theater.
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Nygaard Andersen, Lotte, Kirsten K. Roessler, and Henning Eichberg. "Pain Among Professional Orchestral Musicians: A Case Study in Body Culture and Health Psychology." Medical Problems of Performing Artists 28, no. 3 (September 1, 2013): 124–30. http://dx.doi.org/10.21091/mppa.2013.3026.
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BACKGROUND: Professional musicians experience high rates of musculoskeletal pain, but only few studies have investigated how this pain is accepted by musicians. AIM: To investigate the culture of pain and to explore how professional musicians experience and cope with pain. METHODS: Ten semi-structured in-depth interviews were conducted; 8 with musicians and 2 with professional elite athletes. In addition, a concert and two rehearsals were observed. The audiotaped interviews were transcribed verbatim. Configurational analysis was used to interpret the material as a whole. RESULTS: Musicians often experience pain as a consequence of prolonged repetitive work early in their career. Such pain is compounded by the lack of breaks during concerts and rehearsals. Orchestras seldom give opportunities for adjustments required for individual instruments, breaks, or action to prevent pain. Musicians' strong sense of coherence and the experience of pain as integral to their identity have encouraged musicians to develop flexible coping strategies. Ignoring pain and potential damage is an accepted concomitant to striving for perfection. A musician does not focus on pain but on the music. CONCLUSION: For the musician, pain has a significance beyond being something that can simply be removed by a practitioner. Pain tells both an individual story and a cultural story that is crying out to be heard.
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Darby, Kris. "Treading the Boards: the Significance of Walking on the Stage." New Theatre Quarterly 30, no. 4 (October 21, 2014): 365–78. http://dx.doi.org/10.1017/s0266464x14000700.
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In this article Kris Darby examines the significance of walking on the theatre stage, responding to the growth of pedestrian performance as an area of research. He seeks to provide a point of expansion for a field that is still largely concerned with site-specific works where audiences walk during the performance. Beginning with a discussion of the possible reasons for the neglect of walking on stage, the author addresses the prominence of walking and the journey as a rehearsal tool employed by a wealth of practitioners. As further justification for the inclusion of the stage in pedestrian performance research, a series of historical case studies is presented which spans over a century of theatrical history, and includes an examination of the audience's pilgrimage to Richard Wagner's Parsifal (1882) and the ‘epic flow“ of Erwin Piscator's treadmill in Good Soldier Schwejk (1927). The significance of walking in Samuel Beckett's life is also explored through the ‘inward walking’ of Footfalls (1976), and the proscenium staging of Matthew Earnest's Wanderlust (2010) is made significant through its critique of supermodernity. The author concludes by arguing that an immobile audience can kinaesthetically empathize with the performers, embarking on their own internalized journey within the theatre. Kris Darby is a Post-Doctoral Teaching Fellow in Drama at Liverpool Hope, whose research interests concern the relationship between walking and performance.
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Maguire, Nancy Klein. "The Theatrical Mask/Masque of Politics: The Case of Charles I." Journal of British Studies 28, no. 1 (January 1989): 1–22. http://dx.doi.org/10.1086/385923.
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Britain now wear's the sock; the Theater's clean Transplanted hither, both in Place and Scene.Martin Butler and Jonathan Dollimore have recently documented the importance of drama in English political life before 1642. Such scholarship, however, has stopped cold at the great divide of 1642. Except for Lois Potter in “‘True Tragicomedies’ of the Civil War and Interregnum,” no one has considered the relationship between politics and theater while the theaters were officially closed. Scholars have thereby missed a seminal question in understanding the discourse and complex political maneuvering enveloping the act of regicide in 1649. What is the relationship between the theatrical tradition and the execution of Charles I?Even though historians frequently comment on the “tragic” nature of the execution of Charles I, thus far neither historian nor literary person has bothered to examine the immediate and popular reactions to the act of regicide. This is understandable. An odd mix of imaginative projection and verifiable fact enshrines the execution of Charles, and documentation is admittedly difficult. The available assortment of primary literature, however, indicates that many Englishmen responded to the execution as theater, more specifically, the dramatic genre of tragedy. A 1649 sermon (attributed to the Royalist Robert Brown) exemplifies both the tragic response to the act of regicide and the mid-century employment of the theatrical tradition: Brown describes the execution as “the first act of that tragicall woe which is to be presented upon the Theater of this Kingdome, likely to continue longer then the now living Spectators.”
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Conant, David. "Case studies of variable acoustic design: A repertory theater and performing arts chapel." Journal of the Acoustical Society of America 124, no. 4 (October 2008): 2430. http://dx.doi.org/10.1121/1.4782494.
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Gayley, Clifford. "Architecture and acoustics in an era of experimentation." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A209. http://dx.doi.org/10.1121/10.0011067.
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Architecture and acoustics are inextricably intertwined using the same tools (volume, shape, surface) to create places for the exchange of ideas transmitted through sound, movement, and words. While true for well-established building types such as concert halls, theaters, and opera houses, this intertwining is key for new, emerging building types that respond to changing client demands across higher education, cultural institutions, and the public sector. Several case studies ( The Pop-Up, The Cauldron, The Mash-Up, The Inversion, and The Immersion) will explore: (1) How learning institutions are repositioning the arts with new types of facilities that encourage innovation, creativity, and transdisciplinary collaboration, within the Arts and across all disciplines; (2) How learning institutions are experimenting with spaces for incubation, rehearsal, and performance, blurring the line between front of house and back of house; (3) How learning institutions are reconceiving convening/performing with audience members as active participants; (4) How performance venues can be welcoming for all members of the community and deepen engagement with the world around them (whether urban or sylvan) while maintaining acoustic excellence; (5) How large and often underutilized lobby spaces can be reimagined as pop-up venues for impromptu sonic events; (6) How acoustics can enable programmatic mash-ups such as a public radio broadcast studio and café at a library front door, opening new possibilities for building inclusive communities.
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Dragoş, Răzvan. "Theater, Between Technology and Visual Arts." Theatrical Colloquia 10, no. 2 (December 1, 2020): 85–92. http://dx.doi.org/10.2478/tco-2020-0022.
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AbstractSince Antiquity, there have been biunivocal links between theater, technology and visual arts, each of these branches being, if not decisively influenced by the others, at least stimulated. Technology was put at the service of theater either as a logistical part or in “main” roles, sometimes in competition with the actor, in other words with the man. In the first case we are dealing with elevators, cranes, light or sound devices and so on. In the second, with automatic machines, largely autonomous. Applied arts, costumes, scenery, stage props and everything related to scenography are largely synonymous with the performing arts. On the other hand, the technicalartistic commands and requirements coming from the theater have always been a step forward for those directions. Technology and art have also influenced each other, if we take into account, for example, Leonardo da Vinci’s utopian sketches, endowed rather with artistic qualities, but at the same time often functional as stage props. This article points out the idea written above through several representative case studies for the subject approached in a historically evolutionary perspective, relating them to the philosophical concepts or social phenomena behind them.
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Daly, Peter M. "The Case for the 1593 Edition of Thomas Combe's Theater of Fine Devices." Journal of the Warburg and Courtauld Institutes 49 (1986): 255. http://dx.doi.org/10.2307/751306.
