Journal articles on the topic 'Theatre and Media Studies'
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1
Brilli, Stefano, and Laura Gemini. "Trailers as mediatized performances: Investigating the use of promotional videos among Italian contemporary theatre artists." Journal of Italian Cinema & Media Studies 10, no. 1 (January 1, 2022): 77–95. http://dx.doi.org/10.1386/jicms_00103_1.
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In the theatre sector, many companies, festivals and theatres have integrated promotional videos into their communication strategies. This recent development is undoubtedly due to the rise of social media and the increasing accessibility of video technologies, but also to the need for theatre companies to publicize their work in a media that combines creative autonomy with economic efficiency. Despite this widespread use, trailers in the performing arts have received little attention in academic literature. This article offers the first, exploratory study on the use of promotional videos in the field of contemporary theatre in Italy and on the connections between the current creation of digital promotional clips and the heritage of the Italian video-theatre. Through in-depth interviews with sixteen of the leading Italian companies, this research aims to bring out the role theatre trailers play for performance artists.
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Pavis, Patrice. "Theatre Studies and Interdisciplinarity." Theatre Research International 26, no. 2 (June 14, 2001): 153–63. http://dx.doi.org/10.1017/s0307883301000165.
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Two broad areas within Theatre Studies have been characterized as interdisciplinary. The first concerns approaches inspired by the human and social sciences, and, more recently, cultural studies. The second concerns artistic practices that may be described as interartistic, intermedial (since they involve different media and, thus, different technological developments), and intercultual. It is argued that the epistemological paradigm for theatre studies has changed over the last thirty years, and can be broken down roughly according to decades, each defined by its particular contribution to the interdisciplinary thrust of theatre studies. Most current theoretical debates no longer deal with epistemology or methodology, but almost exclusively with the extension of the field of performance. It is suggested that the theoretical and practical worlds must be connected more closely, ‘actor’ and ‘text’ here serving as examples.
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Łuksza, Agata. "‘Orgies of the upper gallery’: Preliminary reflections on nineteenth-century theatre fans." Journal of Fandom Studies 6, no. 3 (September 1, 2018): 263–78. http://dx.doi.org/10.1386/jfs.6.3.263_1.
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Since the very beginning, fan studies have challenged common assumptions about media fans, gradually opening the research field onto different aspects and dimensions of fan culture. So far, however, little has been done regarding both fandom history and theatre fandoms, which would significantly enrich the landscape of fan studies. This article assesses the current state of research on historical audiences, and how historical knowledge on theatre audiences and methodologies, developed within these studies, can be further explored from a fan studies perspective. It is an attempt to look at nineteenth-century theatre through the lenses of the most engaged spectators, whom I call simply ‘theatre fans’, and recover their experiences, behaviours and practices. Broadly speaking, this article seeks to discuss the challenges and opportunities of fan history research by investigating some examples of historical fan practices in Warsaw Theatres and focusing on the early case of ‘fandom war’ between the czakiści and wisnowczycy, as the groups of fans of two actresses – Jadwiga Czaki and Maria Wisnowska – identified themselves. The aim is to re-evaluate fan practices and media engagements in the nineteenth century to recover the then emerging matrix of meanings essential to the understanding of fandom.
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Boenisch, Peter M. "coMEDIA electrONica: Performing Intermediality in Contemporary Theatre." Theatre Research International 28, no. 1 (February 17, 2003): 34–45. http://dx.doi.org/10.1017/s0307883303000130.
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Although the concept of ‘intermediality’ recently has gained prominence within the discourse of Theatre Studies, still various contradictory definitions of that term circulate, none of which applies insight from the field of Media Theory to theatre. Rather than clinging to the banal formula ‘theatre + media = intermedial theatre’ and thus perpetuating the idea of medial specificity, an approach to intermediality informed by Media Theory stresses underlying strategies of processing all kinds of information, including the aesthetic, within a certain period. Consequently, theatre's genuine ‘mediality’ already implies its ‘intermediality’, which in fact can be traced back all the way to classical Greek drama. Within the present transformation from McLuhan's ‘Gutenberg Galaxy’ into an ‘electrONic culture’, theatre now trains its spectators in cognitive strategies of that emerging cultural paradigm. The performance Circulation Module by the Japanese group NEST reflects these significant repercussions of electrONic culture on theatrical performance at the turn of the twenty-first century.
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Harun, Afrizal, Kurniasih Zaitun, and Susandro Susandro. "Postdramatik: Dramaturgi Teater Indonesia Kontemporer." Dance and Theatre Review 4, no. 2 (January 11, 2022): 57–69. http://dx.doi.org/10.24821/dtr.v4i2.6450.
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Postdramatic: The Dramaturgy of Contemporary Indonesian Theater. The research attempts to explain a new possibility in theatre practice in Indonesia, which was initially formed through the power of words in the form of dialogue depicted in drama scripts. Since then, there was another tendency which was a matter of fact, in the early 1920s, for which Antonin Artaud initiated. Various terms have been used to describe new trends in the dramaturgy of Indonesian theatre since the 1970s up to now, such as cutting-edge theatre, avant-garde theatre, experimental theatre, body theatre, visual/visual theatre, postmodern theatre, contemporary theatre, and so on. Therefore, the appearing terms show doubts in determining the identity of the currently developing Indonesian theatre. This study aims to explain the potential for postdramatic theatre works that have been performed by Indonesian theatre directors, such as WS Rendra, Putu Wijaya, Boedi S. Otong, Dindon WS, Rahman Sabur, Yudi A Tajudin, including Yusril with a Postdramatic theatre approach. This research method is dominated by literature studies that take references such as books, journal-based articles, and online and printed media. The results of the study indicate that postdramatic dramaturgy in the practice of theatre in Indonesia is necessary from the spirit of the times that formed it, including the possibility of creating a new form of post-dramatic theatre developing in the current era of the Covid-19 pandemic.Keywords: postdramatic; dramaturgy; theatre; Indonesia; contemporary
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Speckenbach, Jan, and Thomas Irmer. "In Interview: On the Development of Video in the Theatre." New Theatre Quarterly 38, no. 3 (July 19, 2022): 234–41. http://dx.doi.org/10.1017/s0266464x22000161.
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German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have interacted with this new technology and how filmmaking can be an integral part of the theatre indicate clearly that filmmaking has played an invaluable role in recent theatre history. Speckenbach here also speaks of his collaborations with other directors, notably Sebastian Hartmann and René Pollesch, and about the future perspectives of this technology, which has changed the theatre altogether.Jan Speckenbach studied art history, philosophy, and media in Karlsruhe, Munich, and Paris during the 1990s. At the beginning of the new millennium he participated in the development of video theatre with Frank Castorf and, now a successful filmmaker, he also continues to work in the theatre. His short film Gestern in Eden [Yesterday in Eden] premiered at Cannes in 2008, while the full-length feature film Die Vermissten [The Missing] was shown at the 2012 Berlinale and Freiheit [Freedom] at the 2017 film competition at Locarno. In 2020 he directed the live-stream of Der Zauberberg [The Magic Mountain, after Thomas Mann’s novel] at the Deutsches Theater in Berlin (premiered online in November 2019), which was subsequently invited to the Berlin Theatertreffen. Thomas Irmer is the editor-in-chief of the Berlin-based monthly Theater der Zeit. He has co-edited two books on the work of Frank Castorf – Zehn Jahre Volksbühne Intendanz Frank Castorf (2003) and Castorf (2016). During the last forty years he has authored, among other significant writings, numerous analytical articles and interviews on Castorf’s creative output.
