Journal articles on the topic 'Theatere'
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1
Morozova, Irina Pavlovna. "Theatre activity in the southern Urals at the initial period of the thaw." Samara Journal of Science 6, no. 4 (December 1, 2017): 169–73. http://dx.doi.org/10.17816/snv201764211.
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The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examines the creative activity of theatres in the southern Urals, Orenburg Region and Bashkortostan, reveals specific features and problems in the functioning of the studied institutions in the era of the thaw, studies repertoire policy of theaters. The repertoire updated and new theaters opened. Actors and directors found new forms of art self-expression. Drama art stops being the weapon of the political propaganda. The author has no opportunity to carry out a comparative analysis of this research with other researches as the subject has not been investigated by anybody yet.
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Samitov, Dmitry G. "THE FIRST REGIONAL THEATRES OF THE UNITED STATES AS AN ALTERNATIVE TO BROADWAY COMMERCIALISM." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 190–96. http://dx.doi.org/10.17223/22220836/40/16.
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The article aims to draw attention to the problem of the emergence and development of creative troupes of a new type. Non-profit theatres became noticeable to the public after a ten-year dominance of Broadway productions played on stages of American the ater. Contrary to Broadway and its commercialism non-profit theatres turned to art, becoming its alternative. The venues mostly performed musicals, uncomplicated comedies, musical shows. Huge halls, high ticket prices led to the fact that the theatre turned to a major business. The desire of theatrical figures to realize their creative powers in the art theatre led many of them to the idea of creating their own companies in opposition to the Broadway theatre in many regions of the United States. It was the nascence of the movement of non-profit theatres that became an alternate to Broadway commercialism, attracted all the new creative forces of the American theatre. Analyzing the activities of number of non-profit theatres such as Cleveland Playhouse, Arena Stage, Alley Theater, the conclusion was made that they all played an important role in the development of the movement of the regional theatres of the United States. The famous “Arena Stage” Theatre, like other regional theaters, developed traditions of non-profit theatres of the USA, including the ideas of “little” and “arti” theatres. The study of non-commercial drama theatres in the United States is relevant for modern Russia. Exploring the process of evolution of noncommercial companies the author concluded that the theatre is primarily a creative, artistic institution, that is to be valued precisely for its contribution and influence on the spiritual life of the audience.
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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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Gordeev, Petr N. "“We Are All Flying into the Abyss”: Correspondence of F. D. Batyushkov, L. V. Sobinov, and A. I. Sumbatov-Yuzhin in November – December 1917." Herald of an archivist, no. 1 (2023): 86–99. http://dx.doi.org/10.28995/2073-0101-2023-1-86-99.
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In the fonds of the Russian State Archive of Literature and Art and in the Manuscript Department of the Institute of Russian Literature of the Russian Academy of Sciences there is stored correspondence of F. D. Batyushkov (who on the days of the revolution held the position of the chief commissioner for state theaters) with commissioners for the Moscow Bolshoi and Maly Theaters L. V. Sobinov and A. I. Sumbatov-Yuzhin over November and December 1917. These letters, most of which haven’t been published previously or introduced into scientific use, show the attitude of the leaders of the Department of Theatres to the Bolsheviks coming to power and to the prospect of cooperation with them. All three correspondents assessed the October Revolution negatively and spoke of their possible resignation (Batyushkov most definitely, Sobinov and Yuzhin with some reservations), but later serious discrepancies emerged in their personal strategies. Batyushkov was an implacable opponent of the Soviet government, rejecting all cooperation with the “terrorists” Bolsheviks and their representative, People's Commissar of Education A. V. Lunacharsky. On these grounds, he wanted to rally the Department of Theatres, at the head of which he stood. Positions of Yuzhin and Sobinov were more complicated. Yuzhin, who headed the Maly Theatre, shared Batyushkov's critical view of the “dominant party,” moreover, he was outraged and shocked by the pogrom of the Maly Theater by the Red Guards during street fighting in Moscow. However, his whole life was dedicated to the Maly Theater and he doubted whether he had the moral right to leave his position at such a crucial moment. Sobinov, on the other hand, was never able to overcome his personal dislike for Batyushkov (formed long before the October Revolution in disputes over the “autonomous” rights of Moscow theaters and their heads). In the emergency of November – December 1917, when the Bolsheviks established their control over banks and money transfers were extremely difficult, Sobinov did not want to put himself in the chief commissioner’s shoes and blamed him for the lack of money for the Bolshoi Theater. In December 1917, when A. V. Lunacharsky began a direct attack on Batyushkov's position in the Department of Theatres, the Petrograd state theaters expressed their support to Batyushkov. In Moscow, the situation was different: because of Sobinov's grievance with the chief commissioner and Yuzhin's attempts to coordinate his position with Sobinov, the Bolshoi and Maly Theaters did not unequivocally declare their confidence in Batyushkov, weakening the latter’s position in his conflict with Lunacharsky. The correspondence of Batyushkov, Sobinov, and Yuzhin over November – December 1917 is an important source on history of the Russian theater, as well as for studying the period of the so-called “sabotage” of civil servants after the October Revolution.
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Chekan, Yurii. "Teatro San Cassiano in Opera History." Art Research of Ukraine, no. 23 (November 28, 2023): 162–69. http://dx.doi.org/10.31500/2309-8155.23.2023.297536.
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The study is devoted to the first publicly accessible opera house Teatro San Cassiano (Venice, 1637), the establishment of which became a cardinal factor in the transformation of opera from aristocratic court entertainment to creative industry. The author considers the issues related to the history of the theater’s construction and the actions of its owners, the Venetian nobles, the Tron brothers, aimed at turning opera into a profitable business. The article reveals possible prototypes and reasons for the constructive solutions in the theater, in particular the boxes and the U-shaped audience hall. The author gives the parametric characteristics of the components of the Teatro San Cassiano building — the stage, the audience hall, and the boxes. It is noted that the tiered Theatro San Cassiano became a prototype for other theatres not only in Venice, but also in other cities of Italy and Europe. Thus, among the Venetian theaters of the 17th century, the public theaters, such as SS Giovanni e Paolo (1638), Novissimo (1640), San Moise (1640), and San Giovanni Crisostomo (1678), were inspired by San Cassiano; outside Venice there were Teatro Falcone (Genoa, 1652) and Teatro Tordinona (Rome, 1671). The article emphasizes market competition that was one of the key factors in the dynamic spread of opera and the formation of opera infrastructure in Europe. After the establishment of San Cassiano, the development of opera acquired a clearly defined vector: from elitist entertainment to creative industry.
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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (November 12, 2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.
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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.
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Yakovenko, Mariia. "Organization of Theatrical Activity Within the Non-Governmental Sector of Culture." Socio-Cultural Management Journal 5, no. 2 (November 22, 2022): 159–74. http://dx.doi.org/10.31866/2709-846x.2.2022.267547.
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Introduction. The importance of studying independent theatre initiatives in the Ukrainian context is not only theoretical but also practical because it is not just a comparison of different models but also the formulation of recommendations for theatre reform in Ukraine. The emergence of independent theater organizations gave rise to independent artistic practice, which dramatically increased competition among theaters in the struggle for the audience. As a result, the ability to use management and marketing technologies as a tool for market promotion began to play a leading role for such institutions. Purpose and methods. The purpose of the article is to develop theoretical foundations and practical recommendations for improving the organization of theatrical activities within the non-governmental sector of culture. The work was based on dialectical, empirical, and systematic approaches, which allowed us to summarize the theoretical and practical achievements accumulated by the community in the context of organizing the activities of modern theaters. Results. The essence, role, and significance of the activities of independent theater organizations are revealed. The problems of the existence of independent theaters are determined. Methods for improving the work of theatrical organizations in the independent sector of culture and theatrical reform have been formulated. Peculiarities of management of the subjects of the independent sector of culture have been revealed. Conclusions. The scientific novelty of the obtained results lies in the deepening of the theoretical foundations of the organization of independent theaters based on generalization of the best world experience in this culture segment. The significance of the study is manifested in the expansion of knowledge in the field of organization of independent theaters and the possibility of their use in the process of reforming the theatrical sphere of Ukraine.