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Vucenovic, A. "INTERACTION OF LIGHT AND SHADOW AS A PROJECTION IN THE PROCESS OF CREATING A SHADOW PERFORMANCE, A PHOTO AND A FILM." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 84 (2022): 40–51. http://dx.doi.org/10.37313/2413-9645-2022-24-84-40-51.
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For many centuries, the name of one of the types of theater that exists in different forms has been recorded under the name "shadow theater". By this name, we mean many different principles of interaction between light and an object that create shadows. Since projection involves the use of light to achieve "light scenes" as well as the use of light as a tool for creating shadows, it is fair to call such a theater "theater of light and shadows." If we use the name “puppet theater”, since the puppet is the main performer in the performance, then in this case both light and shadows equally participate in their performing roles in the “light and shadow theater”. Light without shadow would not be light, and conversely, a shadow without light would not be a shadow. Their uses have evolved over time. Technological progress has also opened up great opportunities for the play of light and shadow. But the principle and essence of the function of the relationship between light and shadow did not change. Light, just like shadow, played a certain role on the screen within the framework of the plot presented in the play. Unfortunately, in theater studies there is still no professional theatrical terminology that allows you to communicate easily and understandably to all participants in the creation of such a performance. Right, professional terminology for working in the shadow theater technique is currently absent. The establishment of such a terminological system would help, first of all, to more easily define and distinguish between the varieties of shadows and light used, and also to raise this type of theater to a higher professional level.
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Frank, Marion. "Theatre in the Service of Health Education: Case Studies from Uganda." New Theatre Quarterly 12, no. 46 (May 1996): 108–15. http://dx.doi.org/10.1017/s0266464x00009933.
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International organizations are increasingly turning to theatre as a means of raising development issues, exploring options, and influencing behaviour. This paper examines some structures and techniques inherent in this type of applied theatre, analyzing two plays used to supplement AIDS education programmes in Uganda. One is a video production by a typical urban popular theatre group, while the second production analyzed exemplifies the Theatre for Development approach through its sub-genre, Campaign Theatre, used to raise awareness on health issues, hygiene, sanitation, child care, and the environment. The study analyzes the performance of the two plays and addresses some contradictions arising from the involvement and influence of external organizations. Marion Frank is a graduate of Bayreuth University in Germany, whose extensive field research has resulted in the publication of AIDS Education through Theater (Bayreuth African Studies Series, Bayreuth, 1995). Dr. Frank is currently living in the US, where as a Visiting Scholar at Duke University she is now working on a research project aiming to establish a closer link between literary/cultural studies and medicine/medical anthropology.
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Devyatova, Olga L., and Aleksandra A. Pichueva. "Dance Culture in the Digital Age." Observatory of Culture 19, no. 4 (September 5, 2022): 372–80. http://dx.doi.org/10.25281/2072-3156-2022-19-4-372-380.
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The purpose of this article is to analyze the existence of dance culture in the context of its active interaction with media technologies. The modern theatrical repertoire offers a large number of experimental performances, which provides a basis for a cultural understanding of dance culture, based on the works of researchers of culture, theater and dance, as well as on the basis of the results of creative searches of choreographers and dancers (lectures and individual performances). The synthesis under consideration generates new stage techniques (formation of space without the use of decorations, direct “interaction” of the dancer with electronic “props”), technical means for rehearsals (tracking movements in space, remote work of the choreographer and the performer). This makes dance art accessible to the viewer making it a part of media culture through musical films and television projects. The article pays special attention to the wide opportunities of the dancer’s self-presentation in the digital space, which requires not only beautiful dance technique, but also technical skills (filming, editing).It is important that the synthesis of technology and dance is a special case of the relationship between the classical and the modern. This manifests itself in unusual musical works, where genres and musical instruments of different styles are combined, as well as in experimental dance performances in which there is a place for both classical dance and digital technologies as decorations or even participants in the stage action. The article concludes that dance culture continues to develop with the help of media technologies, but it should be borne in mind that further technical transformations will never replace the live movement and expressiveness of the human body with digital effects.
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Takahashi, Yuya. "Estimating a War of Attrition: The Case of the US Movie Theater Industry." American Economic Review 105, no. 7 (July 1, 2015): 2204–41. http://dx.doi.org/10.1257/aer.20110701.
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This paper empirically studies firm's strategic exit decisions in an environment where demand is declining. Specifically, I quantify the extent to which the exit process generated by firms' strategic interactions deviates from the outcome that maximizes industry profits. I develop and estimate a dynamic exit game using data from the US movie theater industry in the 1950s, when the industry faced demand declines. Using the estimated model, I quantify the magnitude of strategic delays and find that strategic interactions cause an average delay of exit of 2.7 years. I calculate the relative importance of several components of these strategic delays. (JEL D92, L11, L82, N72)
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Lin, Geng, Hao Wu, Xiaoru Xie, Fiona Fan Yang, and Zuyi Lv. "Negotiation between modernity and local culture in moviegoing practice: A case study of a traditional movie theater in Guangzhou Metropolis." International Journal of Cultural Studies 24, no. 5 (March 10, 2021): 707–30. http://dx.doi.org/10.1177/1367877921993819.
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As a medium for delivering modernity, movie theaters have faithfully recorded the dialogue between modernity and local daily lives. In contrast to modern movie theaters, traditional cinemas are distinguished by their long history, through which they reflect the changing connotations and social construction of modernity over time. Based on detailed analysis of the historical and social characteristics of Nanguan cinema, a 100-year-old movie theater in Guangzhou, China, we reach the following two conclusions: first, shaped by local traditional culture, the practice of moviegoing localizes modernity with a distinctive grassroots feature that enlivens everyday lives; second, moviegoing at traditional theaters in modern metropolitan areas has further enriched the connotations of modernity by providing a nostalgic experience for audiences.
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Keefe, Joseph. "Is that all the space you've got?" Journal of the Acoustical Society of America 152, no. 4 (October 2022): A21. http://dx.doi.org/10.1121/10.0015408.
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A few case studies regarding small room architectural acoustics concerns are presented. These address problematic and unanticipated low-frequency room modes, constraints regarding vertical sound isolation in a tenant-space theater, and challenges pertaining to control of a chiller plant in commercial office space. Our approach to criteria, analyses, noise control recommendations, and lessons learned will be presented.
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Komporaly, Jozefina. "Translating Hungarian Drama for the British and the American Stage." Hungarian Cultural Studies 14 (July 16, 2021): 164–75. http://dx.doi.org/10.5195/ahea.2021.434.
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Reflecting on my experience of translating contemporary Hungarian theater into English, this paper examines the fluidity of dramatic texts in their original and in translation, and charts collaborations between playwrights, translators and theater-makers. Mindful of the responsibility when working from a “minor” to a “major” language, the paper signals the discrepancy between the indigenous and foreign ‘recognition circuit’ and observes that translations from lesser-known languages are predominantly marked by a supply-driven agenda. Through case studies from the work of Transylvanian-Hungarian playwright András Visky, the paper argues that considerations regarding such key tenets of live theater as “speakability” and “performability” have to be addressed in parallel with correspondences in meaning, rhythm and spirit. The paper also points out that register and the status of certain lexical choices differ in various languages. Nuancing the trajectory of Visky’s plays in English translation, this paper makes a case for translations created with and for their originals, in full knowledge of the source and receiving cultures, and with a view to their potential in performance. The paper posits the need for multiple options encoded in the translation journey, including hypothetical concepts for future mise-en-scène, and situates the translator as a key participant in the performance making process.