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Mpofu, Mandlenkosi, and Cletus Moyo. "Theatre as alternative media in Zimbabwe: Selected case studies from Matabeleland." Journal of African Media Studies 9, no. 3 (September 1, 2017): 507–20. http://dx.doi.org/10.1386/jams.9.3.507_1.
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Mirecka, Agata. "Polski krytyk teatralny Andrzej Wirth – mistrz przemieszczania się i jego rola w kształtowaniu nowego oblicza teatru w Niemczech." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 22 (December 31, 2022): 173–84. http://dx.doi.org/10.24917/20811853.22.10.
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Andrzej Wirth, a 20th century Polish essayist, philosopher and theatre critic, is one of the often forgotten theatre and drama scholars in Poland, perhaps due to his long life in exile. A recognized expert in theatre studies and philosophy, he has lectured at many universities around the world, especially in the United States and Europe. He gained particular recognition as the founder and director of the Institute for Applied Theatre Studies at the University of Giessen in Germany. The aim of this article is to introduce Wirth’s personality, outline his life between cultures and highlight his importance for the development of theatre studies in Germany, as well as his great contribution to the promotion of Polish literature in Germany in the mid-20th century. Andrzej Wirth’s life was beyond borders and divisions, although with a particular attachment to the culture of his homeland and Germany; he was rooted in childhood memories and a desire for theatre as a liberated art in an age of evolving media technologies.
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Xu, Sicheng, and Gedong Zhang. "Integrated Application of AR Technology Development and Drama Stage Design." Mobile Information Systems 2022 (September 24, 2022): 1–8. http://dx.doi.org/10.1155/2022/5179451.
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With the continuous development of science and technology in China, more and more high-tech tools are appearing in our lives, one of which is AR technology. Augmented reality is now widely used in gaming, e-commerce shopping, and interior design. With the development of digital media technology, contemporary theatre design often incorporates new technologies, one of which is augmented reality, which uses Internet of Things (IoT) technology to build different devices onstage, allowing images from computers to be shown virtually on stage. Augmented reality technology can enhance the appeal of theatre and create a new theatre atmosphere for the audience. At the same time, the deep involvement in the narrative is conducive to the creative transformation and innovative development of the art of theatre in the new media era. The following question is how to make AR technology more suitable to enter the theatre without dramatically affecting the core content of the play. This study will elaborate on the media characteristics and interactive relationship of AR technology and analyse and demonstrate the expansion space brought by augmented reality technology to theatre art by some case studies. In addition, it also attempts to put forward some ideas and suggestions on design aspects such as presentation, communication, and styling and to study the pros and cons of the new technology on theatre stage design so as to make a judgement on the future prospects of AR technology in a wide range of entertainment applications.
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Yu, Eun Hye, and Jeongbae Park. "A Study on the Audience Perception of Liveness and Viewing Immersion in the performing arts video." Global Knowledge and Convergence Association 5, no. 2 (December 31, 2022): 85–107. http://dx.doi.org/10.47636/gkca.2022.5.2.85.
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This study examined the liveness of the digital theatre in the academic world by applying qualitative analysis techniques, focusing on the effect on the audience's viewing immersion based on previous studies. The conclusions are following: First, viewing immersion was analyzed from the general characteristics of the respondents. In addition, the research questions were derived by analyzing the qualitative contents of the relationship between the digital theatre and the liveness variable. It was confirmed that there is a certain relationship between liveness of the digital theatre and viewing immersion by analyzing watching experiences of the digital theatre in research question 1.2.3, the influencing relationship between liveness and audience's perception in research question 4.5, and the future assignments associated with viewing immersion in research question 6.7.8.9.10. For the future development of the performing arts industry, the following is suggested from the implications of the study. First, the paradigm of the performing arts industry is changing under the technological progress and the digital revolution made up of the development of technology. Audiences are no longer watching at the theater or concert hall only, but they are using various media such as smartphones, computers, TVs, movie theaters, and VR devices everywhere. Therefore, the communication method and interaction with the audiences in the digital era should be different from the previous performing arts. Next, the digital theatre that occurred in a pandemic situation is not a complete substitute for the existing on-site theatre, but a diversified into a new type of performing arts industry, which suggests setting up countermeasures. There are several limitations indicated in this study, therefore follow-up studies are needed. The reasons are not only that it has a limitation of generalization by setting respondents’ pool for in-depth interviewing in order to make a qualitative analysis but also that it was not able to be more intensive discussion due to the lack of previous studies directly related to the digital theatre·liveness·viewing immersion. In particular, there are limitations that there was not specific statistics or data set suggested which is able to indicate the difference between the audiences of a face-to-face performance (i.e., offline theatre) and the audiences of a non-face-to-faceperformance (i.e., online theatre).
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Lovell, Robb E. "Computer Intelligence in the Theatre." New Theatre Quarterly 16, no. 3 (August 2000): 255–62. http://dx.doi.org/10.1017/s0266464x00013889.
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How can computer intelligence best be employed in the theatre? Imagine that a computer is given the ability to control electronically all the media of the stage, and is able to sense and understand in an abstract way what is happening in that space. Furthermore, suppose that the computer is given the ability to reason about what is happening and could construct abstract responses through media. What would it be possible for the computer to do? The theatrical space is the computer's body, the electronic media the limbs, cameras and microphones used as sensors are the eyes and ears, a speech generation program the mouth, and the CPUs and internal programming are the brains, used to interact with the physical world. The space that holds the performance becomes an environment generated from behaviours of the computer, responding to and shaped by performers, designers, and technicians. Robb E. Lovell describes how this kind of intelligent environment can expand the expressive potential of traditional theatre in many ways, and considers how this will affect the viewers' and performers' perceptions, setting out some of the pros and cons of the involvement of computer intelligence in performance settings. Computer involvement is not, he argues, about the death of traditional theatre forms, but rather about their growth into new realms of expressiveness. Robb Lovell is a resident artist/technologist at the Institute for Studies in the Arts (ISA) at Arizona State University. He is co-creator of the Intelligent Stage, a theatrical space that registers sensory input through video and audio, and responds through lights, sound, video, animation, and robotics. He is currently creating tools for artists and technicians based on the technology of the Intelligent Stage – tools that allow artists to create interactive mediated works. He is working on a practical PhD in Interactive Theatre Design through the Institute for New Media Performance Research.
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Mendelyté, Aténé. "The Intermedial and the Transmedial across Samuel Beckett’s Artistic Practices." Acta Universitatis Sapientiae, Film and Media Studies 13, no. 1 (December 1, 2016): 43–53. http://dx.doi.org/10.1515/ausfm-2016-0013.
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Abstract The essay offers a brief overview of famous Irish playwright Samuel Beckett’s intermedial practices. By exploring a number of artistic media (drama, theatre, novel, television play, film) the artist tried to get at the essentials of each medium by virtue of his minimalist and media-conscious aesthetics. As a result of this gesture he uncovered certain transmedial properties such as musical rhythm and structure, montage, black and white film and photography aesthetics and tenebrism situated at the core of supposed media-specificity. Moreover, it is argued that Beckettian intermediality has a pronounced meta-referential dimension as defined by Werner Wolf. Most, if not all, of Beckett’s artworks include a medial self-reference of sorts such as the comment on the disembodiment of speech in radio plays or on the formative powers of lighting in theatre and film. What they also do is make the spectator aware of the fact of mediation and of what it entails. Therefore, the essay ultimately aims to show the immense significance of Beckett to intermediality studies not simply as an artist and a case study but as a media and intermediality theorist as well.