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Ahmadova, Gulkhara. "WORLDLY SIGNIFICANCE OF THEATERS: IREVAN STATE AZERBAIJAN DRAMA THEATER." Scientific Journal of Polonia University 58, no. 3 (September 1, 2023): 10–14. http://dx.doi.org/10.23856/5801.
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Historically and even now, the literary and cultural environment of Azerbaijan is known both in the East and in the West. As a result of the severe tragedies, deportations, and genocides inflicted on the people of Azerbaijan, scientific and educational institutions, state institutions, museums, natural monuments, and cultural centers created in our country have suffered as much as our people. Theaters were also forced to live the fate of refugees. Today Shusha Musical Drama Theater, Aghdam State Drama Theater, Fuzili State Drama Theater continue their activities in the field of refugees. All three theaters, which have a great tradition of Armenian influence, have undoubtedly struck a blow. The annals of the Theater, which went through a tumultuous journey and was repeatedly subjected to Armenian vandalism, is a part of the historical destiny of our compatriots in the ancient lands of Azerbaijan. The article discussed the history, activity, and post-deportation activities of the Yerevan State Azerbaijan Drama Theater in exchange for all these processes. At the same time, attention was drawn here to the current situation of the Iravan State Azerbaijan Drama Theater and the works in the theater's repertoire. It was emphasized that the theater, which went through a difficult and turbulent path, goes on tours today, stages new plays, and gives successful performances. The article is dedicated to the ongoing processes related to the Yerevan State Azerbaijan Drama Theater.
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Khubulova, Svetlana. "FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK." History, Archeology and Ethnography of the Caucasus 15, no. 1 (March 19, 2019): 22–27. http://dx.doi.org/10.32653/ch15122-27.
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Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.
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Magidovich, Marina Leоnidovna. "The Potential of Ballet Performances in the Development of Situational Cultural Tourism, Based on the Study of the Audience of the St. Petersburg state Academic Boris Eifman Ballet Theater in St. Petersburg." Теория и практика общественного развития, no. 11 (November 6, 2020): 20–26. http://dx.doi.org/10.24158/tipor.2020.11.2.
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The paper presents data on the results of the re-search on the potential of performances of the St. Petersburg state Academic Boris Eifman ballet thea-ter (Boris Eifman Theater) as a tourist destination, using the example of studying the cultural prefer-ences and practices of visitors to this theater. The main data on the theater audience was obtained during a visit to the performances of the Boris Eif-man Theater in St. Petersburg, in March – April 2019. We can note the significant specifics of the audience of a particular theater, which is due to both the crea-tive method of the theater's artistic Director B. E. Eifman, and the organization of the theater's theatri-cal, stage and tour process. The identified character-istics of the theater audience, as well as the study of the tourist market of St. Petersburg, allowed us to conclude that it is possible to develop a certain segment of situational cultural tourism in St. Peters-burg, both for domestic and outbound tourism.
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Cull Ó Maoilearca, Laura. "Die Gleichsetzung von Theater und Philosophie: Laruelle, Badiou & Gesten der Autorität in der Philosophie des Theaters." Performance Philosophy 3, no. 2 (December 21, 2017): 487. http://dx.doi.org/10.21476/pp.2017.32179.
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In diesem Artikel werde ich François Laruelles Begriff der ‚Non-Standard‘ Ästhetik untersuchen, um eine kritische Perspektive auf Alain Badious vielfältige Äußerungen über die Philosophie des Theaters zu entwickeln. Während es zunächst so erscheint, als ob Badiou in Werken wie In Praise of Theatre (2015) aufgeschlossen gegenüber dem eigenen Denken des Theaters wäre und tatsächlich die Funktion der Philosophie im Verhältnis zu einem ontologischen Privileg zurückzustufen würde, das (von ihm) nun der Mengentheorie zugesprochen wird, werde ich aufzeigen, dass eben dieses Wohlwollen, aus einer Laruellschen Perspektive, eine andere Form von philosophischem Authoritarismus konstituiert. Das heißt, während Badiu bekanntermaßen das Theater als „ein Ereignis des Denkens“ beschreibt, „das direkt Ideen hervorbringt“ (Badiou 2009, 121), wird dieser Text von Laruelle ausgehend argumentieren, dass Badiou sich zuletzt als Autorität über das positioniert, was als Theater im „eigentlichen Sinne“ gilt (vgl. Badiou 2015, 72); sein eigenes Denken in performativer Weise als normative Ausnahme und als Türhüter dieser Ausnahme festlegt.
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Serdechnaia, Vera V. "“ACCESS POINT” – 2020: DIGITAL THEATER IN THE PANDEMIC CONDITIONS." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 4 (December 1, 2021): 83–91. http://dx.doi.org/10.18522/2415-8852-2021-4-83-91.
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The article is devoted to the phenomenon of digital theatre, that is a theatre created via digital technologies. Digital theatre needs to be distinguished from a “traditional” one, and a broadcast theatre, using digital technologies (online broadcasting). Digital theater, which had been developing even before the 2020 pandemic, flourished during the lockdown period, when theatres found themselves in a situation of forced isolation. The article analyzes examples of Russian and foreign performances, in particular, those been included in the program of the “Access Point” (“Tochka dostupa”) festival, which took place online in 2020. Digital theatre is created in particular formats via digital means and tools; it can use cross-platform instant messengers and videoconferencing software such as “Whatsapp” and “Zoom”, mailing and calling services, audio recordings; Minecraft, Sims and other creative media; augmented reality technologies.
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Guini, Eleni. "TEATRO POSDRAMÁTICO EN TIEMPOS DE CRISIS: TRES EJEMPLOS DE TEATRO DOCUMENTO Y TEATRO DE CREACIÓN." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 46 (June 29, 2021): 71–101. http://dx.doi.org/10.32621/acotaciones.2021.46.03.
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En el período que nos ocupa —desde 2010 hasta la actuali-dad— caracterizado como una época de crisis que todavía no ha aca-bado, debemos reflexionar sobre cómo se involucra el teatro en la crisis y actúa en paralelo, al emitir juicios, plantear preguntas y mantener un diálogo con la sociedad. El presente ensayo analiza tres creaciones tea-trales que presentan su trabajo en la escena griega y europea y que han obtenido un notable éxito. La elección del dúo de directores Azás -Tsini-coris, el grupo Station Athens de Marcopulu y el grupo Blitz, respondió a dos consideraciones: por un lado, su temática, que expone puntos co-munes como la emigración, la xenofobia, la violencia y la melancolía pro-vocada por la resistencia a un mundo cruel, y, por otro lado, sus textos, que proceden de la ficción y el documental, y que son fruto de la labor común de todo el grupo. La intertextualidad, la alegoría y el realismo del formato como documento, componen representaciones vertebradas, road movies sin desplazamiento, relatos tragicómicos de la violencia de los siglos XX y XXI, versiones de canciones con guiños bien reconocibles a la coyuntura de crisis actual. Actores amateurs y profesionales, inmi-grantes, ciudadanos de la calle, directores que cuentan con la tecnología como coprotagonista, transforman experiencias e ideas en un fecundo género metateatral.
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Kollár, Zsuzsanna. "Az akadémia hatása az intézményesülő magyar színjátszásra az 1830-as években." Theatron 16, no. 1 (2022): 93–112. http://dx.doi.org/10.55502/the.2022.1.93.