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Degani-Raz, Irit. "Spatial diagrams and geometrical reasoning in the theater." Semiotica 2021, no. 239 (January 25, 2021): 177–200. http://dx.doi.org/10.1515/sem-2019-0052.
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Abstract This article offers an analysis of the cognitive role of diagrammatic movements in the theater. Based on the recognition of a theatrical work’s inherent ability to provide new insights concerning reality, the article concentrates on the way by which actors’ movements on stage create spatial diagrams that can provide new insights into the spectators’ world. The suggested model of theater’s epistemology results from a combination of Charles S. Peirce’s doctrine of diagrammatic reasoning and David Lewis’s theoretical account of the truth value of counterfactual conditionals. I argue that in several theatrical works – in particular those whose central image is dominated by movements – the relation of what Lewis names “comparative overall similarity” between the fictional and the actual world is based on diagrammatic homology. The cognitive process involved in deciphering them is, hence, based on diagrammatic reasoning. The main emphasis of the analysis is on the previously unnoticed but important cognitive role of observation in the theater: the idea that observation takes an active role in the reasoning process that enables the spectators to form new knowledge about their actual world. Samuel Beckett’s plays Quad and Come and Go serve here as case studies.
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Voinea, Cosmina Lelia, Marcel Logger, Fawad Rauf, and Nadine Roijakkers. "Drivers for Sustainable Business Models in Start-Ups: Multiple Case Studies." Sustainability 11, no. 24 (December 4, 2019): 6884. http://dx.doi.org/10.3390/su11246884.
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Mechanisms that large organizations employ to facilitate corporate social responsibility (CSR) engagement simply do not apply to start-ups due to distinct differences. The purpose of this study was to gain insight into how start-ups strive for sustainability in their business models by investigating internal and external drivers related to organizational processes, managerial characteristics, and stakeholder expectations. We explored key factors such as decision-making regarding CSR engagement, business values about sustainability, entrepreneurial orientation, and the relevance of the CSR theater (philanthropic orientation, disruptive innovation, or transforming the ecosystem). Multiple case studies and interview data elucidated how start-ups engage with their community and stakeholders to determine the best approach to sustainability demands, how start-ups embed sustainability practices within their business models, and how these practices match with the entrepreneurs’ personalities. On the basis of our case studies and data analysis, we propose that the decision to engage in CSR is treated as an investment decision. The business values of a start-up determine its CSR engagement. The philanthropic drive of a start-up determines its CSR initiatives, which are then in line with the field the start-up is operating in. Entrepreneurs’ willingness to adopt CSR practices is determined by their personalities and organizational expertise and experiences. CSR engagement within the business models of start-ups is based on a combination of financial and social capital, while financial benefits act as a continuous motivator for CSR engagement from inception.
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Sáez, Alejandra. "La actuación del derecho." Acta Poética 42, no. 2 (June 22, 2021): 47–76. http://dx.doi.org/10.19130/iifl.ap.2021.2.18123.
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Law, in its structure and from its first conformation, shares the same matrix with theater. Elements such as representation, spectacle, storytelling and actions are constitutive of both subjects, which makes law an eminently fictitious practice. This becomes evident in the case of Jorge Mateluna, former member of the patriotic front Manuel Rodriguez, who was arrested and sentenced to 16 years in prison for a crime he did not commit, a case denounced in the play Mateluna by Chilean playwright Guillermo Calderon, staging that, when compared to the legal case, reveals the theatrical and fictitious nature of law.
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Annichev, О. Ye. "The interaction of theatrical journalism and theatrical criticism in the modern media." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 115–26. http://dx.doi.org/10.34064/khnum1-51.06.
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Background. Topicality of the theme. With the advent of the Internet, Internet journalism has appeared. In relating to theater, in essence, it is theatrical criticism, which has only undergone major changes. In recent years, there have been lively discussions in professional circles about the state and prospects of theater criticism as a profession, about the nature of theater criticism, its self-identification in the modern information space. Round tables with the participation of leading theater critics are devoted to the issues of the current state of theater criticism, a number of relevant materials have been published in specialized publications, often with indicative headings: “Who needs theater critics?” [1], “Theater criticism: final or transformation?” [9]; interviews of theater critics, in which they uphold the positions of the profession and, at the same time, speak about urgent problems and the need to update it taking into account rapidly changing realities: with S. Vasilyev [2], N. Pivovarova [5], Ya. Partola [6]; discussion articles on the status and prospects of the profession by M. Harbuziuk [3], M. Dmitrevskaya [4], N. Pesochinsky [7], I. Chuzhynova [10], S. Schagina, E. Strogaleva, E. Gorokhovskaya [11]. Thus, there are several points of view on this topic: that theatrical journalism has replaced theatrical criticism; that theatrical critics of the old school did not have time to adapt to the changing world and use new tools in this profession, and young critics just occupy their niches in the youth media and on the Internet; that the profession of a critic does not go beyond the framework of participation in expert councils, jury membership, attendance at theater festivals, and writing reviews on request. The question, however, is still open. The main goal of this article is to determine the degree and main character of the interaction of journalism and theatrical criticism in modern media. Results of the study. Those who are seriously engaged in theater studies and academic theater criticism feel the need for specialized publications, the number of which in Ukraine is reduced to a minimum. Therefore, those who had the opportunity to publish reviews in the socio-political periodicals, have to combine three professional areas in one, becoming a theater journalist. Academically trained theater critics can write and often write good books, but, as a rule, do not know how to write for newspapers and magazines. But graduates of journalistic departments who write about the theater are not familiar with professional terminology, which is able to give a correct assessment of the premiere performance. The question arises: how to combine those and these, that the theater journalism was both fascinating and acute, and moderately scandalous, but at the same time accurate and high-quality? To grow such specialists is a matter of work, there can be no conveyor system here. Modern theater criticism, gradually becoming obsolete, rather survives from the common theatrical space. The theater critic cannot be a free artist, and live on the money from the results of his work, because in non-capital cities the number of journals in which the theater specialist would have had time to publish his works has decreased by several times. In cities such as Poltava, Sumy, Chernigov, the issues relating to theatrical premieres are not covered by critics (they are simply not there), but by journalists who write on various topics and rarely specialize in one. The substitution of theatrical critique by journalism is quite natural, for example, for cities where there is no professional training of theater critics, however in Kiev, Kharkiv and Lviv theater studies continue, and a certain number of graduates hope for the viability of this profession. Theatrical criticism and theatrical journalism are in their own way demanded in certain circles. Criticism is closer to theaters, journalism – to the audience. It is difficult to debate with this statement that new epoch came with the Internet. Now, the spoken word has a completely different value. For example, а word thrown on Facebook can have the same effect on public opinion as a big, built, hard fought text. This does not mean that you do not need to write large texts and publish them on paper. You just need to understand and accept the new reality, its advantages and disadvantages, its danger and its benefits. It is a very important problem of our consciousness and the problem of our theater. The Internet has given a new push to the development of new type of media-translations, actively working in social networks. Sites appear on the network where online remote screenings of performances are held. They provide Internet audiences with the opportunity to be acquainted with the history of national and world theater art; they are introduced to modern avant-garde performances. Of course, this also brings the theater closer to a wide, as a rule, young audience and opens up new opportunities for a different kind of theater journalism. Сonclusions. Thus, the Internet becomes an active means of influencing the minds in the modern media space. The Internet influences everyone and everything, changing attitudes towards theatrical art, as well as contemporary theater criticism and theater journalism. However in this case, it is essential to remember that not the Internet, but only professional theater criticism that has been and remains the breeding ground for the scientific work of theater critics and art historians, while creating the history of dramatic, opera and ballet theater.