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Lawrence, William. "Advice to a student of Classics." Journal of Classics Teaching 18, no. 36 (2017): 15–16. http://dx.doi.org/10.1017/s2058631017000162.
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Look at the secondary school timetable and you will see that almost all the subjects are ancient Greek words; so the Greeks studied these ideas first and are worth studying for their ideas in their own language (just like the Romans in Latin!). Greek: Biology, Physics, Zoology, Philosophy, Mathematics, Economics, Politics, Music, Drama, Geography, History, Technology, Theatre Studies. Latin: Greek, Latin, Art, Science, Information (Latin) Technology (Greek), Computer Science, Media Studies.
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Woodhouse, Fionn. "A Passion for the Arts." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 2 (July 1, 2017): 92–93. http://dx.doi.org/10.33178/scenario.11.2.6.
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I first met Stefanie Preissner when she signed up as a volunteer leader with Lightbulb Youth Theatre in Mallow, Cork. Having recently begun a BA in Drama and Theatre Studies in University College Cork, Stefanie had the interest in the work that allowed her to quickly become integral to Lightbulb, facilitating workshops and directing performances. We established a good working relationship, devising, writing and directing within the youth theatre before forming our own theatre company, ‘With an F Productions’, allowing us to take on different projects. Stefanie’s move to Dublin, after graduating from Drama and Theatre Studies, allowed her to develop her playwriting skills leading to the writing of ‘Solpadine is My Boyfriend’. This play was subsequently produced by the company enjoying a sell-out run in Dublin before touring internationally to Bucharest, Edinburgh and Australia, and – as a radio play – becoming RTE’s most downloaded podcast. Stefanie has gone on to write for RTE, with the successful series ‘Can’t Cope, Won’t Cope’ now in its second season and is also writing for Channel 4 in the UK and First Look Media in the US. Last year, I hosted Stefanie in the renamed ‘Department of Theatre’ to talk with students ...
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Wittenberg, Hermann. "Reflections on Literary Studies in South Africa." Matatu 50, no. 1 (June 14, 2018): 208–27. http://dx.doi.org/10.1163/18757421-05001006.
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AbstractZakes Mda is not only one of South Africa’s most significant post-apartheid novelists, but has worked in diverse media such as theatre, film, opera, painting and music. His prolific creativity in forms other than the novel needs to be taken into account when evaluating his writings. This article proposes an intermedial analysis of Black Diamond (2009), a novel which has largely been given unfavourable critical attention, and suggests that it needs to be considered as a mixed medial text that is shaped by a cinematic mode of narration. The novel is also re-interpreted in the light of a postcolonially inflected “surface reading,” which makes the pervasive visuality of Mda’s prose visible. Finally, it is argued that texts such as Black Diamond raise questions about the interpretive methodologies and reading practices in English literary studies, pointing to future challenges and opportunities in the discipline.
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Sponsler, Claire. "Death by Drama and Other Medieval Urban Legends. By Jody Enders. Chicago: University of Chicago Press, 2002; pp. xxx + 324; 9 illus. $35 cloth." Theatre Survey 46, no. 1 (May 2005): 159–61. http://dx.doi.org/10.1017/s0040557405360091.
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Death by Drama is revisionist theatre history at its invigorating best. Taking her cue from modern studies of urban legends, Jody Enders treats theatrical apocrypha—such as the well-known account of a convicted heretic who was supposedly executed on stage during a performance of the drama of Judith and Holofernes in 1549 in Tournai—not as fact, as such stories have often unquestioningly been taken, but as medieval urban legends that reveal spectators' attitudes toward the theatre as a place of potential threat where the true and the false dangerously mix. Looking at such legends as expressions of a culture's specific hopes, fears, and anxieties, Enders examines the “ways in which early France told, retold, invented, and reinvented stories of the tenuous boundaries between theatre and real life, thereby helping audiences to confront the nature of artistic representation” (xxiv). Although Enders's focus is medieval French theatre, her reach extends to modern theatre, film, and media, and her impeccable historical scholarship is enriched by savvy recourse to contemporary critical theory and performance studies. The resulting book shakes up settled assumptions about “what really happened” on the medieval stage, while raising profound questions about theatre's social functions then and now.
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Lev-Aladgem, Shulamith. "From Object to Subject: Israeli Theatres of the Battered Women." New Theatre Quarterly 19, no. 2 (May 2003): 139–49. http://dx.doi.org/10.1017/s0266464x03000058.
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Israeli institutional theatre has only just begun to toy with the idea of ‘feminist theatre’ and, despite a demonstrable increase in violence against women in Israel, with increased visibility in the mass media, the subject has yet to be confronted in mainstream theatres. However, women's creation has been longer at the frontier of theatre activities, and the issue of battered women has been a central theme of several community-based performances over the past two decades. In this article Shulamith Lev-Aladgem offers an overview of these plays – the first performed by professional actresses who had just graduated from university, and who were mostly Ashkenaziyot (of European origin); the two following produced by community amateur actresses who were Mizrahi (of Arabic origin) – women from a low social stratum who, although being acquainted with domestic violence, had wished to avoid being regarded as battered women; and the last performed by a group of amateur actresses who came from more heterogeneous backgrounds, but who were all being treated in one of the centres for prevention and treatment of domestic violence. The author argues that in the first performance the battered woman was articulated by another, distant woman; in the next two she was presented by a more closely, identifying relative; while only in the fourth production did she publicly represent herself by herself, articulating her own voice through the symbolic system of theatre. The author proceeds to analyze in detail the first and the last of these performances, which clearly present the process of passage from acting woman-as-object to acting woman-as-subject. Shulamith Lev-Aladgem is a lecturer, researcher and practitioner in the Community Educational Unit of the Theatre Department at Tel-Aviv University in Israel, who trained and worked as an actress and community theatre animator/director for many years. Her writings in areas of play theory, and performance and cultural studies, and their relation to community theatre, educational drama, drama therapy, and feminist theatre, have been published in numerous periodicals in the USA, Europe, and Israel, and her article ‘Ethnicity, Class, and Gender’ is forthcoming in Theatre Research International.
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Agha, Charles. "Restructuring the Academic Environment through TfDs for Sustainable Development: A Case Study of “Dr. Lecturer” a PhD Class Project on University of Port-Harcourt Community." UJAH: Unizik Journal of Arts and Humanities 21, no. 4 (May 21, 2021): 294–305. http://dx.doi.org/10.4314/ujah.v21i4.17.
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This paper is anchored on the use of Theatre for Development (TfD) as a restructuring mechanism and strategy for sustainable growth and development. However, there is no gainsaying that within the academic environment that irregularity abound especially arising from misconducts like: sexual harassment, buying of grades, flirting with lecturers, victimization and indecent dressing. The TfD pilot project executed in the year 2017 by the students of Theatre and Media Arts, Department of Theatre and Film Studies, University of Port-Harcourt Rivers State, has been carefully reviewed to show the potency of performance arts (TfD) as a restructuring mechanism for development. This paper adopts the analytical research method and the TfD official eye approach. The finding reveals that Theatre for Development (TfD) is a grass root mobilization and concientization mechanism for sustainable growth and development especially as it relates to the recent trend in the academic communities.