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From the beginning, the Hungarian Academy of Sciences considered it its task to oversee the Hungarian-speaking theatres. From the 1830’s the Academy tried to provide original dramas and translations, and the task of the “Standing Committee on Theatre” was to review the dramas and repertoire presented in permanent Hungarian-speaking theatres. Pest County also set up a permanent delegation, which exercised a supervisory role similar to that of the Academy. The directory board of the Magyar Theatre of Pest, that opened in 1837, and the body called the Acting Committee were also responsible for artistic and operational matters. These committees, looking at their model from the 18th century, hindered the institutionalization of the Hungarian-speaking theatre in various ways, albeit the Academy primarily sought to provide professional assistance to a developing social institution. This paper presents the connection between the Academy and the Hungarian-speaking theater from the point of view of institutional history.
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Mohammadi, Banafsheh. "Of Architecture and Hope." Journal of the Society of Architectural Historians 81, no. 3 (September 1, 2022): 357–71. http://dx.doi.org/10.1525/jsah.2022.81.3.357.
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Abstract Of Architecture and Hope: The Citadel Theatre of Edmonton and the Cruel Optimism of a Bygone Petroleum Age explores how one of the largest theaters built in North America in the twentieth century represents a form of petroleum-driven “cruel optimism,” a concept introduced by Lauren Berlant. Drawing upon a wide range of primary sources from the City of Edmonton Archives, the Provincial Archives of Alberta, the University of Alberta Archives, and the private archives of the family of theater cofounder Joe Shoctor, Banafsheh Mohammadi provides a detailed analysis of the design and materials of the Citadel Theatre as a means of examining how they exemplify a distinctive twentieth-century form of petroleum-based aesthetics.
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Vojnović, Milica. "Arts marketing: Choice criteria of theatre visitors." Marketing 54, no. 4 (2023): 264–70. http://dx.doi.org/10.5937/mkng2304264v.
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The purpose of this research is to identify key choice criteria of theater visitors in Serbia. The method used to conduct the research was the survey method, with statistical analysis of the obtained results. Key results suggest that the most important choice criteria of theatres are the plot of the play, personal recommendations and the genre of the play. A special focus was set on examining if there are differences in evaluation of observed criteria between respondents from generational cohorts X and Z, as well as between rare and frequent decision makers. In both cases, differences between the observed groups were discovered. Results of this research are useful for better understanding of consumer behavior of theater visitors and the way they make decisions. This can be helpful for decision-makers in theatre organizations for creating theatre marketing strategies to attract different market segments.
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Wagner, Meike. "Performing in Crisis Mode: the Munich National Theater, the Great Exhibition and the Cholera Epidemic in 1854." Pamiętnik Teatralny 69, no. 4 (December 31, 2020): 39–61. http://dx.doi.org/10.36744/pt.561.
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In 1854, the city of Munich had arranged for the “First General German Industrial Exhibition” to promote German industry to the world and invited a global audience to the event. At the same time, Franz Dingelstedt, director of the National Theater, organized a festival displaying the finest actors from Germany. Right after the opening of the festival, cholera started raging in the city and leaving 3,000 deaths in the final count. The author sketches out the role of the theatre in this crisis, when Dingelstedt was ordered by the king to keep the theatre open at any cost. This appears awkward, in regard to the current global pandemic crisis where theaters have been identified as risk zones for infection and consequently closed down. Why was the theatre at the time considered a safe and appropriate place even helping to counter the disease?
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Agaeva, Ekaterina V., Tikhon S. Sergeev, and Renata V. Mikhailova. "THE PROBLEM OF TRAINING THEATER PERSONNEL FOR CHUVASHIA IN THE 20–30s OF THE XX CENTURY." Vestnik Chuvashskogo universiteta, no. 2 (June 25, 2021): 5–10. http://dx.doi.org/10.47026/1810-1909-2021-2-5-10.
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In the 1920s Chuvashia was developing rapidly, and the growth in the number of cultural institutions was observed. The cadres of the creative intelligentsia were in demand, but there were no field-oriented specialized educational institutions in the republic. The issue of training specialists began to be dealt with at the level of state and party bodies. One of the first to open was the theater studio, which gave the opportunity to strengthen the staff of two republican theaters. Moderate funding allocated to support the theater arts, and the entire culture as a whole, of course affected its quality. But the enthusiasm of I.S. Maksimov-Koshkinsky, I.A. Slobodsky and other people of art allowed to continue the work of personnel training.
In the 1920s and 1930s, training of creative intelligentsia cadres reached a new qualitative level. Financing of cultural institutions, provision with qualified teaching staff, regulation of admission, training, and graduation in educational institutions yielded positive results. In 1935, a theater vocational school was opened in Cheboksary. In 1934, a special collective farm-state farm department was opened at the extramural department of the State Institute of Theater Arts, and a little later, in 1940, a specialized Chuvash theater studio was opened. The activity of the theater school was curtailed, but specialists training was successfully conducted by the studio under GITIS (the Russian University of Theatre Arts). In the pre-war years, 6 new theaters were opened in the republic. The national creative intelligentsia was formed.
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Isakov, Yuriy I. "VITRUVIUS ON THE VALUE OF MUSIC FOR ENHANCING THE ARCHITECTURE OF THE ANTIQUE THEATER’S AUDIENCE SPACE. Part 1." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 10. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-10.
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Vitruvius' legacy points to the importance of music in architecture for enhancing the acoustics of ancient theaters. In particular, he described in detail the sounding vessels, or ηχεια – “echea”, the effectiveness of which has not been proven. The effect of “echeas” on the acoustic parameters of a small classical Greek theater is investigated using computer modeling methods. The theater models developed take into account Vitruvius' recommendations and published research and measurements of ancient theater acoustic parameters reconstructed in our time. The descriptions of Vitruvius and the musical theories of Aristoxenus and Pythagoras were considered when developing the “echeas” models. Using the standard algorithm of the EASE4.4 program, the parameters of a small theater were calculated and the C50, C80, STI acoustic parameters of the theater’s sound field were found to benefit from the “echeas” or sounding vessels.
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Piddubnyi, Ihor. "Theatrical activities in Bukovyna during World War II (1941-1944)." Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 42 (January 12, 2024): 297–321. http://dx.doi.org/10.32626/2309-2254.2023-42.297-321.
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The purpose of the study is to analyze the conditions of theater activities in Bukovyna during the German-Soviet war, based on the available sources and existing developments of theater history researchers. The methodology of the study is based on the principles of historicism, objectivity, system and the use of methods of analysis and synthesis, problem-chronological, biographical, historical-genetic ones. The scientific novelty lies in the fact that for the first time in Ukrainian historiography, the state of theatre activities during World War II, specifically the period of the German-Soviet campaign in 1941-1944, of the Romanian theater in Bukovyna was comprehensively analyzed. Conclusions. Thus, during the German-Soviet war, the theatrical activities remained an important component of the cultural space of Chernivtsi, a means of citizens' education. Despite the restoration of the National Theater, theater troupes from various cities in Romania, mainly Bucharest and Iași, presented their activities in the city and the region. The repertoire of the theaters included both world classics and Romanian drama, as well as plays on historical and patriotic topics. The theater faced the task of eliminating the 1940-1941 gap in cultural ties. Sometimes theatrical events carried some propaganda that was considered acceptable in wartime conditions. There was a practice of theatre tours in the cities of Bukovyna and Northern Bessarabia, which took place in 1942-1943. During the war, the fates of Romanian actors and actors of the Chernivtsi Ukrainian Regional Theater were different. Some actors were arrested by the Soviet authorities at the beginning of the German-Soviet war and in its final period.
