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Journal articles on the topic 'Theatre arts'
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1
Heinrich, Anselm. "Theatre in Britain during the Second World War." New Theatre Quarterly 26, no. 1 (February 2010): 61–70. http://dx.doi.org/10.1017/s0266464x10000060.
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In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and education. Anselm Heinrich is Lecturer in Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain between 1918 and 1945 (2007), and with Kate Newey and Jeffrey Richards has co-edited a collection of essays on Ruskin, the Theatre, and Victorian Visual Culture (2009). Other research interests include émigrés from Nazi-occupied Europe, contemporary German theatre and drama, and national theatres.
2
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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Bell, John. "The Bread and Puppet Theatre in Nicaragua, 1987." New Theatre Quarterly 5, no. 17 (February 1989): 8–22. http://dx.doi.org/10.1017/s0266464x0001530x.
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PETER SCHUMANN's Bread and Puppet Theatre began 25 years ago as a new way of making modern theatre, and as Schumann sees it, still is. As he recently stated, “there are two aspects to this newness: (1) the proposal for a much bigger, wider space for the arts to exist in than the space that the arts occupy now – a way for painting, music, sculpture, and language to exist together and in response to the questions of the time in which they live; and (2) the puppet theatre aspect: puppet theatre not as a special branch of theatre but as a challenge to theatre, as a concrete proposal for the overcoming of its shortcomings – a liberation from that fixed old schmaltz – a proposal for much bigger form, much more compositional freedom and adventure than an actors' theater can ever come up with.”
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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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Ikeda, Satoru, Chiaki Ishiwata, and Motoo Komoda. "Shizuoka Arts Theatre." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2480. http://dx.doi.org/10.1121/1.4782652.
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Ley, Graham. "Diaspora Space, the Regions, and British Asian Theatre." New Theatre Quarterly 27, no. 3 (August 2011): 215–28. http://dx.doi.org/10.1017/s0266464x11000431.
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In 1996 Graham Ley compiled for NTQ a record of the first twenty years of Tara Arts, the London-based British Asian theatre company. In this essay, he tests the theoretical concept of a third space for diaspora culture against the experience of two leading British Asian theatre companies, and considers the contrasting role of an Asian arts centre. From 2004 to 2009 Graham Ley led an AHRC-funded research project on ‘British Asian Theatre: Documentation and Critical History’, and has co-edited with Sarah Dadswell two books soon to be published by the University of Exeter Press: British South Asian Theatres: a Documented History and Critical Essays on British South Asian Theatre. He has earlier published in NTQ on Australian theatre and enlightenment and contemporary performance theory, and is presently Professor of Drama and Theory at the University of Exeter.
7
Brown, John. "Tomorrow's Theatre – and How to Get There from Today's." New Theatre Quarterly 18, no. 4 (November 2002): 334–42. http://dx.doi.org/10.1017/s0266464x02000441.
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Taking a wide-ranging look at the aesthetics and economics of theatre on both sides of the Atlantic, and highlighting the increasing interest in learning about theatre in the educational sphere at a time when institutional theatre appears to be floundering, John Russell Brown here draws on his own visits over the past decade to traditional and contemporary theatres in China, India, Japan, Korea, and Indonesia to suggest how new approaches to and locations for theatre might build on forms which continue to draw audiences worldwide. John Russell Brown founded the Department of Drama and Theatre Arts at Birmingham University, and for fifteen years was an Associate Director of the Royal National Theatre. His New Sites for Shakespeare: Theatre, the Audience, and Asia was published by Routledge in 1999. His articles on Asian theatres and their influence in Europe and America have appeared in recent years in New Theatre Quarterly and several Indian journals. He edited and contributed to The Oxford Illustrated History of Theatre (1995) and has been General Editor of the ‘Theatre Production Studies’ and ‘Theatre Concepts’ series, both for Routledge. This article is based upon his inaugural lecture at Middlesex University, where he is currently Visiting Professor.