Keywords: Theatre for Development, Performance, Mass Mobilization
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Kotelevskaya, Vera V. "Books about postdramatic theatre." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 158–71. http://dx.doi.org/10.18522/2415-8852-2020-1-158-171.
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The review considers three books on post-dramatic theatre (in various studies it is also called anti-mimetic, radical, post-modern theatre, metatheatre, etc.). Different concepts of post-dramatic theatre are brought together by what may be considered as experiments per se, overcoming or problematizing genre and media boundaries, neutralizing binary oppositions, such as subject – object, playwright – director, platform – hall, actor – character, etc. I analyze the concept of H.-T. Lehmann (“Postdramatic theatre: 1999), who argues concerning the main feature of the “radical theatre” in weakening the connection with the text of the play, “re-theatricalization”, and rejection of the mimesis. For E. Fischer-Lichte (“Ästhetik des Performativen”, 2004 / “The Transformative Power of Performance: A New Aesthetics”, 2008), the main feature of the newest theatre is “performativity” – the production of aesthetic meaning within the event of a performance, and not in the perception of an artifact by an observing subject. The criteria for the so called “performative turn” in drama and theatre, which, according to Fischer-Lichte, are self-reference, materiality, bodily contact, the liminality of aesthetic experience, and the transformation of the spectator. The neoconservative point of view of G. Stadelmaier (“Director’s Theatre. On the Scenes of the Spirit of the Times”, 2016), which expresses nostalgia for the tradition, is considered as polemic in respect to the innovations of the post-drama
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Sava, Laura. "The Problem of Film Theatre Intermediality in Jesus of Montreal." Excursions Journal 1, no. 1 (September 12, 2019): 102–22. http://dx.doi.org/10.20919/exs.1.2010.130.
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My paper resorts to the recently theorized notion of intermediality in order to examine the representation of theatre in Jesus of Montreal (Denys Arcand, 1989) Far from being a stopgap term called into being by the ever more numerous instances of border violation between media, intermediality comes with a prestigious pedigree. It is a member of the ‘inter’ family (alongside terms such as intertextuality and interdisciplinarity) and a descendant of a comparative approach which extends far back in time, encompassing genres such as the apology and the paragone. Despite the fact that in film studies intermediality is still to a certain extent impending, it is highly applicable to instances where film quotes or references another medium. A focus on intermediality in Jesus of Montreal authorizes questions such as: Which are the prioritized connection points between film and theatre? How is the relation of the two media formulated by Arcand? How does a filmmaker stage a theatrical event for a cinema audience? My paper seeks to demonstrate and exemplify the sophisticated nature of the film’s involvement with theatre. To this effect, I shall use ideas drawn from intermediality studies, narratology and drama theory in conjunction with close analysis of chosen sequences.
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Levasseur, Bruno. "In the limelight: French women from the banlieues on stage in Ahmed Madani’s F(l)ammes (2017)." French Cultural Studies 29, no. 3 (July 5, 2018): 265–78. http://dx.doi.org/10.1177/0957155818773925.
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This article considers how French theatre has contributed to debates on the condition of women living in the banlieues in a post-2015 context of terrorist attacks and a nationwide state of emergency. Focusing on the play F(l)ammes (2017) by Ahmed Madani, which interrogates women’s lived experiences, this article examines how theatre, drawing upon psychotherapeutic practices, engages with the complex interweaving of race, class and gender in marginalised French urban spaces. Using Nacira Guénif-Souilamas’s analysis of women from the banlieues and Stuart Hall’s work on the negotiation of multiple identities, this article suggests that F(l)ammes and the acting workshops from which it emerged eschew mass media representations of the French banlieues as violent, dangerous territories and offer an unusual, women-centred counter-discourse on the French nation.
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Lewis, Rebecca. "The Simultaneity of Loneliness and Popularity in Dear Evan Hansen." Exchanges: The Interdisciplinary Research Journal 9, no. 3 (August 3, 2022): 84–103. http://dx.doi.org/10.31273/eirj.v9i3.864.
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Musical theatre is an often neglected medium amongst popular culture studies. Critics of the theatre art form are quick to open the distance between musical theatre and other dramatic varieties, seeing it as melodramatic or banal. Dear Evan Hansen, ¾ which first opened on Broadway in 2016, ¾ has generated a new wave of fans and critics alike by addressing larger cultural topics of mental health through songs. The narrative centres on the titular character, a nerd and self-professed social outcast struggling with loneliness and low self-worth, who gets caught up in a lie that sparks a social media movement. The audience watches as Evan attempts to negotiate his newly found popularity, being driven by the fear of losing a validation he had always longed to receive. Despite technology and social media easing long distance communication and creating communities, nearly half of Americans report feeling alone or left out and struggle with presenting a ‘worthy’ self-image to a highly critical yet invisible online audience. Using a psychoanalytic approach, this paper will first discuss the modern narrative of Dear Evan Hansen and its motifs of loneliness and social belonging, before moving on to consider how musical theatre articulates conversations of loneliness and popularity whilst simultaneously engaging the audience as integral characters in the performance.
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Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (April 21, 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.
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A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).
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Lipton, Martina. "Memorialization, Memorabilia, and the Mediated Afterlife of Ada Reeve." New Theatre Quarterly 29, no. 2 (April 29, 2013): 132–45. http://dx.doi.org/10.1017/s0266464x13000249.
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This paper explores the differing levels of control over representations of Ada Reeve's mediated and ‘ghosted’ afterlife. Confessional memoirs that strategically frame the star persona for posterity provide her with the most immediate control. However, the star can become recruited to new assertions of cultural nationalism, which desire to claim coherent genealogies, public celebration, and commemoration of a star's afterlife. This, paired with nostalgic desires for past ‘golden ages’, also mediates strategic interests in her imbricated identity. Similarly, the star's mediated afterlife inevitably becomes susceptible to repositioning by theatre managements, the media, family, fans, and the public when their revisionist agendas make new assertions for the star's image after death in various immediate political and social contexts, and as communal encoded memory. Martina Lipton is Research Fellow (Australia) at the University of Warwick and Honorary Associate Lecturer at the University of Queensland. She has published several articles in Australasian Drama Studies, Contemporary Theatre Review, New Theatre Quarterly, and Popular Entertainment Studies on pantomime and popular theatre performers, and her paper ‘Localism and British Modern Pantomime’ is in A World of Popular Entertainments: an Edited Volume of Critical Essays (2012).
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Saha, Anamik. "The Politics of Race in Cultural Distribution: Addressing Inequalities in British Asian Theatre." Cultural Sociology 11, no. 3 (July 13, 2017): 302–17. http://dx.doi.org/10.1177/1749975517708899.
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This article has two aims. Firstly, it challenges the assumption in both policy and media studies of race that increasing the number of minorities in the media will automatically lead to more diverse content. Secondly, it highlights how cultural distribution is a critical, yet under-researched, moment for racialised minorities working in the arts. Using a case study on ‘British Asian theatre’, the article problematises a particular cultural policy approach that emphasises the need to attract ‘new audiences’. While the emphasis on bringing marginalised audiences to the arts is welcome, this article argues that attempts to address racial inequalities in production and consumption in this way, reinforce rather than dismantle them.
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Kershaw, Baz. "Fighting in the Streets: Dramaturgies of Popular Protest, 1968—1989." New Theatre Quarterly 13, no. 51 (August 1997): 255–76. http://dx.doi.org/10.1017/s0266464x0001126x.