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LIZUNOV, PAVEL. "POSTCARD PORTRAIT: LIFE AND FATE ARTISTS OF THE IMPERIAL MARIINSKY BALLET THEATER LYDIA MUROMSKAYA (CHUPYATOVA)." History and Modern Perspectives 4, no. 4 (December 28, 2022): 113–21. http://dx.doi.org/10.33693/2658-4654-2022-4-4-113-121.
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The article is dedicated to the ballet dancer L.N. Muromskaya (Chupyatova). After completing the course of the ballet department of the St. Petersburg Theater School in 1906, she was accepted into the ballet troupe of the corps de ballet of the Imperial Mariinsky Theater. She danced with such «stars» of Russian ballet as M.F. Kshesinskaya, A.P. Pavlova, T.P. Karsavina, A.Ya. Vaganova, V.F. Nezhinsky and others. In 1912, Muromskaya became the first dancer of the Mariinsky Theatre. There was only one step left before the title of ballerina, i.e., obtaining the highest rank in the hierarchy of Russian ballet theaters. She did not manage to go through this last segment of her creative path for many reasons. In 1920, at the age of 32, she committed suicide.
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Johnston, Denis. "CyberShaw: A 19th-Century Mandate Meets 20th-century Technology." Canadian Theatre Review 81 (December 1994): 32–35. http://dx.doi.org/10.3138/ctr.81.007.
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The Shaw Festival is unique among Canadian theatres, and virtually unique among world theatres as well. It is one of only five major repertory theatres in the English-speaking world: the others are the Stratford Festival, the Guthrie Theater in Minneapolis, and the twin flagships of British classical theatre, the Royal Shakespeare Company and the National. In addition, the Shaw Festival is the only one of these companies to have chosen a specific period of history as its mandate: it produces only plays written during the lifetime of Bernard Shaw. The company describes this mandate as “plays by Bernard Shaw and his contemporaries (1856-1950) – plays about the beginning of the modern world”.
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Chubrei, Anastasiia. "THE UKRAINIAN PRESS OF GALYCIA OF THE 20–30’s OF THE XXth CENTURY AS THE RESOURCE OF THE INVESTIGATION OF THE PUBLISHING THEATRICAL POLICY OF THE REPERTOIRE." Proceedings of Research and Scientific Institute for Periodicals, no. 11(29) (2021): 291–306. http://dx.doi.org/10.37222/2524-0331-2021-11(29)-13.
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The level of the publishing policy for the theatrical repertoire of the professional and amateur theatres according to the points of view of the authors of the Galycia press of the internal period of the theatrical, socio-politicaland other directions is found, the value of the Ukrainian theater in the context of the socio-political situation in the Eastern Galycia and ideological views of the certain edition or appendix is in vestigated. According to the analysis of the messages devoted to the existing theatrical repertoire on the publisher’s market the precedence of the quantity (meaning that the providing of the repertoire for the professional and amateur theatres was sufficient) is established. The reflections upon the quality index were defined by the editor’s policy and the opinions on the meaning of the theatre. Either important was the attitude in the discussion on the implementation of the achievements of the European drama or the further domination of the folklore genres which were often used during the previous periods of the development of the Ukrainian theatre. It was established according to the editions, which were published in the beginning, during and in the end of the interwar twenties of the XXth century. Keywords: history of publishing, theater, Galycia, interwar period, publishers, repertoire.
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Greenleaf, Monika. "In medias res: A Diary of the Moscow Theater Season, 2007-2008." Slavic Review 67, no. 2 (2008): 422–36. http://dx.doi.org/10.1017/s0037677900023627.
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In this essay, Monika Greenleaf explores some reasons for, and directions of, the Moscow theater's growth as a cultural stimulus in Vladimir Putin's increasingly imperial, ideologically unified Russia. Focusing on four factors, the first part suggests why the theater, unlike the film industry, resisted collapse in the 1990s: directors’ studio theaters, the new “writer's theater,” the development of “autonomous and self-sustaining” institutions, and theater finance. The second part examines two functions of the theater in a postliterate age: to forge a richer sense of Russian identity by offering mimetic contact with, and choice among, many epochs of its historical and verbal heritage and to offer a traditional locus of resistance to the new regime of privatized spaces and bodies. Using a selection of current plays that reproduce past prose works in the present, Greenleaf analyzes the aesthetic effect of this encounter on the audience and its potential ideational ramifications.
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Kauffmann, Stanley. "Broadway and the Necessity for ‘Bad Theatre’." New Theatre Quarterly 1, no. 4 (November 1985): 359–63. http://dx.doi.org/10.1017/s0266464x00001779.
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Is Broadway necessary? As the focus for new writing and major experimental work in the USA shifts ever further from the old theatre district around Times Square – first to off- and then to off-off-Broadway, more recently to the flourishing regional theatres – many critics have come to regard Broadway either as an economic anachronism, failing to perpetuate past glories, or simply as an irrelevance to ‘real’ theatre. Yet Stanley Kauffmann argues that a focal point for a nation's theatre is more than the sum of sometimes fraying parts, and works on the imagination in ways that cannot be evaluated by the fragmentary assessment of succeeding productions; and here he analyses the ‘organism’ that Broadway remains, and the function it performs. Stanley Kauffmann has been theatre critic for the New York Times, the New Republic, and the Saturday Review, while the most recent of his full-length works is Theater Criticisms (1984).
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Saif Ur Rehman, Shumaila Nazuk, Eqaza Javed, and Nayab Khalid. "Microbial assessment of surfaces and air quality in emergency and gynecology operation theater of Bahawal Victoria Hospital." Journal of Contemporary Pharmacy 6, no. 1 (July 31, 2022): 1–5. http://dx.doi.org/10.56770/jcp2022611.
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Background: Microorganisms present in air and on surfaces of operation theaters are the common cause of nosocomial infection in patients. Microbiological assessment of organisms is important to check the quality of environment provided to patients who are already in compromised state. So, this study was conducted to determine the level of bacterial contamination of air, environmental and medical equipment surfaces in operation theatres of Bahawal Victoria Hospital, Bahawalpur. Objective: To determine Microbes of surfaces and air quality in Emergency and Gynecology operation theater of Bahawal Victoria Hospital. Methodology: A descriptive cross-sectional analytical study performed involving 100 samples from air and surfaces of Gynecology and Emergency operation theater of BVH from July 2015 to Dec 2015. Demographic and other clinical data was collected using standardized data collection tools. Culture of air and different sites [floor, walls, basin and equipment) for the microbiological assessment was done by the gold standard method. Culture positive organisms were confirmed by gram staining, microscopy and biochemical tests. Results: Of the100 samples collected from different sites like air, basin, walls, floor and instruments of emergency operation theater and Gynecology Operation Theater most organisms collected from theatres were Staphylococcus aureus followed by E. coli and K. pneumonia respectively. Most organisms were isolated from air, basin, and floor while medical equipment were fully sterilized and their samples show no growth.
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Markovic-Bozovic, Ksenija. "Theatre audience development as a social function of contemporary theatres." Zbornik Matice srpske za drustvene nauke, no. 175 (2020): 437–51. http://dx.doi.org/10.2298/zmsdn2075437m.
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From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize its cultural-emancipatory, social-inclusive, social-cohesive, educational, and other similar potentials. Extensive research of the functional type, which combines the analysis of the process of theatre production, distribution and reception, and sheds light on the ways in which theatre functions in the community, has not been conducted in Serbia so far. However, for many years, there have been conducted researches that provide sufficiently relevant answers, analysing this topic from individual aspects of the audience, marketing activities, cultural policy and theatre management. Their overall conclusion is that theatres in Serbia must (re)orient themselves to the external environment - (re)define their social mission and actively approach the process of diversification of the audience. However, the practical implementation of such recommendations is still lacking, theatre organizations find it difficult to adopt the idea that changes must be initiated by themselves, which brings us to the question of the attitudes on which these organizations establish their work. In this regard, the paper maps of and analyzes the opinions of managers and employees of Belgrade theatres on the topic of the role of theatre in the audience development and generation of the ?additional? social value, contextualizing the opinions in relation to the current circumstances, i. e. specific practices of these institutions. In conclusion, an original theoretical model of ?two-way adaptation of public city theatres? is developed, recognizing the importance of strategic action in culture both ?bottom-up? and ?top-down?, and proposing exact activities and approaches to theatre and cultural policy in the field of theater audience development.