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Orel, Barbara. "The World of Odour in the Slovenian Performing Arts." Amfiteater 9, no. 2021-2 (December 5, 2021): 92–98. http://dx.doi.org/10.51937/amfiteater-2021-2/92-98.
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The article provides an overview of performances on Slovenian stages that have used odour to stimulate the audience’s senses and arouse transformational effects. Representing the first research of this kind into Slovenian culture, the author demonstrates that odour was used as a means of sensory perception, especially in experimental theatre practices since the 1970s. One of the first such works was Cimetova vrata ladje norcev in druge spremembe (The Cinnamon Door of the Ship of Fools and Other Changes), a performance art piece directed by Tomaž Kralj at Glej Theatre in 1975. In the 1990s, the interest in olfactory perceptions grew among theatre-makers who successfully used odour to implement the aesthetics of the real in post-dramatic theatre and achieve the immersion of the spectator. This role of odour in theatre also continues in the 21st century. Barbara Pia Jenič began deliberately and continuously developing the poetics of scent at the Sensorium Theatre, which she founded in 2001 with Gabriel Hernandez. In her creation of sensorial events, Jenič relies on the methodologies of Enrique Vargas, with which she became acquainted as an actress and scent designer in his group Teatro de los Sentidos and creatively developed them at the Sensorium Theatre. As a scent designer, Jenič has collaborated with other Slovenian theatres, among others, on the 2015 operatorium, The Tenth Daughter (Deseta hči) by Svetlana Makarovič (based on the libretto by Milko Lazar, directed by Rocco) at the Slovenian National Theatre – Opera and Ballet Ljubljana.
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King, Barnaby. "The African-Caribbean Identity and the English Stage." New Theatre Quarterly 16, no. 2 (May 2000): 131–36. http://dx.doi.org/10.1017/s0266464x00013646.
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In the first of two essays employing academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, published in NTQ 61, Barnaby King analyzed the relationship between Asian arts and mainstream arts in Britain on both a professional and a community level. In this second essay he takes a similar approach towards African–Caribbean theatre in Britain, comparing the Black theatre initiatives of the regional theatres with the experiences of theatre workers themselves based in Black communities. He shows how work which relates to a specific ‘other’ culture has to struggle to get funding, while work which brings Black Arts into a mainstream ‘multicultural’ programme has fewer problems. In the process, he specifically qualifies the claim that the West Yorkshire Playhouse provides for Black communities as well as many others, while exploring the alternative, community-based projects of ‘Culturebox’, based in the deprived Chapeltown district of Leeds. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in
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Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (February 2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.
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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität in Giessen. The aim is to provide insight into theatre-training processes in Germany and to explore how these relate to the national characteristics that have emerged since reunification. Steve Earnest is Associate Professor of Theatre at Coastal Carolina University in Myrtle Beach, South Carolina. His publications include The State Acting Academy of East Berlin (Mellen Press, 1999) and articles in Performer Training (Harwood Publishers, 2001), New Theatre Quarterly, Theatre Journal, and Western European Stages.
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Brigden, Cathy, and Lisa Milner. "Radical Theatre Mobility: Unity Theatre, UK, and the New Theatre, Australia." New Theatre Quarterly 31, no. 4 (October 9, 2015): 328–42. http://dx.doi.org/10.1017/s0266464x15000688.
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For two radical theatres formed in the 1930s, taking performances to their audiences was an important dimension of commitment to working-class politics and civic engagement. Separated by distance but joined ideologically, the New Theatre in Australia and Unity Theatre in the United Kingdom engaged in what they described as ‘mobile work’, as well as being ‘stage curtain’ companies. Based on archival research and drawing on mobility literature, Cathy Brigden and Lisa Milner examine in this article the rationale for mobile work, the range of spaces that were used both indoor (workplaces, halls, private homes) and outdoor (parks, street corners beaches), and its decline. Emerging from this analysis are parallels between the two theatres’ motivation for mobile work, their practice in these diverse performance spaces, and the factors leading to the decline. Cathy Brigden is an associate professor in the School of Management and Deputy Director, Centre for Sustainable Organizations and Work at RMIT University, Australia. Her current research interests include the historical experiences of women in trade unions, gender in performing arts industries, and union strategies and regulation. Lisa Milner is a lecturer in the School of Arts and Social Sciences at Southern Cross University, Coffs Harbour, Australia. Current research interests include a comparative study of workers’ theatre, representations of workers and trade unions on screen, and labour biography.