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Everybody would agree that agitational political theatre has fallen on hard times, but whether this is due to a changed political climate, a changed theatre, or a more politicized relationship between companies and funding bodies remains a matter for debate. Here, Baz Kershaw adopts a lateral approach to the problem, looking not at dramatized forms of protest but at protest as an action which has itself become increasingly theatricalized – in part owing to its own tactics and choices, in part to the ways in which media coverage creates its own version of politics as performance. After looking at the major focuses of protest in two decades after 1968, Baz Kershaw examines the ways in which political and performance theory has and has not addressed the issue. Presently Head of the Department of Theatre Studies in the University of Lancaster, his previous publications includeEngineers of the Imagination: the Welfare State Handbook(with Tony Coult, 1983) andthe Politics of Performance: Political Theatre as Cultural Intervention(1992).
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Ezeugwu, Cindy Anene, Oguejiofor V. Omeje, Ikechukwu Erojikwe, Uche Chinemere Nwaozuzu, and Ndubuisi Nnanna. "From stage to street: The #Endsars protest and the prospects of street theatre." IKENGA Journal of Institute of African Studies 22, no. 2 (June 30, 2021): 1–23. http://dx.doi.org/10.53836/ijia/2021/22/2/007.
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Globally, the issues of extrajudicial killings are on the increase. From racial killings in the West to wanton human rights violations in Africa, the pains are the same. Thus, protests has always been a channel employed by many including activists, labour and union leaders among others, to press home grievances and demands against unfavourable policies and social malaise. This paper draws attention to how youths in Nigeria utilised the physical space to spark a protest, in October 2020. Notable actors, musicians, comedians, activists and the international community in their numbers, moved to the street in defiance of security orders to protest against police brutality and harassment. In view of the outcome of the protest, which was later hijacked by hoodlums, the paper examines a non-violent alternative which can be used to address societal issues. It is in this context that the paper examined the role of theatre as a tool for activism, advocacy and communication with specific reference to street theatre, a type of improvised street drama performance that addresses unfavourable socio-political and cultural issues. The data for the study is obtained mainly from the internet, print media, observations, interviews and literary works. For its methodology, the study utilises the popular theatre approach. The study concludes that street theatre has a major role to play in addressing socio- political issues without resorting to violence.
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BRANDSTETTER, GABRIELE. "The Virtuoso's Stage: A Theatrical Topos." Theatre Research International 32, no. 2 (July 2007): 178–95. http://dx.doi.org/10.1017/s0307883307002829.
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This essay considers the virtuoso in music, theatre and dance as a liminal figure of performativity. It draws on cultural studies as well as the history of science to offer a critical reading which follows the virtuoso's oscillation between science and art. The escalating dynamic in the virtuoso's technical control of material (of the body, the ‘instrument’, language) leads to a polarization between artistic ‘creation’ and virtuoso performance: the virtuoso thus occupies a seismographic function within the aesthetic debates of the nineteenth century. The article also outlines the relationship between the media and virtuoso performance and the relevance of the anecdote for the virtuoso's charismatic impact. This essay will contribute to our understanding of how the contemporary media influenced the virtuoso concept, and address the issue of whether the (partial) disappearance of the virtuoso from the theatre stage translocates the figure of the virtuoso onto other ‘cultural stages’.
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Reside, Doug. "“LAST MODIFIED JANUARY 1996”: THE DIGITAL HISTORY OF RENT." Theatre Survey 52, no. 2 (November 2011): 335–40. http://dx.doi.org/10.1017/s0040557411000421.
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Music theatre scholarship, and indeed theatre history research in general, can be accurately described as a subset of media studies. As much as we might claim the contrary to our theatre students, theatre scholarship is not, by and large, the study of live performance but is instead an analysis of our own reconstructions built from the traces theatrical events leave behind. We study not moments but materials, not what was live but rather what was left. Increasingly, these leavings are likely to be digital. Much has been written of late about the current and imminent challenges these “born digital” materials pose for librarians and archivists, and many are now developing processes and procedures for preserving and providing access to them. Relatively little published scholarship has been done using these archives, however, so the emerging practices have yet to be thoroughly tested by researchers.1 In this article I narrate my experiences using the born-digital artifacts in the Jonathan Larson collection at the Library of Congress in an effort to provide an example of one form this sort of scholarship might take.
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Wynants, Nele. "Invisible hands in the history of the magic lantern: where theatre studies and media archaeology meet." Early Popular Visual Culture 18, no. 4 (October 1, 2020): 422–47. http://dx.doi.org/10.1080/17460654.2021.2016213.
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Greenhalgh, Susanne. "A World Elsewhere." Critical Survey 31, no. 4 (December 1, 2019): 77–87. http://dx.doi.org/10.3167/cs.2019.310408.
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Documentaries about the use of Shakespeare in applied theatre publicise and endorse the work of practitioners to scholars as well as the general public, and have influenced the growth of academic interest in what this article terms Social Shakespeare: practices in which Shakespeare and social work interact with each other to bring about change. However, in the quest for touching and uplifting individual stories, such media treatments risk ignoring the actual values and strategies governing the work in favour of narratives that normalise social differences through emphasis on the transformative power of Shakespearean theatre, viewed as a sanctified space. Documentaries about three different constituencies – prisoners, young people with learning disabilities, and combat veterans – are examined to determine how far they locate the need for change in society rather than in the individual.
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Mosse, Ramona. "Thinking Theatres beyond Sight: From Reflection to Resonance." Anglia 136, no. 1 (March 8, 2018): 138–53. http://dx.doi.org/10.1515/ang-2018-0013.
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AbstractThis essay seeks to propose an alternative to the established connection between theatre and theory through the sense of sight by turning to recent developments in sound studies and analyzing theatrical performance that privileges an aesthetic of aurality over that of vision. In taking Complicite’s The Encounter as a primary example of aural immersion and connecting it to philosophies of listening from Jean-Luc Nancy to Hans-Georg Gadamer but also to the complex media history of sound, the essay offers a theoretical revaluation of the concept of resonance. Resonance opens up an alternative approach to performing thought and thinking in performance. Instead of championing the distance of reflection and critique alone as the core engagement shared by philosophers and theatre audiences, the listening practices in theatre return philosophy as much as cultural practice to a renewed emphasis on mutual responsiveness and dialogue.I am fundamentally indebted to Anna Street, with whom I collaborated on a joint conference presentation that framed questions of aurality, theatre and philosophy in British theatre of the 21st Century. Many of the questions we discussed then have influenced my thinking for this article, and I would not be as perceptive on any of them without her philosophically driven perspective and our engaged discussions.
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Kruuspere, Piret. "The Travelling of Dramatic Texts and Memory Patterns." Nordic Theatre Studies 32, no. 2 (January 22, 2021): 40–53. http://dx.doi.org/10.7146/nts.v32i2.124347.
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The article discusses Estonian memory theatre in the 1970s–90s and at the beginning of the twenty-first century in the framework of transnational/transcultural influences. Dwelling on Jeanette R. Malkin’s definition of memory theatre as a theatre that both imitates the flow of memories and initiates the process of remembrance, and relying on the concepts of transnational and transcultural memory, I analyze the dramatic texts of Estonian playwrights Rein Saluri and Madis Kõiv, likewise the works of female stage director Merle Karusoo. I focus on the phenomenon of travelling memory, introduced by scholar of literature and culture, Astrid Erll, and engage a comparative approach to the texts and stage interpretations. Through the media of texts and mnemonic forms in motion and on the basis of particular case studies, I examine how stories/narratives, memory patterns, and mnemonic practices have crossed cultural borderlines and been performed on different (Estonian, Finnish, Estonian-Russian, Austrian) stages, and how they have primarily launched hidden or blurred memories.