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U.P., Kurmanbay, and Eskendirov N.R. "THE CURRENT MANAGEMENT MODEL IN THE KAZAKH THEATER." Keruen 75, no. 2 (June 10, 2022): 308–16. http://dx.doi.org/10.53871/2078-8134.2022.2-26.
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Annotation: Nowadays, the relevance of proper management is enhanced in each of the art forms. In the world of art studies, management and marketing is an important and promising subject for researchers. Including the constantly transforming theatrical art in accordance with the modern management system. In this article, the possibilities of using general methods of management of theatrical art are investigated. It was considered that marketing activity existed in the domestic theater for a long time and it developed together with the development of the Kazakh theater. Currently, lots of works are being carried out constantly on the development of national dramaturgy, strengthening the repertoire policy, increasing the artistic level of plays and attracting the audience to the theater. In this article it was noted that the development of the domestic theater has already developed its own management system and it still continues to function. Also we have conducted a comparative analysis of the principles and effective methods of the Kazakh Theater managers in accordance with modern requirements.The ways of introducing the necessary professional management systems for the growth of modern state theaters and the possibilities of updating general management methods depending on the characteristics of theatrical activity are discussed. The reasons of difficulties for Kazakh theaters to follow modern world trends due to the lack of professional managers who are capible to work with specific projects are revealed. It was clearifid that for effective planning of the theater’s activities it is necessary to improve the goals, objectives, and means of implementing its development. In order to effectively implement the creative product, a theoretical analysis was carried out. The work of the theater will not be effective without the participation of theater managers in matters of preliminary marketing, organization of creative works, search for sources of financing, strengthening advertisement of performances and attracting new viewers.
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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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Ахмедов, А. "Russian Drama on the Azerbaijani Stage in the Period of Independence: Analysis of Creative Trends." Nasledie Vekov, no. 4(32) (December 31, 2022): 72–80. http://dx.doi.org/10.36343/sb.2022.32.4.006.
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Автором выявляются основные тенденции, определявшие обращение театральных деятелей Азербайджана к произведениям русской классики и современной российской литературы в годы независимости (1991–2021). Научный обзор выполнен с опорой на сообщения электронных СМИ о театральных премьерах, критические статьи, а также исследования историков культуры и театроведов. Проанализированы наиболее яркие работы, созданные труппами азербайджанских театров по произведениям Ф. М. Достоевского, Н. В. Гоголя, А. П. Чехова, А. Н. Толстого, Ю. М. Полякова и др. Охарактеризованы особенности работы режиссеров над постановками, основанными на произведениях русских авторов. Отмечается, что эти спектакли, нередко наделенные азербайджанской национальной спецификой и колоритом, обеспечивали сохранение театральных традиций прошлого и встречались публикой с симпатией и интересом. Автор констатирует, что русская драматургия оказывает серьезное влияние на развитие режиссерского и актерского искусства в Азербайджане. The author identifies the main trends that determined the appeal of theatrical figures of Azerbaijan to the works of Russian classics and modern Russian literature during the years of independence (1991–2021). The study is based on electronic media reports about theatrical premieres, critical articles, as well as studies of cultural historians and theater critics. The methodology is a combination of ideographic, diachronic and historical-genetic methods. The author considers works of the teams of the Azerbaijan State Academic National Drama Theatre, the State Academic Musical Theatre, the Azerbaijan State Theater for Young Spectators, and the Yug Theater on the stage performances of the writings of Fyodor Dostoevsky, Yuri Polyakov, Nikolai Gogol, Anton Chekhov, Aleksey N. Tolstoy and others. The conclusions of theater critics about these performances are given. Of the regional theater groups, the author notes the activities of the Ganja State Drama Theater. He characterizes features of the directors’ work on productions based on the writings of Russian authors. The author states that Russian dramaturgy has a serious impact on the development of directing and acting in Azerbaijan, ensuring the preservation of theatrical traditions of the past; he also notes that the public met such performances with sympathy and interest. Regional theaters also showed interest in the work of Russian classics, in particular, they often turned to The Government Inspector by Gogol. The study has established that the performances the theaters of Azerbaijan conduct based on Russian classical works are intended for spectators of all ages, including children. These productions, often endowed with Azerbaijani national specificity and color, are truly unique works, which are a kind of a fusion of two cultures. The directors often “weaved” the work of the Russian playwright into the plot outline of the production together with the works of authors belonging to other national literary traditions – in this way the idea of multiculturalism was creatively realized. Very often performances were created by international creative teams. The author emphasizes that the appeal of Azerbaijani theaters to Russian drama during the years of independence not only serves to enrich their repertoire and develop theatrical art, but also, continuing the historical ties between the peoples of Russia and Azerbaijan, contributes to their further development.
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Gordeev, Petr N. "Ivan Vasilyevich Ekskuzovich — Architect and Theater Figure." Vestnik of Saint Petersburg University. Arts 14, no. 1 (2024): 34–59. http://dx.doi.org/10.21638/spbu15.2024.103.
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For the first time the article gives a biographical study of the major theatrical figure and St Petersburg architect I. V. Ekskuzovich. Having graduated from the Institute of Civil Engineers in his youth, he has built several buildings in the capital of the Russian Empire, but his lifework was the management of academic theaters in Leningrad and Moscow. In this article there was first established the existence of the “Ekskuzovich coterie” in 1917, which also included V. E. Meyerhold, conductor N. A. Malko and a certain number of the artists of the Mariinsky Theatre; the role of the coterie in the nomination of Ekskuzovich to the post of the head of the theater department at the end of 1917. The article summarizes the extensive material related to his administrative activities in theaters: the role of Ekskuzovich in the creation of the association of academic theaters, his official and personal correspondence with artists and the People’s Commissar of Education A. V. Lunacharsky. Based on the reviews of memoirists, private correspondence of artists and a number of anniversary addresses, a conclusion is made about the significant popularity of Ekskuzovich in the artistic environment. It is emphasized that the resignation of Ekskuzovich in 1928 took place against the will of Lunacharsky, who lost by the end of the 1920s his real power in the People’s Commissariat for Education. The activity of Ekskuzovich as a theorist and practitioner in mechanization of the theater stage, as well as one of the leading engineers in the park management of Leningrad in the 1930s, is also traced. The monograph “The Theater Stage in the Past and Present” published by him in 1930, Ekskuzovich’s work on the continuation of this research, as well as his work on equipping the stages of Soviet theaters, including the work on the theatrical part of the Palace of Soviets, are considered. The article is based mainly on archival data; materials used 13 archives and manuscript departments of museums and libraries.
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Starzyk, Agnieszka, Kinga Rybak-Niedziółka, Janusz Marchwiński, Ewa Rykała, and Elena Lucchi. "Spatial Relations between the Theatre and Its Surroundings: An Assessment Protocol on the Example of Warsaw (Poland)." Land 12, no. 6 (June 13, 2023): 1225. http://dx.doi.org/10.3390/land12061225.