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Steinweis, Alan E. "The Professional, Social, and Economic Dimensions of Nazi Cultural Policy: The Case of the Reich Theater Chamber." German Studies Review 13, no. 3 (October 1990): 441. http://dx.doi.org/10.2307/1430764.
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Hussein Sagheer, Safaa, and Mehdi Abbass Mohsin. "The Tragic Sense in The Theatre of The Absurd: The Case of Pinter's Birthday Party." Journal of Education College Wasit University 2, no. 45 (December 21, 2021): 531–46. http://dx.doi.org/10.31185/eduj.vol2.iss45.2311.
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Abstract
Absurdity is one of the prominent philosophy associated with the emergence of modernist and postmodernist movement in literary text. In such texts, we notice that the embedded themes and ideas reflect the dilemma and the suffering of modern man. The purpose of this paper is an attempt to clarify the subtle feeling associates with the appearance of modernist and postmodernist movements, discussing the ideas of absurdity and absolutism. Also, it gives an idea about the sense of sickness associates with the anomalies of the human conduct on the projected scene such as a universe of meta--identity, named the hilarious theater. This type of theatre is commonly known as absurd theater as discovered by Martin Julius Esslin (1918-2002), who created this phrase to explain Meta identity has been substantially reinterpreted through an exterior identity mask, which invigorates one of the postmodern ideological conceptions of the enormous humanity. The paper consists of three sections: the first is an introduction to Pinter's Birthday Party. The second section discusses the concept of absurdity and the reason of its emergence. The third section deals with how absurd themes reflect the pain, the sense of loss and void that modern man experiences amid the chaotic world specifically after WWII. Finally, the study ends up with conclusion and recommendations for further studies
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MAN'KOVSKII, Arkady. "THE AUTHOR’S NOTE IN THE PLAYWRITING OF I.S. TURGENEV: RESEARCH ASPECTS." RZ-Literaturovedenie, no. 4 (2021): 37–52. http://dx.doi.org/10.31249/lit/2021.04.03.
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Three different scientific fields are traditionally interested in the author’s stage directions: literary criticism (poetics), theater studies and linguistics - all three have their own approach to this phenomenon. This is the reason for the existence of different terms, defining some related phenomena, but belonging to different classification systems. The studies of the author’s remarks in Turgenev’s plays attract scholars attention less often than the same aspects in drama by Chekhov and Ostrovsky but their works on Turgenev demonstrate such terminological diversity as well. But in case of Turgenev it works as if fruitful.
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Balevičiūtė, Ramunė, and Agnė Jurgaitytė-Avižinienė. "Withdrawal from the City: Searching For the Source of Valentinas Masalskis’s Creative Work." Pamiętnik Teatralny 71, no. 1 (March 18, 2022): 33–50. http://dx.doi.org/10.36744/pt.837.
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In psychology of creativity, there has been a growing need to explore not only the individual world of the artist, but also the broader context of creative work, such as the influence of the environment on creativity. By combining the methods and insights of theater studies and psychology, this article raises the question of the impact of urban and non-urban environment on the theater artist and explores the phenomenon of “withdrawals” of Lithuanian actor, director, and pedagogue Valentinas Masalskis. The article is based on qualitative research: case study analysis, with in-depth interviews as a method of data collection. The research resulted in selection of four meta-themes that emerged from the interviewing material: “city is bustle,” “to withdraw in order to come back,” “I am no one without others,” “beyond aesthetics,” with the theme of withdrawal as the essential axis. The analysis of these meta-themes in phenomenological perspective revealed how withdrawals help Masalskis to realize his vision of the theater. For Masalskis, withdrawals are the way not only to produce a new performance, but also to go further—to deepen anthropological reflection, to develop pedagogical methods, to discover unusual perspectives, to strengthen ethical principles, and, finally, to search for the source of creativity in a calm and focused manner.
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Xue, Charlie Qiuli, Cong Sun, and Lujia Zhang. "PRODUCING CULTURAL SPACE IN THE CHINESE CITIES: A CASE STUDY OF GRAND THEATERS IN SHANGHAIPRODUCING CULTURAL SPACE IN THE CHINESE CITIES: A CASE STUDY OF GRAND THEATERS IN SHANGHAI." JOURNAL OF ARCHITECTURE AND URBANISM 44, no. 1 (March 20, 2020): 32–43. http://dx.doi.org/10.3846/jau.2020.10800.
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Following the rapid pace of urbanisation, Chinese cities have launched a new wave of large-scale infrastructure, including cultural building construction. From 1998 to 2015, more than 360 grand theaters were built together with libraries, museums and children’s palaces. The number of newly built theaters may have been more than the total sum built in Europe over the past 70 years. Through case studies of theaters built in Shanghai, this paper penetrates the phenomenon of the “heat of cultural buildings” and discovers the history, intentions and effects of these theaters on Chinese cities. Following on-site investigation of the city and theaters, the materials of theater building in China are presented. Theaters of various types are discussed in the framework of urban space, design language and consumerist culture. The authors find that the rapid growth of cultural facilities epitomises the ambition and strong implementation of Chinese (and Asian) governments in the wave of urbanisation and globalization.
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Werman, Anna. "Motyw emigracji a semantyka przestrzeni w teatrze Jorge Díaza." Ameryka Łacińska. Kwartalnik analityczno-informacyjny, no. 107 (July 16, 2020): 1–14. http://dx.doi.org/10.36551/20811152.2020.107.01.
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The paper discusses the correlation between the appearance of the motif of emigration and the concept of theater space, using the case of selected plays by a Chilean playwright Jorge Díaz. The article focuses on five dramas from 1980s and 1990s that revolve around the issue of forced external emigration. The definition of political emigration adopted by the author refers to sociological and psychoanalytical studies that consider exile in terms of an irretrievable loss of numerous aspects that contribute to the sense of individual integrity, leading to a life in the limbo of anticipated return, an identity crisis caused by lack of the sense of belonging, or an affective dissociation from the home and the host country. At the root of the issues listed above lie primarily the space-time conditions. A thorough analysis of theater space, using the methodologies of such researchers as T. Kowzan, M. Carmen Bobes Naves, P. Pavis, and J. L. García Barrientos, reveals the complexity of the structure of space, divided into the visible, the invisible, and the autonomous. The latter may be considered both from a synchronous and anachronistic standpoint. It can also be subject to the process of internalization, in which objective and subjective spaces are distinguished. This manner of presenting the category of space allows for discerning a number of relations, such as the presence of syntagmatic relations between various spaces (open/closed, life/recollection, etc.), or the paradigmatic, similarity- or contrast-based relations with other theater categories. Moreover, the use of the concepts of metaphor, metonymy, and synecdoche contributes substantially to enriching of the significance of the theater space.