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Leiva Filiho, João Oswaldo. "The place ow women in the theatres of São Paulo." Debats. Revista de cultura, poder i societat 136, no. 1 (May 24, 2022): 49–68. http://dx.doi.org/10.28939/iam.debats-136-1.3.
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The aim of this article was to provide quantitative information about the gender gap in theatre production in the city of São Paulo (Brazil), thereby helping to raise awareness of the inequalities faced by women in the field. The text compares the opportunities available to men and women working in seven different theatre-related occupations and is underpinned by a mapping of 1,466 plays performed in the city throughout 2018. The data were collected from three weekly guides published by the local media and two monthly publications: a theatre guide and a magazine from a cultural institution that ran 20 cultural venues in the city. Any gaps were then filled by directly contacting theatre venues and the producers of the plays. There was a significant imbalance towards men in the two most strategic theatre production jobs: men wrote 77% of the plays and directed 78% of them. Thus, male professionals were a huge majority precisely in the functions responsible for building the discourse that reaches audiences. Compared to women, this left them in a much better position to express their values, ideas, and perspectives. This gap was smaller when considering performers, of which 46% were female. Women were also largely absent in technical occupations given that they were a minority among lighting directors and set designers. However, women represented the majority among costume designers. The most unexpected result was the parity among producers, with 52% being women. All the aforementioned gaps increased when the number of performances were considered. On average, women worked less in plays that provided more working time that were therefore, more likely tohave higher salaries. The study also showed that when women were responsible for writing, directing, or producing a play,the gap was reduced in all the other functions.
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England, Samuel. "Andalusi Contests, Syrian Media Content: the Poetic Ritual Ijāzah." Journal of Arabic Literature 50, no. 2 (July 15, 2019): 123–47. http://dx.doi.org/10.1163/1570064x-12341382.
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Abstract This article moves the poetic ijāzah from the periphery, where modern scholars have generally placed it, to a central position in Arabic poetry and mass media. The ijāzah was well developed before its adoption in the western Mediterranean, but Cordoban, Sevillian, and expatriate Sicilian poets distinguished the competitive improvised poem from corollary works in the Middle East, where it had first been invented. I argue that it is precisely the Andalusi innovations to the ijāzah’s formal development that have allowed traditional criticism to minimize its importance, against a larger trend of popular audiences appreciating performed ijāzahs, on stage and in mass media. Modern Arabic theatre and television have found enthusiastic audiences for the Andalusi poetic dialogue, a phenomenon that frames my Classical research. Media outlets, including those working closely with government officials, stage the ijāzah in ways that maximize its ideological value. As they use it to promote secularism and putatively benevolent dictatorship, propelling Andalusi literature into current Middle Eastern politics, we critics should seek to understand the dialogic form in its contemporary, insistently political phase of development.
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SUTCH, SUSIE SPEAKMAN, and ANNE-LAURE VAN BRUAENE. "The Seven Sorrows of the Virgin Mary: Devotional Communication and Politics in the Burgundian-Habsburg Low Countries,c.1490–1520." Journal of Ecclesiastical History 61, no. 2 (March 19, 2010): 252–78. http://dx.doi.org/10.1017/s0022046909992776.
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This article discusses the propagation of the devotion of the Seven Sorrows of the Virgin Mary in the Low Countries around 1500. The central argument is that the secular goal of the promoters of the devotion was to create a large spiritual and emotional community in support of the Burgundian-Habsburg dynasty and its ideology of peace and territorial unity. To this end a whole array of old and new media was exploited. The article analyses the dynamics of this devotional communication and gives special attention to the role of miracles, vernacular theatre and the printing press.
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Zhilina, Anastasia V. "Bibliographic Information in the Theatre Magazine Artist." RUDN Journal of Studies in Literature and Journalism 26, no. 3 (December 15, 2021): 558–69. http://dx.doi.org/10.22363/2312-9220-2021-26-3-558-569.
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The theatre magazine Artist has repeatedly become an object of scientific research. However, despite the wealth of works with a focus on structure of the magazine, the bibliographic section of Artist remains insufficiently studied. The bibliographic information of the journal has not yet become an object of subject-specific research. The empirical basis of the study is a complete set of publications of the theater magazine Artist for the entire period of its existence. Primary attention is paid to the bibliographic section of the journal and the appendix. Research methods are theoretical and historical analysis, generalization and systematization of the results obtained. In the proposed article, the author describes and comprehends the main forms of latent bibliographic information in the theatrical magazine Artist, first of all, the independent section Bibliography. The study defines main thematic areas of the section, its structure and main genres. The author also analyzes the types of bibliographic advertising in the journal: alphabetical directories of plays allowed to be performed, index of plays suitable for amateur shows, announcements on subscription from magazine editors, advertising of new books, ads for subscriptions to other print media. The author comes to the conclusion that along with educational intentions, the magazine staff solved specific selling tasks (sale of the magazine and books distributed through the publishers office). The latent bibliographic information of Artist can be useful for specialists interested in history of literature, journalism and theatre.
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Johnston, Caleb, and Geraldine Pratt. "Travelling intimacies, translation and betrayal in a creative geography." cultural geographies 28, no. 2 (February 12, 2021): 417–28. http://dx.doi.org/10.1177/1474474021993416.
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In 2019, we collaborated with German theatre artists to co-create Between Worlds: Outsourcing Dementia Care, an immersive, multi-media piece performed in Newcastle and Berlin. This performance work animated and staged our interviews conducted with the owners of and caregivers working in private care facilities recently built in northern Thailand to provide dementia care for overseas guests from across the Global North. This creation process also drew from interviews we conducted with the family members who had chosen this option for their loved ones with dementia. Incorporating elements of documentary theatre, movement and cinematic projection, Between Worlds was designed to bring audiences into an intimate space, drawing them close to the complexities of the outsourcing of dementia care in order to prompt public conversation and reflection on dementia care in both Thailand and the Global North. Here, we consider the performance of the play and the method that our theatre collaborators used to render transparent the process of translation within performance. We critically assess the outcome to question the possible betrayals implicit in creative and social science work and in the doing of cultural geography.
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MacMurraugh-Kavanagh, Madeleine, and Stephen Lacey. "Who Framed Theatre? The ‘Moment of Change’ in British TV Drama." New Theatre Quarterly 15, no. 1 (February 1999): 58–74. http://dx.doi.org/10.1017/s0266464x00012653.