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Theater as a place, but also as a field of human and team activity involving the creation of performances performed in the presence of the viewer, has a centuries-old history. This study aims at examining the links between theatre architecture/space and public spaces, trying to answer to what extent these objects have become attractors in its space and how they affect the activity of cultural and social life. The subjects of the study are Warsaw theatres, both historical and contemporary, in the context of their impact on the surrounding public spaces. A specific methodology was elaborated to evaluate potential impacts. According to the spatial relations between the theatre and its surroundings, they are clustered in the following typologies: emanation, isolation, and interference theatre. The research methods applied for defining and solving the scientific problem are: (i) critical analysis, (ii) comparative analysis, (iii) observation without intervention, and (iv) intuitive method based on the author’s personal experience. The conclusions are based on empirical research, with particular emphasis on the research material obtained by field research. The results of the research allow one to draw conclusions regarding the influence of theatrical places on public spaces in the city structure. The mission of the theater is changed, activating events and building social bonds. Theater space and its surroundings are shaped in accordance with these new standards and social expectations to be transformed into a public space of a cultural nature. Thus, presently, urban theatrical space is a site for spectacle, with a social and cultural mission. Theater space and its surroundings should be shaped in accordance with changing standards and social expectations, and it should be a public space of a cultural nature.
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Pawlicka, Kama. "Wdrażanie założeń zrównoważonego rozwoju w praktyce działań polskich teatrów." Kultura a wyzwania zrównoważonego rozwoju cz. 2 22, no. 4 (February 5, 2022): 405–18. http://dx.doi.org/10.4467/20843976zk.21.025.15226.
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Implementation of the Principles of Sustainable Development in the Practice of Polish Theaters The aim of the paper is to present how Polish theatres implement the principles of sustainable development in practice in their day-to-day operations. The background for the considerations involves the evolution of the approach to sustainable development observed from the perspective of international documents discussing this concept. The author’s own empirical research consisted of the preliminary survey of the information available on the websites and social media of selected Polish theatres and the questionnaire sent to the theatres in the first half of 2021. The research has made it possible to distinguish four main types of activities undertaken in this respect by the theatres: 1) the content of performances and other artistic endeavours; 2) the day-to-day functioning of the institution; 3) the theatre building and its surroundings, and 4) co-creation and participation in broader initiatives for sustainable development. The questionnaire results indicate that the dynamics of activities in this domain has nothing to do with the size of the urban area in which a given theatre operates, but it is more associated with the fact that the theatres align themselves with the environmental policy of their local governments, and with the possibility of obtaining funds for such initiatives. Furthermore, and perhaps above all, it depends on the theatre’s strategy determining how it operates in the local milieu. Building upgrades involve savings and help theatres build an image of an environmentally-friendly organisation.
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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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Cornford, Tom. "Reconstructing Theatre: the Globe under Dominic Dromgoole." New Theatre Quarterly 26, no. 4 (November 2010): 319–28. http://dx.doi.org/10.1017/s0266464x1000062x.
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In this article Tom Cornford examines the policy of extending and adapting the permanent stage of Shakespeare's Globe for each new production, as pursued by Dominic Dromgoole since the beginning of his tenure as Artistic Director in 2006. The article responds initially to John Russell Brown's equation in NTQ 102 of a particular kind of ‘intimate’ acting with ‘small theatres’. Cornford resists this conflation of acting and building, seeing in it a tendency to obscure both the role of reconstructed theatres to challenge contemporary notions of the ‘rightness’ of theatre spaces and the role of directors and actors to convert their apparent problems into opportunities. He explores the transformation of the Globe since 2006, using interviews given by Dromgoole and the directors working with the Globe's research team to critique the theory underpinning the ‘permanently temporary’ alterations to the theatre, and takes the evidence of performances to examine their use of the space in practice. Cornford offers a selection of staging solutions to the apparent ‘problems’ identified by Dromgoole and his team, and proposes an alternative model of reconstruction: not the rebuilding of the theatre, but the constant reviewing of theatre practice, including training. Tom Cornford is a freelance director and teacher of acting for the Guthrie Theater/University of Minnesota BFA Program, the Actors' Centre in London, and Globe Education at Shakespeare's Globe. He was, until recently, Artist in Residence at the CAPITAL Centre in the University of Warwick, where he is undertaking PhD research.
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Qiu, Yacheng. "The Financial and Strategy Analysis of Cinema Industry, A Case Study of AMC." Advances in Economics, Management and Political Sciences 14, no. 1 (September 13, 2023): 289–96. http://dx.doi.org/10.54254/2754-1169/14/20230839.
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This paper discusses the impact of Covid-19 on the movie theaters, as a representative of the conventional service/entertainment business, forecast the future trends of such cinematic enterprises in the post-pandemic period, and evaluate how effective cash management can boost the growth and survival of businesses in this area. This paper will specify the case study of AMC entertainment, an American movie theater chain that has the largest share of the U.S. theater market and use it as a representative of cinematic enterprise to evaluate the industry. This paper would start with an introduction to the broad context, and the background of the narrow context of this case study, following with the data and financial analysis of AMC, the predictions of AMCs performance in the post-pandemic era, the indications from this case study to the entire industry, and closes with conclusion and references. This paper may provide some implications to the management, investors, creditors, and general consumers in the movie theatre industry.
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Abdulkahar, Ismaeil Mohammed, Haider N. Mohammed, and Sabeeha Abdulla Mansour. "The Effect of Applying the International Guidelines for Clean Surgery on Infection Control of Patient's Close Intimate Environments." Science Journal of University of Zakho 5, no. 2 (June 30, 2017): 147. http://dx.doi.org/10.25271/2017.5.2.358.
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Surgical site infections are the most common cause of hospital acquired nosocomial infections. To evaluate the effects of applying and following the international standard guidelines for clean surgery on the final infection control in operation theatres, a comparative study was designed and carried out during the period from May 2014 to February 2015, at two operating theatres, the general surgical and the gynaecological theatre at Azadi teaching hospital – Duhok city – Kurdistan region. A total number of 492 samples (swabs and settles plate) were taken from different sites of intimate contact with the patients and were divided into two parts, pre (part I) and post (part II) samples. They were taken in a periodic day to day, and collected periodically three days of the week (Saturday -Monday- Wednesday) for a period of one month. Swabs were taken from different places were streaked on Blood and Mac-Conkey agar plates and incubated at 37°C under aerobic conditions for 24 hours. After incubation, the bacterial colonies were counted and diagnosed by Phoenix. The concentration of bacteria was expressed as colony forming units. The rates of bacterial contamination in places of close contact with patients of both theatres before the application of the WHO guidelines were as following: out of 348 samples collected from the surgical theatre in the first part; 105 (30.1%) showed significant growth in comparison to 32/144(22.2%) that showed significant growth from the gynaecological theatre, while all samples in part II from the surgical theatre showed no significant growth that 100%, in comparison to141/144(97.92%) in the gynaecological theatre in the second part after application of the WHO guidelines. As a conclusion there are 3 factors which have an effect on the result of surgical site infections namely patients, staff and environmental factors. The environmental factors have the greatest impact which are indirectly related to the degree of application of WHO standards of operation theaters.
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Tsiphuria, Lela. "Comedy against socialist realism in Georgian theater performances of the twentieth century." Pro Georgia 33, no. 1 (August 10, 2023): 293–302. http://dx.doi.org/10.61097/12301604/pg33/2023/293-302.
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Since the establishment of the professional theater, about half of the repertoire of Georgian theaters has been comedies. The production of plays by Carlo Goldoni and Carlo Gozzi, brilliant representatives of Italian dramaturgy, was considered appropriate by any censor at every stage of Georgian theater history. With an observation of the Italian and Georgian peoples, many common features can be discovered. Southern temperament, emotions, expressive manners. Because of these similarities in characters, the Georgian audience loves Italian plays and especially Italian comedies. The period of Goldoni staging in Rustaveli theatre was a very tragic time in the history of Georgia. In 1936, when Dimitri Aleksidze staged “The Mistress of the Inn,” was the beginning of the period of Soviet repressions in all Soviet Union. The culmination of these tragic years was 1937: the sequences of violence, most of the Georgian intellectuals were executed. And it may seem strange, that Rustaveli Theater had been busy with comedy performing. However, in fact, it was a way of survival. The play becomes the hope of Georgian public, that normal life will return in Georgia and laugh, something very natural for humanity, will save their homeland.