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van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.
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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.
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Rubtsova, O. V., T. A. Poskakalova, and A. G. Solov’eva. "Drama as an Educational Technology and a Tool for Achieving Personal Educational Results." Психологическая наука и образование 27, no. 1 (2022): 52–64. http://dx.doi.org/10.17759/pse.2022270105.
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The article focuses on the results of the research project “Adolescent Theater as an Activity Technology for Education and Formation of Personal Educational Results", implemented in 2021—2022 by the Center for Interdisciplinary Research on Contemporary Childhood of the Moscow State University of Psychology and Education. The main goal of the project was to substantiate the the efficiency of school theater as a means of education and a tool for developing meta-subject competences and improving personal educational results in adolescents. For achieving this goal, a unique educational program of drama activities (30 sessions of 45 minutes each) was elaborated and trialed in “Starogorodkovskaya School” in Moscow Region. 10 teenagers aged from 13 to 14 years took part in the project. The research methods included: observation, video recording of drama sessions and subsequent analysis of the videos; analysis of the products of the activity (scripts, short videos, poems); regular interviews with teenagers and teachers, who participated in the project. Several case studies are discussed, demonstrating that drama can become an effective technology for education and development of personal educational results in adolescence.
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Larabee, Anne. "Staging America: Cornerstone and Community-Based Theater. By Sonja Kuftinec. Carbondale: Southern Illinois University Press, 2003; pp. xviii + 255. $45 cloth." Theatre Survey 45, no. 2 (November 2004): 284–86. http://dx.doi.org/10.1017/s0040557404230265.
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Through this case study of the Cornerstone Theater, Staging America sets out to explore the complexities of theatrical practices that aim to transform their audiences and enact social change, especially within the context of national identity. Cornerstone was founded in 1986 by a group of Harvard graduates interested in “bringing theater to the culturally disadvantaged,” but the company soon found itself equally transformed by the communities it served (66). With unusual theoretical depth in its use of cultural studies and ethnography, Staging America chronicles Cornerstone's changes as it attempted to become America's national theatre, traveling across the country to foster grassroots productions of classical plays. It is a fascinating journey that never quite settles on any easy conclusions, for if Cornerstone has ever come close to being a national theatre, it is only with the same unease that any single “America” can ever be staged or even defined. Kuftinec argues that this unease is Cornerstone's strength, as it constantly refigures itself in an anxious dialogue over national identity. Ultimately, she says, Cornerstone reflects America as “a matrix of continuously refigured difference.”
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Hutcheon, Linda. "Interdisciplinary Opera Studies." PMLA/Publications of the Modern Language Association of America 121, no. 3 (May 2006): 802–10. http://dx.doi.org/10.1632/003081206x142896.
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I hold this truth to be self-evident: that an art form consisting of a literary text, a dramatic stage performance, and music should be studied in all its multimedia and “multimediated” dimensions (Kramer, Opera 25). Today I can make this statement with confidence because the academic study of opera indeed covers all those aesthetic bases, but that has not always been the case. So long as opera fell primarily within the domain of musicology, it was studied first and foremost as music alone. The fact that the music was written for a specific dramatic text was not deemed particularly significant. The very name given to that text betrayed a belief in its secondariness: the diminutive libretto. But things have been changing: in recent years, some musicologists have challenged the dominant positivistic historicism and formalism of their discipline; some have even looked to literary theory for inspiration, bringing new approaches to the music of opera through narratology (e.g., Abbate) or semiotics (e.g., Nattiez). But just as important for opening up the study of opera as an aesthetic and cultural form has been the attention of scholars working in other disciplines. To take but one example, Peter Rabinowitz's rhetorical narrative theory introduced new ways of thinking about opera as narrative, not only as drama and, more pointedly, not only as drama with the composer in the role of dramatist (Kerman). It was opera, not dance, for example, that became a focus for interdisciplinary studies; already multimediated, it attracted diverse lines of inquiry. To cite the title of David Levin's groundbreaking 1994 volume, we can now see “opera through other eyes.” (Musical theater too has been seen through other—especially literary—eyes, but that is not the focus of this piece [see, e.g., Most; Miller; Rabinowitz].)
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Rittibul, Pravit. "Ramayana's royal thesis to form of Khon performance: A case study of Khon Scene Ramayana story: Ronnapak Asurin Indrajit." Asian Journal of Arts and Culture 22, no. 2 (August 17, 2022): 256708. http://dx.doi.org/10.48048/ajac.2022.256708.
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Articles of royal drama Ramayana to form Khon performance: a case study of Khon Scene Ramayana story: Ronnapak Asurin Indrajit, it is a qualitative research in the form of conservation research with an objective to study the history development of the show forms and elements of the Khon Scene performance Ramayana story: Ronnapak Asurin Indrajit from Ronnapak Chubson to Ravana gave his name. The study tools were structured interview forms and participatory observation content analysis and summarize the discussion descriptive presented in an academic format and in show form. The results of the research showed that the performance of the Khon Scene Ramayana story: Ronnapak Asurain Indrajit is an improvement from the Ramayana drama. His Majesty King Buddha Yodfa Chulalok (King Rama 1) Volume 1 is a Khon script used for performances by Ajarn Panya Nittayasuwan, edited by Ajarn Seree Wangnaitham. Next Ajarn Charan Poonlarp has adapted the Khon script of Ajarn Panya Nittayasuwan to make the chapter more concise with the time limitation of the show which is exhibited at the publicity event for the public to see Artist - Silpakorn (Mr. Somrak Nakpluem) at the National Theater (Small Theater) on September 21, 2007, presenting the performance in the form of Khon Scene which is divided into performances that use the scene to indicate the location, use dialogue, dance according to the lyrics and the song Na-phat in the story uses a chimney orchestra to play along with the performance which standing costume of performers. The research team has been transferred the dance movements and performance styles from experts and applied to the theory of the process of transferring dance moves to students in the field of Thai Dramatic Arts Studies, department of Dramatic Music, faculty of Fine and Applied Arts Rajamangala University of Technology Thanyaburi and then presented in the form of academic papers and performances.
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Murakami, Ineke, and Donovan Sherman. "Performance beyond Drama." Journal of Medieval and Early Modern Studies 51, no. 3 (September 1, 2021): 387–95. http://dx.doi.org/10.1215/10829636-9295002.
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The field of performance studies has invigorated premodern scholarship by directing critical attention to live, ephemeral events that unsettle the textual archive. This special issue of JMEMS builds on this work by stepping away from the usual emphasis on theater and its texts to examine “performance” conceived more broadly. With case studies that range from a pig-clubbing “game” in medieval festivals to the gnomic utterances of secretive eighteenth-century philosophical rituals, these essays ask how we study a medium that has, by its nature, disappeared. How, in other words, do we engage textual remnants to locate traces of embodied action? A forum midway through the issue offers speculative and provocative answers to this question, and an afterword takes a wider view of the enterprise to think through its implications for periodization and historical analysis.