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It has long been the received wisdom that television drama has become increasingly ‘filmic’ in orientation, moving away from the ‘theatrical’ as its point of aesthetic reference. This development, which is associated with the rejection of the studio in favour of location shooting – made possible by the increased use of new technology in the 1960s – and with the adoption of cinematic as opposed to theatrical genres, is generally regarded as a sign that the medium has come into its own. By examining a key ‘moment of change’ in the history of television drama, the BBC ‘Wednesday Play’ series of 1964 to 1970, this article asks what was lost in the movement out of the studio and into the streets, and questions the notion that the transition from ‘theatre’ to ‘film’, in the wake of Ken Loach and Tony Garnett's experiments in all-film production, was without tension or contradiction. The discussion explores issues of dramatic space as well as of socio-cultural context, expectation, and audience, and incorporates detailed analyses of Nell Dunn's Up the Junction (1965) and David Mercer's Let's Murder Vivaldi (1968). Madeleine MacMurraugh-Kavanagh is the Post-Doctoral Research Fellow on the HEFCE-funded project, ‘The BBC Wednesday Plays and Post-War British Drama’, now in its third year at the University of Reading. Her publications include Peter Shaffer: Theatre and Drama (Macmillan, 1998), and papers in Screen, The British Journal of Canadian Studies, The Historical Journal of Film, Radio and Television, and Media, Culture, and Society. Stephen Lacey is a lecturer in Film and Drama at the University of Reading, where he is co-director of the ‘BBC Wednesday Plays’ project. His publications include British Realist Theatre: the New Wave and its Contexts (Routledge, 1995) and articles in New Theatre Quarterly and Studies in Theatre Production.
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Reilly, Susan Smith. "Revisiting the Scenario of Representation of Politics." Media International Australia 156, no. 1 (August 2015): 60–68. http://dx.doi.org/10.1177/1329878x1515600108.
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In the first democratic election after 25 years of military rule, Brazilians elected a young unknown politician who was impeached for corruption before his first term of office was over. Based on Stuart Hall's concept of scenarios of representation in media that play a constitutive role in social life, Venicio de Lima, a professor of political science and communication at the University of Brasilia, proposed that Collor's campaign was built around the dramatic narratives in popular telenovelas in which young heroes successfully challenged authority. Lima contends that scenarios of representation of politics are effective in media-centric consumer cultures that rely on advertising for both products and politics. In this article, New York Times journalist Frank Rich demonstrates that the themes of popular drama can provide counter-hegemonic readings of political events, called for by Lima as part of the democratic process. Rich, a former theatre critic, used his knowledge of popular culture to critique the US war in Iraq.
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Roberts, Harry W., James Myerscough, Simone Borsci, Melody Ni, and David P. S. O’Brart. "Time and motion studies of National Health Service cataract theatre lists to determine strategies to improve efficiency." British Journal of Ophthalmology 102, no. 9 (November 24, 2017): 1259–67. http://dx.doi.org/10.1136/bjophthalmol-2017-310452.
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AimTo provide a quantitative assessment of cataract theatre lists focusing on productivity and staffing levels/tasks using time and motion studies.MethodsNational Health Service (NHS) cataract theatre lists were prospectively observed in five different institutions (four NHS hospitals and one private hospital). Individual tasks and their timings of every member of staff were recorded. Multiple linear regression analyses were performed to investigate possible associations between individual timings and tasks.Results140 operations were studied over 18 theatre sessions. The median number of scheduled cataract operations was 7 (range: 5–14). The average duration of an operation was 10.3 min±(SD 4.11 min). The average time to complete one case including patient turnaround was 19.97 min (SD 8.77 min). The proportion of the surgeons’ time occupied on total duties or operating ranged from 65.2% to 76.1% and from 42.4% to 56.7%, respectively. The correlations of the surgical time to patient time in theatre was R2=0.95. A multiple linear regression model found a significant association (F(3,111)=32.86, P<0.001) with R2=0.47 between the duration of one operation and the number of allied healthcare professionals (AHPs), the number of AHP key tasks and the time taken to perform these key tasks by the AHPs.ConclusionsSignificant variability in the number of cases performed and the efficiency of patient flow were found between different institutions. Time and motion studies identified requirements for high-volume models and factors relating to performance. Supporting the surgeon with sufficient AHPs and tasks performed by AHPs could improve surgical efficiency up to approximately double productivity over conventional theatre models.
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Lutostański, Bartosz. "An Introduction to the Narratological Analysis of Radio Plays." Tekstualia 1, no. 32 (April 1, 2013): 53–64. http://dx.doi.org/10.5604/01.3001.0013.4636.
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Narratology is nowadays an extensive discipline of literary studies relating to particular media (literature, fi lm or theatre) and particular disciplines (philosophy, sociology or psychology). However, this narratological plurality still fails to include numerous artistic phenomena, for example a radio play; its narratological analysis is presented in the following paper. In order to tackle the variety and complexity of a radio play, I use various methodologies drawn from the narratology of literature and fi lm and the theory of theatre. Dan Rebellato’s Cavalry serves as the prime example insofar as it demonstrates that a radio play’s general narrative features (for example, level construction and focalisation) as well as radio-specifi c features (microphone and space construction) can be successfully examined from the narratological standpoint without ignoring the specifi city and individuality of a radio play as a legitimate work of art.
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Karnad, Girish. "Performance, Meaning, and the Materials of Modern Indian Theatre." New Theatre Quarterly 11, no. 44 (November 1995): 355–70. http://dx.doi.org/10.1017/s0266464x00009337.
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Girish Karnad is not only India's leading playwright, and a practitioner across the performing arts in all that nation's media, but the first contemporary Indian writer to have achieved a major production in a regional American theatre – Naga-Mandala, seen at the Guthrie Theatre in July 1993. The following interview was recorded on the occasion of that production, and ranges widely not only over Karnad's own work and its circumstances, but the situation and problems of the Indian theatre today, and its ambivalent relationship alike to its classical and its colonial past, and to the contemporary problems of its society. The interviewer, Aparna Dharwadker, is Assistant Professor of Drama and Eighteenth-Century British Studies at the University of Oklahoma. Her essays and articles have appeared or are forthcoming in PMLA, Modern Drama, and The Sourcebook of Post-Colonial English Literatures and Cultural Theory (Greenwood, 1995). She has also published collaborative translations of modern Hindi poetry in major anthologies, including The Oxford Anthology of Modern Indian Poetry (1994), and is currently completing a book-length study of the politics of comic and historical forms in late seventeenth-century drama.
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Warne, Russell Thomas, and Malisa M. Drake-Brooks. "Comparing the persuasiveness and professionalism of newspaper, blog, and social media sources of information in marketing and reviewing theatre." Arts and the Market 6, no. 2 (October 3, 2016): 166–86. http://dx.doi.org/10.1108/aam-03-2015-0004.
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Purpose The purpose of this paper is to determine the influence that newspaper, blog and social media sources of information about a play have on respondents’ willingness to purchase a ticket to a theatrical production. Design/methodology/approach Respondents saw two advertisements and one review for theatrical productions. The authors randomly varied the version of each advertisement and review so that information regarding the production appeared to originate from a newspaper, blog or social media site. The authors asked respondents to rate the professionalism of the review and advertisements and how likely they were to purchase a ticket. The authors also collected demographic information. Findings The authors found that newspapers, blogs and social media had similar influence on respondents’ willingness to purchase a ticket. Respondents also viewed the blog-based play review as being as professional as the review from a newspaper. However, respondents were more likely to say they would purchase a ticket to a well-known play than a new play. Female respondents were more willing to purchase a play ticket. Research limitations/implications Implications for marketers include the usefulness of non-traditional media (e.g. blogs, social media) in promoting a play – especially for new plays. Theater critics will find that their opinions are equally influential, regardless of whether the medium of publication is traditional (e.g. a newspaper) or digital (e.g. a blog). Principal limitations are the artificiality of a true experiment and an overly simplistic pricing method in the study. Practical implications Professionals selling tickets to theatrical productions should use favorable quotes and responses from social media and blogs when marketing tickets because audience members trust that these sources of information as much as newspapers. Internet-based theater critics should appreciate that they are perceived as being as reputable as newspaper-based critics. Originality/value Research on theater advertising is extremely limited (especially outside of Broadway), as are studies on the influence of theater critics. The study adds to this meager body of research and provides needed practical guidance to theater marketers.