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Rodiņa, Ieva. "Režisors Eduards Miks. Brīvdabas lieluzvedumu prakse 20. gadsimta 30. gados." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 215–22. http://dx.doi.org/10.37384/aplkp.2023.28.215.
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Director, actor, theater pedagogue Eduards Miks (1893–1943) is a less-studied person in the history of Latvian theater, whose creative work is mainly related to the practice of large-scale open-air large-scale performances in the city of Ogre in the 1930s. The purpose of the article is, firstly, to present the creative biography of Eduards Miks, and, secondly, to analyze his large-scale open-air productions in the context of Latvian 1930s theatre practice. The open-air productions of Eduards Miks can be divided into two groups. Firstly – large-scale productions related to the carnivalization tendency, which begin with a theatrical procession, turning the whole city into a stage and preserving the principle of the theatricalization of life in the organization of the performance as well. The second group – musical productions, in which the actors of Riga theaters are engaged in the title roles, and local art life enthusiasts – in the mass scenes, creating complex mise-en-scenes and impressive mass scenes. Analysis of archival and periodical sources and historical-genetic and semiotic research approach are used. The article states the known facts of Eduard Miks’s life and creative biography, analyzes the most significant open-air productions of the director, as well as compares the directing tendencies of the open-air productions of Eduards Miks to the overall 1930s Latvian theatre practice.
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Islam, Gazi Zahirul, Isrut Jahan Zinnia, Md Fokhray Hossain, Md Riazur Rahman, Aman Ullah Juman, and Al Nahian Bin Emran. "Implementation of an efficient web-based movie ticket purchasing system in the context of Bangladesh." Indonesian Journal of Electrical Engineering and Computer Science 19, no. 2 (August 1, 2020): 828. http://dx.doi.org/10.11591/ijeecs.v19.i2.pp828-836.
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<span>The ‘Movie Ticket Purchase System’ is a web-based application. In this application, people can purchase movie tickets from all movie theatres in Bangladesh. Before purchasing a ticket, people have to do registration or login. This website builds by PHP and JavaScript for back-end; HTML, CSS for front-end. All steps of the software development life cycle are addressed properly to develop and implement the software. This website has three panels: one for the Admin, one for the Theatre Assistant and another for the Customer/User. Admin can insert the theatres, and Theatre Assistant handled maximum manual works on the website like movie add, delete, stop running, screen adds, etc. This is the first website in Bangladesh where people can purchase tickets from multiple movie halls and the site is only dedicated to this purpose. The website is very user-friendly and attractive that can give comfort to the end users. Also, the theater owners that have no digital platform for selling tickets can be a member of our service and get the opportunity of using digital platform.</span>
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Karzhaubayeva, Sangul, and Ainur Kopbasarova. "Innovative Strategies of the Turkestan Music and Drama Theater." Central Asian Journal of Art Studies 6, no. 4 (December 20, 2021): 148–58. http://dx.doi.org/10.47940/cajas.v6i4.510.
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The general theme of the international round table “Innovative and multimedia research in modern theater art”, organized by the departments of theater studies and scenography of T. K. Zhurgenov Kazakh National Academy of Arts, the main topic of which was the resonant premiere of the play Borte by Dulat Issabekov, which raised a wide range of ideas and topical issues. The purpose of this event was to comprehend the problems of innovations in the Kazakh theater in the era of digital technologies. The discussion was attended by a director of the Turkestan Music and Drama Theater Ainur Kopbassarova, a stage director Carlo Shakkaluga, prominent theatrical figures of the republic, directors, heads of regional theaters, actors, set designers, teachers, students of the academy and the capital's university of arts. The methodology basis in the discussion of innovative events taking place in the Kazakh theater were empirical, general scientific and private scientific methods of understanding new approaches in work on a production of a play, on the example of the performance of “Borte”. The study underwent cardinal changes in the theater's performance and production policy, starting with selection of actors who were invited from different theaters of Kazakhstan, to introduction of expensive innovative technical stage equipment. As a result of discussing the problems of introducing innovations in the Kazakh theater, a number of objective constraining factors were identified, such as obsolete technical equipment and stage machinery, etc. Particular attention was paid to the issues of profitability of theatrical production, adaptation methods and operation of specialized technical devices, fundamentally new approaches in selection of actors for the role. During the discussion of the principles of organizing work on the release of a new performance, it was noted that leadership of the Turkestan Theater had successfully introduced new generation technologies in the shortest possible time. Moreover, a fundamentally new algorithm for operation of the stage part of the theater was developed, an extraordinary model for managing production workshops of the theater, technical and technological spectrum of combining innovative methods and techniques in the space of one performance has been expanded.
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Lecińska-Ruchniewicz, Monika. "Rys historyczny Teatru Muzycznego Takarazuka – w poszukiwaniu nowego „teatru narodowego”." Slavia Occidentalis, no. 74/2 (December 10, 2018): 51–64. http://dx.doi.org/10.14746/so.2017.74.22.
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The Takarazuka Revue (Takarazuka Kagekidan) occupies an important place among Japanese modern theatres and enjoys unwavering popularity both in Japan and abroad. Both the artistic and commercial character of the idea that brought the first Japanese all-female revue to life in 1914 determined its further development and process of conversion from a simple choir to a full scale musical theater. Kobayashi – the founder of the Takarazuka Revue, an opera aficionado and theater critic – was driven by the need to create a new, affordable and easily understandable national theater that would meet the needs of modern Japanese society. Currently, the Takarazuka Revue is one of the most active and successful modern Japanese theaters. Its harmonious combinationof trends in mass culture and Japanese and Western theatrical traditions is fascinating. The highly characteristic fusion of simplicity and splendour, kitsch and sophistication that can be seen in the revue’s works, creates a unique, albeit somewhat controversial style, complemented by musumeyaku (female emploi) i otokoyaku (male emploi) played by actresses taught in a special school affiliated to the Takarazuka Revue.
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Gontarski, Stanley. "The theater is always dying." Acta Universitatis Lodziensis. Folia Litteraria Polonica 59, no. 4 (December 30, 2020): 191–209. http://dx.doi.org/10.18778/1505-9057.59.11.
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The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or whether you’ve had a sense that you’ve been part of, participated in a community ritual, a Dionysia, or whether or not you’ve felt that you’ve been affected by a performative, an embodied intellectual and emotional human experience may determine how you judge the state of contemporary theater. You may not always know the answer to those questions immediately after the theatrical encounter, or ever deliberately or consciously, but something, nonetheless, may have been taking its course. You may emerge “more human than when you went in”.
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Kudina, Ekaterina O. "To the creative history of Yuri Belyaev’s play Psisha." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (February 21, 2022): 72–77. http://dx.doi.org/10.18500/1817-7115-2022-22-1-72-77.
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The paper examines the creative history of the play Psisha by Yuri Belyaev – a theatre critic, fiction writer and dramatist of the Silver Age. While working on the article cycle A night at “The Opera House” about theatre history of the times of Catherine II, the critic researched historical sources: periodical, fiction, documents of the second half of the 18th – early 19th centuries. There Belyaev must have found the material for his early fictional experience – the historical short story Psisha. Among the characters of the story were a landowner – аn avid theatergoer, and the actors of his serf company. In this story the set of themes is defined, which the writer will develop further in his later works: the court and the serf theatres, the repertoire, the tragic fate of dependent actors. Later Belyaev addressed the theme of the serf theater as a dramatist and his artistic pursuits resulted in the play Psisha. The stage version had a great audience success in Moscow and St. Petersburg in the 1911–1912 theatrical season and was highly appreciated by theater observers in newspapers and journals. Judging by the reviews in the periodical press, the author of Psisha managed to strike the right balance between stylizations that became relevant during this period, the recreation of everyday scenes of the era and a sentimental psychological drama from the life of serf actors. Thus, it was possible to establish that Belyaev’s first works on the history of the Russian theater and his first literary works shaped the main themes and images of one of his most famous dramas.