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Gryzunova, Olga V. "Theatrical and Non-Theatrical Thinking in Actual Choreographic Practice." Observatory of Culture 18, no. 4 (October 11, 2021): 416–23. http://dx.doi.org/10.25281/2072-3156-2021-18-4-416-423.
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The article attempts to concretize the essence of the two aesthetically polar staging approaches — theatrical and non-theatrical (performative) — in the context of the choreographic art development. The author suggests that the basis for separating these approaches can be some peculiarities in the ways they interpret such fundamental concepts as “actor”, “role”, “spectator”, “drama”, “action”, “conflict”, which, in a choreographic performance, are in certain relationships determined by cultural traditions, and in a non-theatrical production, they are transformed up to their disappearance. A similar experience of separating a theater and a non-theater on the basis of the presence of an actor, a role, a spectator and an hierarchy between them is proposed in theater studies. However, in choreographic (including ballet) performances, the content of the role is closely linked with the music and is often determined by the emotional background and musical dramaturgy. In the case of a radical departure from the composer’s intention, turning to a different starting point for the composition, the specificity of the choreographic (ballet) performance is destroyed. Borrowings from non-theatrical art are showed in the construction of meanings when working with intrinsic body movement, as well as in the reliance on interdisciplinarity. Within a single line of choreographic art, there is a whole spectrum of ideas that interpret the concepts of “theatricality”, “non-theatricality”, “drama”, and “performativity” in different ways. On what basis to classify them in order to reduce them to a consistent system is a difficult question. The article attempts to outline the foundation for future classification. The relevance of this topic is caused by the insufficient elaboration of the conceptual base in the specialized literature on choreographic art.
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Horstmann, Jan. "Zeitraum und Raumzeit: Dimensionen zeitlicher und räumlicher Narration im Theater." Journal of Literary Theory 13, no. 2 (September 6, 2019): 185–205. http://dx.doi.org/10.1515/jlt-2019-0007.
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Abstract The positioning in space and time of performed narration in theater poses a specific challenge to classical narratological categories of structuralist descent (developed, for example, by Gérard Genette or Wolf Schmid, for the analysis of narrative fiction). Time is the phenomenon which connects narratology and theater studies: on the one hand, it provides the basis for nearly every definition of narrativity; on the other, it grounds a number of different methodologies for the analysis of theater stagings, as well as theories of performance – with their emphasis on transience, the ephemeral, and the unrepeatable, singular or transitory nature of the technically unreproducible art of theater (e. g. by Erika Fischer-Lichte). This turn towards temporality is also present in theories of postdramatic theater (by Hans-Thies Lehman) and performance art. Narrating always takes place in time; likewise, every performance is a handling of and an encounter with time. Furthermore, performed narration gains a concrete spatial setting by virtue of its location on a stage or comparable performance area, so that the spatial structures contained in this setting exist in relation to the temporal structures of the act of theatrical telling, as well as the content of what is told. Both temporal and spatial structures of theater stagings can be systematically described and analyzed with a narratological vocabulary. With references to Seymour Chatman, Käte Hamburger and Markus Kuhn among others, the contribution discusses how narratological parameters for the analysis of temporal and spatial relations can be productively expanded in relation to theater and performance analysis. For exemplary purposes, it refers to Dimiter Gotscheff’s staging of Peter Handke’s Immer noch Sturm (which premiered in 2011 at the Thalia Theater Hamburg in cooperation with the Salzburger Festspiele), focusing on its transmedial broadening of temporal categories like order, duration, and frequency, and subsequent, prior, or simultaneous narration. The broadening itself proves feasible since all categories of temporal narration can be applied to performative narration in the theater – at times even more fruitfully than in written language, as is the case, for example, with the concept of ›duration‹. The concept of ›time of narration‹ too can be productively applied to theater. Whilst a subsequent narration is frequently considered the standard case in written-language narratives on the one hand – a conclusion that is, however, only correct if the narrator figure and narrative stand in spatiotemporal relation to one another, i. e. if a homodiegetic narrator figure is present – it is commonly held that in scenic-performed narration, on the other hand, the telling and the told take place simultaneously. The present contribution argues against this interpretation, as it stems from a misguided understanding of the ›liveness‹ of performance. ›Liveness‹ refers only to the relationship between viewers and performers and their respective presence, but not to their temporal and spatial relationship to the told. Rather, the following will argue that the time of narration in theater (as well as in film) stays unmarked in most cases. It is possible, however, to stage subsequent, prior, or simultaneous narration, too. Immer noch Sturm is one example for a performed subsequent narration. For audiovisual narration, then, a special case of iterative narration (telling once what happened n times) can be identified, which is to tell a few times (n minus x) what happened n times. As an additional category for the analysis of narrative temporality in audiovisual narrative media, I propose what I venture to call ›synchronized narration‹, in order to describe the specificity of spatiotemporal relations in performance. In synchronized narration, two or more events (that happen at different places or times in the narrative world) are shown at the same time on stage. This synchronized performance of several events is only realizable within the audiovisual dimension of spatial narration and not in written-language based narration. Furthermore, for narrative space relations the categories ›space covering‹, ›space extending‹, and ›space reducing narration‹ are suggested in order to analyze the relationships between discourse space and story space(s). Discourse space emerges in the concrete physical space of the performance when narrativity is present. Within this discourse space any amount of story spaces (with any expansion) can emerge. However, whilst in time-extending narration the time of the telling is longer than the time of the told, in space-extending narration the told space is bigger than the space of the telling. This principle is analogously valid for time-reducing or space-reducing narration. The transmission and media-specific broadening of temporal and spatial narratological parameters reveals how time and space form a continuum and should thus be linked and discussed alongside one another in analytical approaches to narrative artifacts. The staging of Immer noch Sturm actualizes a metaleptic structure, in which temporal borders are systematically dissolved and the overstepping of spatial borders becomes an indicator for the merging of different temporal levels. Referring back to established narratological parameters and developing analogous conceptual tools for narrative space facilitates a comparative analysis both of specific narratives and of narrative media and thus not only offers a productive challenge of classical narratological parameters, but allows to investigate and construct a holistic – if culture-specific – overall view of narration.
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Noguchi, Selma Kazumi da Trindade, Andrey Silva Machado, Simone Aguiar da Silva Figueira, Jofre Jacob da Silva Freitas, Thayse Hage Gomes Machado, Marcella Mota Macedo e. Machado, Leonilde Sousa dos Santos, and Renato da Costa Teixeira. "The applicability of active teaching-learning methodologies in health: An integrative review." International Journal of Advanced Engineering Research and Science 9, no. 7 (2022): 001–6. http://dx.doi.org/10.22161/ijaers.97.1.