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Gralke, Tobias. "“A Clear Message?” Aesthetic Practices of Protest, On-Site and Online." AUC STUDIA TERRITORIALIA 21, no. 2 (February 28, 2022): 61–81. http://dx.doi.org/10.14712/23363231.2022.4.
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This paper explores how the performance and aesthetics of contemporary protest are shaped by social media networks and audiences from a theatre and cultural studies perspective. It analyzes the tactics used by protesters during and after on-site protests to disseminate their messages and to actively influence and control the interpretations of their protest that are distributed online by others. Based on observation of three European protest events in January and February of 2019 (in London, Budapest, and Dresden) this paper presents the characteristic tactics of protesters and the dynamic between on-site and online protests. It discusses the aesthetics of protest in the context of the ambiguousness of on-site protests, which is reinforced by social media.
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Wasson, Haidee. "Formatting Film Studies." Film Studies 12, no. 1 (2015): 57–61. http://dx.doi.org/10.7227/fs.12.0007.
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Film studies is currently undergoing a needed and healthy expansion of methodologies and critical approaches, including media, cultural and technology studies. This is crucial not just for examining cinemas present but also its past. Using format theory, this article opens up our understanding of what cinema has been, rather than what it should have been. It does this by documenting the minor technological footprint of movie theatres when compared to the expansive one consisting of 8mm and 16mm small-gauge projectors. In the United States by 1980, these portable devices,outnumbered commercial theatres by an estimated factor of 1000:1.
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Bakshi, Natalia A. "EXPERIENCE OF READING GABRIELA KLEIN’S BOOK “PINA BAUSCH. THE ART OF TRANSLATION”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 6, no. 3 (September 1, 2021): 73–79. http://dx.doi.org/10.18522/2415-8852-2021-3-73-79.
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This article reviews a book by the German art historian and dance researcher Gabriele Klein, Pina Bausch. The Art of Translation, one of the first monographs on Pina Bausch to be published in Russian (see also the book published by Garage in 2021). The key concept of the book is the praxeology of translation, which addresses not the subject of translation, but the way it is performed. Thus translation is understood in a broad way as the transfer of the Wuppertal Dance Theatre event into the languages of the audience and critics, into other technical media, into other cultural and historical contexts. Particular attention is paid to the mechanisms of this transfer. The author of this book does not analyze the dramatic narrative of dance, as it is common in theatre studies, but explores dance as gesture delivered with the help of the latest technologies.
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Jurriëns, Edwin. "Social Participation in Indonesian Media and Art: Echoes from the Past, Visions for the Future." Bijdragen tot de Taal-, Land- en Volkenkunde 169, no. 1 (2013): 7–36. http://dx.doi.org/10.1163/22134379-12340021.
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Abstract This article uses a critical and historical perspective to examine some of the achievements of Indonesian community media, the problems they have encountered, as well as the solutions they are offering. It analyses the similarities and differences with earlier genres with an explicit participatory agenda, including certain forms of LEKRA literature and art of the 1950s and 1960s, ‘people’s theatre’ since the 1970s, and ‘conscientization art’ since the 1980s. One of the main challenges for contemporary community media has been to reconcile class differences in the collaboration between media or art facilitators and local communities. These and other factors have affected the accessibility, distribution, sustainability and reach of their ideas, activities and outputs. The article demonstrates how facilitators and practitioners have tried to solve some of these problems through the exploration of alternative media networks, formats and content.
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Mee, Sharon Jane. "Rhythm Beyond the Cinematic Medium/The Pixel Beyond the Movie Theatre." Cinéma & Cie. Film and Media Studies Journal 22, no. 38 (June 27, 2022): 121–37. http://dx.doi.org/10.54103/2036-461x/17923.
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In The Affect Theory Reader, Gregory J. Seigworth and Melissa Gregg write about Roland Barthes’s splendid notion of ‘shimmer’: an ‘exhaustively nuanced space’ that may be inventoried as patho-logies (by which to contemplate pathos) of bodies (human and nonhuman). In Alex Garland’s 2018 film Annihilation, a refracting effect — the Shimmer — which has appeared around a lighthouse and is slowly spreading outwards, is being studied. Military groups have entered the Shimmer never to return. A group of female scientists — of which Lena (Natalie Portman), a biologist, is one — enter the Shimmer and begin to inventory the strange organic duplicates of form within it. These organic structures, while extraordinarily nuanced, are also patho-logies of organic life as they are refracted by the Shimmer. This article will consider the ‘exhaustively nuanced space’ of cinema and its patho-logies via the conditions of the rhythm of the pixel in cinema, and beyond, in social media. While cinema, as well as social media, can be conceived as an affective experience, this essay will consider how the rhythm of the pixel as an energetic relation allows for an ethics to arise in the relation between the media text and the spectator/operator. In an examination of the rhythm of the pixel beyond the cinematic medium, I consider the energetic ‘becoming’ of the spectator/operator and the digital image (text and image in social media) as they act in relation. In an examination of the rhythm of the pixel beyond the movie theatre, I consider the infinite intensities in the aisthetic encounter of body and text/image in social media and its correlation to the politics of a mass-art. My hope is that in the ‘exhaustively nuanced space’ of rhythm beyond the cinematic medium and the pixel beyond the movie theatre, what may be found is patho-logies conjured by affective intensities and their connectives whereby digital interactions may no longer be refracted by the passions of divisive debate, but by an ethics of care, compassion, and empathy.
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Hall, Amanda, Bradley Furlong, Andrea Pike, Gabrielle Logan, Rebecca Lawrence, Alexandra Ryan, Holly Etchegary, Todd Hennessey, and Elaine Toomey. "Using theatre as an arts-based knowledge translation strategy for health-related information: a scoping review protocol." BMJ Open 9, no. 10 (October 2019): e032738. http://dx.doi.org/10.1136/bmjopen-2019-032738.
Full textAbstract:
IntroductionSubstantial delays in translating evidence to practice mean that many beneficial and vital advances in medical care are not being used in a timely manner. Traditional knowledge translation (KT) strategies have tended to target academics by disseminating findings in academic journals and at scientific conferences. Alternative strategies, such as theatre-based KT, appear to be effective at targeting broader audiences. The purpose of this scoping review is to collate and understand the current state of science on the use of theatre as a KT strategy. This will allow us to identify gaps in literature, determine the need for a systematic review and develop additional research questions to advance the field.Methods and analysisThis review will follow established scoping review methods outlined by Arksey and O’Malley in conjunction with enhanced recommendations made by Levacet al. The search strategy, guided by an experienced librarian, will be conducted in PubMed, CINHAL and OVID. Study selection will consist of three stages: (1) initial title and abstract scan by one author to remove irrelevant articles and create a shortlist for double screening, (2) title and abstract scan by two authors, and (3) full-text review by two authors. Included studies will report specifically on the use of theatre as means of KT of health-related information to any target population. Two reviewers will independently extract and chart the data using a standardised data extraction form. Descriptive statistics will be used to produce numerical summaries related to study characteristics, KT strategy characteristics and evaluation characteristics. For those studies that included an evaluation of the theatre production as a KT strategy, we will synthesise the data according to outcome.Ethics and disseminationEthical approval was not required for this study. Results will be published in relevant journals, presented at conferences and distributed via social media.