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Akram, M., and P. K. Bhoyar. "Impact of COVID-19 and Online Streaming Services on the Movie Theater." CARDIOMETRY, no. 25 (February 14, 2023): 627–32. http://dx.doi.org/10.18137/cardiometry.2022.25.627632.
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Movie Theaters in India face a big crisis amid COVID-19, which leads to the shutdown of Theaters for more than five months. In the meantime, Online Streaming Services are expanding their business and revenue like never before. This scenario raises the very prominent questions (1) whether the movie theater business will survive this hard time and get back to normal growth and business once COVID-19 cases will reduce. The situation gets back to ‘old normal’. (2) Will Online Streaming services and Movie Theater business co-exist in the future, as Satellite TV and Movie Theater exist for many decades. Based on data from an empirical survey conducted among regular moviegoers, this paper questions the claims of the industry that the Movie Theater business is in danger due to the emergence of online streaming services. It has been observed that the increase in traffic on these online streaming services is mainly because of the lockdown situation, and once theater reopens and the COVID-19 health crisis went, people will get back to Theaters in a large number. Data from the reopening of Theaters in other countries are also showing the same result.
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Vukajlov, Ljiljana, Aleksandra Milinkovic, Dijana Brkljac, and Olivera Dobrivojevic. "Evaluation model of the quality of theater locations: Case study - Novi Sad, Serbia." Facta universitatis - series: Architecture and Civil Engineering 15, no. 2 (2017): 225–38. http://dx.doi.org/10.2298/fuace170206017v.
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With the development of information technologies and weakening of the economic power of citizens in the Republic of Serbia, interest in classical theater has decreased. As a result of their reduced activity, theater facilities are gradually deteriorating, and some are being adapted while others are being closed. The main objective of this paper is to evaluate the quality of significant urban parameters, to observe the possibilities for improvement of the functioning of theaters, and to propose concrete measures for revitalization of their surroundings. The efficiency and validity of a defined research methodology were tested on three representative examples, the Serbian National Theater, the Youth Theater, and the Novi Sad Theater, located in Novi Sad in Serbia. Upon recognition of the current state of the spatial, physical, functional and ecological conditions of the areas surrounding the representative theaters, the current problems were recorded, and measures are proposed that would be necessary for the theaters? revitalization.
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Gumennyk, Inna. "RESEARCH OF ARCHITECTURE FORMATION LANDSCAPE THEATERS IN UKRAINE." Architectural Bulletin of KNUCA, no. 22-23 (December 12, 2021): 190–98. http://dx.doi.org/10.32347/2519-8661.2021.22-23.190-198.
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The article is devoted to the problems of landscape theaters architecture formation on the territory of Ukraine in the realities which have developed in the course of typology development and an arrangement of the cultural data and entertaining and leisure establishments in modern conditions.
The article examines the specifics of the landscape theaters location depending on the functional purpose, capacity of the auditorium and attendance level of various theatrical performances in the open air in Ukraine.
Based on the results of professional questionnaires and analysis of statistical data on the theater and concert network in Ukraine, the author proposes 15 factors that shape the modern architecture of Ukrainian landscape theaters. The author investigates how these factors modify the spectator environment and shows the tools and techniques that allow you to create a harmonious space of the theater.
The list of the above factors influencing the formation of the landscape theaters architecture in Ukraine should include such factors as: the capacity of the auditorium; functional purpose of the building; location of the theater; the mode of the auditorium openness and stage; special conditions of the open-air theater location zone.
In addition, the author investigates the following factors in the formation of landscape theaters architecture, such as: organizational schemes of the stage; the configuration of the amphitheater in relation to the stage; ways to evacuate visitors from the auditorium in case of emergencies; determination of the optimal angle of the auditorium; architectural and constructive solution of the theater location (on a natural or anthropogenic basis).
The author analyzes the influence on the formation of the landscape theaters architecture due to the system of the stage layout and arrangement; when using special technological techniques and technical means; by considering the mobility of the theater; under the conditions of synthesis at the location of the stage relative to the spectator amphitheater; using the means of green architecture and design solutions in the organization of theater space.
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Katereva, Irina Evgenevna. "Modern Moldovan Theatre: A Return to the Origins." Ethnic Culture, no. 4 (5) (December 25, 2020): 11–16. http://dx.doi.org/10.31483/r-96534.
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The article examines one of the trends in the development of modern Moldavian theatre. Being complex and multifaceted phenomenon, it is generally influenced by the direction of society's development. At the present stage its development is based on the influence of two simultaneously existing and opposing directions. One is directed outwards, expanding the range of his contacts with theaters of other countries and reflecting the principle of transculturalism. Since the 90s of the previous century, the art of actors in the Moldovan theater, the specificity of their expressiveness appeals to the experience of world's theatrical art in all its integrity, where archaic and modernity, East and West, complementing each other, serve mutual development. Another vector of development, fundamental, is directed inward. It is connected with the deep processes that affected the dramatic art of Moldova. The theatre rushed to its inner support, to the origins, from the depths of which the national theatrical tradition grows and where myth, ritual, archetype reign inseparably. At the junction of archaic and modernity, the theatre is looking for an opportunity to reveal the spiritual space of the people, the world of ancestral archetypes, the authentic unconscious. Through the art of acting to express the enduring features of the soul, the «ethnic cosmos». Research methods: theoretical analysis, generalization of scientific researches, Internet materials, systematic analysis of theatrical practice. Author concludes that modern Moldovan theatre develops under the influence of two interrelated vectors of development, existing simultaneously and oppositely directed.
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Zhu, JiaWei, and HaiTao Sun. "Research and sound quality analysis of little theaters in Guangdong universities." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 268, no. 6 (November 30, 2023): 2953–62. http://dx.doi.org/10.3397/in_2023_0426.
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Little theaters have become a new type of theater form with their low investment costs, diverse space designs, and rich performance genres. In this paper the building acoustic design is focused on as a key point to research the audience hall space, the spatial shape, stage form and audience hall seating capacity in little theaters, and it is explored that the applicability of such new audience hall spaces to domestic theater design guidelines. One of the typical little theaters is studied by ODEON simulation. The simulation results show that the mid-frequency value of reverberation time (T30) is higher, which is not meet with the mid-frequency range of the domestic theater design guidelines for reverberation time.
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Antochi, Carmen. "Sorana Țopa - A destiny under the wing of time." Theatrical Colloquia 8, no. 2 (December 1, 2018): 301–19. http://dx.doi.org/10.2478/tco-2018-0023.
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Abstract During the first world war, the city of Iasi played the role of the ‘wartime capital’ of Romania. Besides the political-economic structures, The National Theatres of Bucharest and Craiova moved temporarily to Iasi, leading to Iasi being a cultural capital as well, a reputation which it has kept even to this day. In the interwar period, Romania blossomed culturally unlike ever before, a true intellectual, cultural and artistic revival under the influence of the currents travelling through European stages. In spite of the laurels earned, the name of Sorana Topa is too little known. Formed by the Iasi theatre school, noticed and hired by the national theather of iasi by Marin Sadoveanu, promoted by the previous directors of Iasi theatre, she is offered the chance to study in Paris along with her stage colleagues Aurel and Maria Ghițescu.