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Objectives: to identify in the literature the applicability of active teaching-learning methodologies in health. Methodology: integrative review carried out in the Virtual Health Library using the descriptors in health sciences: Active methodologies; Health; Applicability. Results: 31,500 articles were found and, after careful reading, eleven were selected in the Virtual Health Library. The making of the patchwork quilt stood out; Digital Information and Communication Technologies; twine; thematic workshops with practical activities and previous questions for reflection and criticism were also used; patient care, analysis of real cases, role-playing (decision making and competence demonstration); documentaries and television series; mock jury; conversation wheel; movie theater with popcorn; tutorial group; constructivist spiral; flipped classroom and peer instruction, as well as its pedagogical foundations; problematization with the Arch of Charles and Maguerez; Project-Based Learning; the three Pedagogical Moments; Puppet theater and musical parodies; Directed study, flipped classroom, concept map and mind map; interactive dialogued class; case studies; oral presentation of contents; kahoot; Forum; LPAM (Learning Practice Assessment Material); ESCAPE ROOM; Problem Based Learning; Video lessons; theaters and recreational activities. Final Considerations: Reflective teaching, appropriate to the context, of methodological quality has the ability to instigate an expanded and transdisciplinary vision, in addition to promoting social changes resulting from the increase of individual and collective awareness.
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Roselli, Andrea. "The mind beyond the head: Two arguments in favour of embedded cognition." Filozofija i drustvo 29, no. 4 (2018): 505–16. http://dx.doi.org/10.2298/fid1804505r.
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In this paper I defend situated approaches of cognition, and the idea that mind, body and external world are inseparable. In the first section, I present some anti-Cartesian approaches of cognition and discuss the intuition they share that there is a constitutive interaction between mind, body and external environment. In the second section, I present the fallacy of the Cartesian theater of the mind and explain its theoretical premises. In the third section, I present a spatial argument against it, and argue that some case studies could give support to the idea of the mind stretching over the boundaries of the skull. In the fourth section, I present a temporal argument, and argue that even in this case the idea of an interaction between our cognitive life and the external world has at least a very strong intuitive palatability.
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Lobanova, I. V. "“Faust” by Ch.-F. Gounod as a debut of a director E. O. Jungwald‑Khilkevych on the Ukrainian National Opera and Ballet Theater stage (1925)." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 50–62. http://dx.doi.org/10.34064/khnum2-14.04.
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Background. When Kharkiv was the capital of Ukraine (1917–1934), many outstanding artistic events were happening there, which have not been studied properly up to this day. Among them – an experiment is, that started in 1925. In this time in Kharkiv the Ukrainian National Opera and Ballet Theater was founded. Strictly speaking, the new theater was not created completely anew: the art of opera and ballet had the established traditions in Kharkiv to that time. Yet, it had not been free from certain provincial features, trying to imitate the style of well-known theaters. The new theater was meant to overcome those drawbacks. The visual side of performances presented practically no problem, scenery being created mostly by avant-garde artists, but there was almost a total lack of stage directors, capable of creating performances adequate to the time and new contingent of spectators. One of the most important events of the theater’s first season happened to be the appearance of Yosyp Lapytsky, famous for his stubbornness in overcoming stereotyped patterns of staging opera performances. Though his attempts were widely criticized, today we can fully appreciate the master’s creative ideas. Now the name of Y. Lapytsky is rather well-known as an example of a director’s creativity within the framework of Ukrainian opera theaters of his time. However, only some peoples, even among professionals, remember his adherent and long-time assistant, Emil Olgerd Jungwald-Khilkevych. Yet, the latter was an extraordinary figure among his colleagues. Less than the decade afterward the Kharkiv performances, E. O. Jungwald-Khilkevych was appointed a chief stage director and an art director of two theaters simultaneously, the Russian and the Uzbek Operas in Tashkent. Thus, he became one of the founding fathers of the Uzbek professional musical theater and a figure worth remembering in the history of operatic art in Kharkiv. The author was unable to find any studies into E.O. Jungwald-Khilkevych’s activities as stage director. At least, no such publications have been found in Ukrainian, Russian or any widely known European languages, while materials in Uzbek were not searched as requiring a profound knowledge of that language. As far as the Ukrainian segment of Jungwald-Khilkevych’s activities is concerned, it has not been studied at all. The objectives of this study lie in an attempt to systematize isolated facts of the director’s biography; to collect and analyze the information concerning his debut performance on Kharkiv stage; to reveal the significance of his activities within the context of the Ukrainian National Opera and Ballet Theater’s first season. Results. E. O. Jungwald-Khilkevych graduated from the Kyiv Academy of Music in 1920 and started his career at the Kyiv Opera Theater. In a short while, he was invited by the administration of the Poltava Opera Theater as a chief director. In 1923, the young director became an assistant to Y. Lapytsky, when the latter was on tours, staging performances in various cities. We may presume that his work in Poltava enriched him with the experience of independent actions, so important for anyone’s professional progress. That why he was invited to Kharkiv not only as Y. Lapytsky’s assistant, but as independent artistic figure as well. He got a special assignment of directing “Faust” performance. The new theater’s administration seems to have had little hope for the success of “Faust”. There were too little material resources and time allocated for the performance and rehearsals. Too much work had to be done in a very short period. November 4, 1925, was the first night of the performance. It provoked a lively discussion among musical critics: the director’s interpretation of Gounod’s opera seemed to be too peculiar. It is worth noting that all the transformations in action on stage were made strictly within the framework of the original musical material with minimal changes in the libretto. The director only implemented some new ideas as to the interpretation of certain episodes as well as characters’ nature. They concerned, first and foremost, Dr. Faust, the hero of the opera. E. Jungwald-Khilkevych saw him as a medieval scholar who had lost his lifelong faith in science. So, Faust is in a desperate search of the way out, ready either to change his life drastically or to put an end to it. Thus, the conflict, as seen by the director, is the inconsistency of the intellectual and the sensual, and this point of view is much closer to Goethe’s tragedy, whose philosophical intricacy was somewhat simplified in Gounod’s opera. Building up the logical and psychological motives of the characters’ actions (where one can trace the influence of Y. Lapytsky and his ideas), E. Jungwald-Khilkevych introduced a supplementary personage, the young Faust. The director also interpreted in his own way the character of Mephistopheles – not as a devil from the other world, but as the “Alter Ego” of Faust himself, as the dark side of the doctor’s personality. E. Jungwald-Khilkevych did not hesitate to break some respected operatic traditions. For example, he insisted on substituting traditional travesty actress (alto or soprano) in the part of Siebel with a male tenor. I. Turkeltaub, a famous musical critic of Kharkiv, maintained in his review that the director enriched the performance with new brilliant elements, which significantly broke off the opera routine. Conclusions. Certain conclusions justly can be made not only from the praise by an authoritative erudite musical critic I. Turkeltaub, but also from the details of the director’s conception, disclosed in his own articles. This materials prove that the debut of E. Jungwald-Khilkevych, then 28, on the main stage of the Ukraine’s capital was far from being imitative or immature. He proposed an interpretation both independent artistically and adequate to his time. This performance testifies to maturity of rather a young director, his ability to work under extreme conditions, to captivate the actors and inspire them with his ideas. It is obvious that the theater’s administration did next to nothing to support the director of “Faust”: the leading singers were not included in the cast, the scenery was made by secondrate painters instead of A. Petrytsky and O. Khvostenko-Khvostov, which were the leading designers of the theater, and so on. In spite of all that, “Faust” became one of the real zests of the Ukrainian National Opera and Ballet Theater’s first season. This result proves the real necessity of closer scholarly studies into the Ukrainian period of E. Jungwald-Khilkevych’s creative activities, precisely, the performances executed under his guidance on Kharkiv stage.
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Germay, Robert. "DO NASCIMENTO DA ASSOCIAÇÃO INTERNACIONAL DE TEATRO NA UNIVERSIDADE, OU QUANDO UMA NECESSIDADE DO TU CRIA O ÓRGÃO AITU." O Teatro Transcende 21, no. 1 (December 14, 2016): 30. http://dx.doi.org/10.7867/2236-6644.2016v21n1p30-41.
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RESUMO Do nascimento da Associação Internacional de Teatro na Universidade, ou Quando uma necessidade do TU cria o órgão AITUDesde a criacão das primeiras universidades na Idade Média, a atividade teatral universitária esteve diretamente ligada às matérias ensinadas como um auxiliar do ensino, e essencialmente praticada intra muros. Após a 2a. guerra mundial (1945), o teatro universitário iria acentuar o fenômeno de sua abertura e de sua internacionalização. Rompendo os muros da universidade, o teatro conquistaria cada vez mais visibilidade, e inúmeros grupos universitários se veriam tentados pela profissionalização. A própria universidade vai, a partir daí, considerar o teatro como objeto de estudo. E os anos 70 serão, assim, marcados em quase todas as universidades europeias, pela criação de Departamentos de Estudos Teatrais. A década de 1980 viu florescerem novos festivais internacionais que revelam claramente a abundância de teatros universitários e a grande diversidade de suas práticas. Por ocasião dos Encontros de Liège (RITU), vai ressurgir no início dos anos 90, a questão da definicão do teatro universitário, que impulsiona os liegenises a organizar um Congresso Mundial em outubro de 1994, quando foi criada a Associação Internacional do Teatro na Universidade. A AITU organzia seu 11o. Congresso em 2016 em Manizales (Colombia). Palavras chave : AITU-IUTA, Teatro Universitário, História do Teatro Universitário ABSTRACT On the birth of the International University Theatre Association, or When a need of UT creates the organ IUTASince the creation of the first universities in the Middle Ages, the university theater activity was considered as a teaching aid to the subjects taught, and was primarily practiced intra muros. After the 2nd World War (1945), University Theatre would accentuate the phenomenon of openness and internationalization. Leaving the walls of the university, theater acquired more and more visibility, and numerous academic troops were tempted by professionalization. The university itself will now consider theater as a case study. And so the 70’s will be marked by the creation of Theater Studies Departments in universities all over Europe. The 1980’s saw a flowering of new international festivals which clearly reveal the abundance of university theaters and the great diversity of practices. On the occasion of the Liège Meetings (RITU), the question of the definition of university theater resurfaced in the early 90s, which pushed the organizers to set up a World Congress in October 1994. This led to the creation of the International University Theatre Association. The IUTA holds its 11th Congress in 2016 in Manizales (Colombia). Keywords: AITU-IUTA, University Theatre, History of University Theatre
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Lezza, Antonia. "Viviani and the others: Scarpetta, Pirandello, and Eduardo and Peppino De Filippo." Forum Italicum: A Journal of Italian Studies 48, no. 3 (September 4, 2014): 562–82. http://dx.doi.org/10.1177/0014585814542778.
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This article reconstructs Raffaele Viviani’s ties with some of the greatest representatives of 19th and 20th century Italian theater, dwelling in particular on his relationships with Scarpetta, Pirandello, and Eduardo and Peppino De Filippo. The tools for such an investigation are letters and theatrical reviews. In order to highlight Viviani’s relationship with the theatrical scene of his time and with the preceding dramaturgical tradition, the article illustrates Viviani’s close relationship with Luigi Pirandello. In the space of a 20-year period, Viviani performed and transposed into the Neapolitan dialect three of Pirandello’s plays: La patente (1924), Pensaci, Giacomino! (1933), and Bellavita (1943). The analysis of this relationship dwells not only on the novel and effective linguistic operation carried out by Viviani compared with the original texts (in the case of transpositions/rewritings), but also draws attention to the system of characters in Viviani’s theater that have a Pirandellian origin, such as Don Mario Augurio (from the play by the same name) and Giovanni Scardino ( Fuori l’autore). Moreover, the article examines Viviani’s interest in Eduardo Scarpetta; in 1940, Viviani staged Scarpetta’s indisputable masterpiece, Miseria e nobiltà. Finally, the article considers Viviani’s relationship with Eduardo and Peppino De Filippo. The unusual relationship Viviani had with Eduardo De Filippo, a kind of ‘relationship/non-relationship’ that had its basis in the different poetic choices of the two men, is analysed.
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Sidad Anwar Mohammed, Prof Dr. "Molière dans les dictionnaires de littérature française Moliere in the dictionaries of French literature." لارك 3, no. 46 (June 30, 2022): 9–1. http://dx.doi.org/10.31185/lark.vol3.iss46.2538.
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Molière is considered the most famous genius of French theater and of French comedy in particular. Nothing predisposed Jean-Baptiste Poquelin to become a man of the theater: neither his birth in 1622 into a bourgeois family, whose father held the office of upholsterer to the king; nor his studies at the Jesuit college, then law in Orleans, if not the eagerness and enthusiasm he has for this literary genre. At a time dominated by religious fanaticism and marked by the classical order, Moliere wanted to immerse his audience in entertainment and laughter. Among his priorities was to create a balance between the pressures of life and what the human soul needs. Indeed, with his ingenuity and wit, Moliere managed to win the appeal and support of the public by addressing the fundamental problems of society and trying to criticize them with a reformist ideology.
Founder of «The Illustrious Theater", Moliere distinguished himself by his prolific theatrical production. He wrote more than thirty comic plays, the most famous of which are: Tartuffe, The Miser, The doctor despite Himself, The Misanthrope, Wise women, Dom Juan and The imaginary sick. He was the writer closest to King Louis XIV.
Our study is based on the receptive approach, which is part of the trinity: the writer, the literary work and the reader. The receiving relationship is direct with the reader. When the writer finishes his book and publishes it, this process is equivalent to the loss of the work, that is to say, the book leaves the private and enters the social domain. Thus, it will be exposed to many different readings and subjected to varied, even sometimes contradictory points of view. In this case, the role of the reader is essential and sometimes goes beyond that of the writer: the writer writes, but the reception of what he writes varies from one reading to another and from one era to another.
The research problem calls for an answer to the reception of Moliere in dictionaries of French literature and to the reasons for his worldwide fame from the point of view of article writers.
This study is divided into three parts. The first studies the reasons for the theatrical debut of Moliere, who hoped to become a famous lawyer or succeed his father in the profession of upholsterer. The second deals with the characteristics of Moliere's comedy, its most striking themes and the characters in its plays. While the third sheds light on the reasons for Moliere's fame and universality.
The results of the study show that Moliere's fame comes mainly from his strong attachment to the theater, so his fame came from his love and affection for the theater. The subjects he covered, the characters and the tongue-in-cheek style played an important role in his worldwide fame. His goal of reforming his society came to justify his means of expression.
This study, “The reception of Moliere in dictionaries of French literature”, is considered the preliminary to a second study dealing with the reception of Moliere in Arabic dictionaries and encyclopedias.
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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.