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Bilic, Laura. "The Arts Of The Performance – Beyond The Limits." Theatrical Colloquia 10, no. 2 (December 1, 2020): 125–32. http://dx.doi.org/10.2478/tco-2020-0025.
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AbstractDrama writings and theatre performances have always been, in my opinion, the mirror in which our society reflects itself. If in the decades before the 90s our society witnessed a total or quasi-total lack of freedom and a lack of voices to be heard in theatres, in the 90s we have all been witnesses to an absolute freedom that has been constantly managed chaotically. Immediately after The Revolution, the long lost freedom has soon become confusing and has turned into a heavy tormenting issue. The new drama writing and theatre performance have needed more than 10 years to change into something new. The independent theatres and the new drama have arisen as a reaction to the crisis that our theatres underwent in the 90s. The new artist of the new millennium is often self-taught, he has to improve his organizational abilities, to think big when it comes to new projects, to see the bigger picture and not to remain stranded into his own piece of art.
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Brown, Lorraine A. "Pointing to the Future." Theatre Survey 36, no. 2 (November 1995): 83–87. http://dx.doi.org/10.1017/s0040557400001216.
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As many historians of American theater and culture know, the Fenwick Library of George Mason University (GMU) became the home in 1974 to a major collection of Federal Theatre Project (FTP) materials. As many researchers also know, some FTP material was removed from GMU to the Library of Congress in the fall of 1994. In this essay, I will bring Theatre Survey's readers up to date on the status of the FTP collection, which, because of its continuing development over two decades, houses not only a considerable body of FTP material but also early records of the American National Theatre and Academy (ANTA). ANTA in its earliest days was a worthy successor to the FTP in the drive to have a national theater in the United States. Since 1980, all of these holdings have been an integral part of the Center for Government, Society and the Arts (CGSA) at GMU. CGSA has been the site of many activities exploring the relationship between our government and the arts, ranging from conferences on theater and cultural studies to our own theatrical productions of FTP materials, some of which I will outline here.
14
Cook, Joe. "Blaho Uhlàr and the Slovak Theatre of Crisis." New Theatre Quarterly 8, no. 30 (May 1992): 178–86. http://dx.doi.org/10.1017/s0266464x0000662x.
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When we published Barbara Day's introduction to modern theatre in Czechoslovakia in NTQ7 (1986), we could little imagine that by the turn of the decade we would be carrying regular reports from Eastern Europe on the effects of the disintegration of the Soviet empire upon the theatres and theatre people of the former satellite states. In NTQ27 (1991), we included an overview of recent developments in the Polish theatre – following this up in NTQ28 with a detailed feature on the work of a single company in the new era, Gardzienice. Here, we similarly complement Premsyl Rut's report in NTQ27 on ‘The State of the New Czech Theatre’ with a study of the work of one of the directors who, like so many people in the arts, served as a herald to the ‘velvet revolution’ – Blaho Uhlár, whose career began, in the difficult years after the Soviet invasion of 1968, with the Theatre for Children and Youth, and whose most recently completed production with the Divadle Alexandra Duchnovic company, Nono, visited the Chapter Arts Centre in Cardiff during the city's festival last October.
15
Shevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014." New Theatre Quarterly 32, no. 2 (April 13, 2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.
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What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in focus to indicate how political theatre in the seven years specified has been far from alien to, or sidelined from, national theatres, state theatres, or other prestigious companies in receipt of state subsidy. Two main profiles of recent political theatre emerge from this research, one that acknowledges political history, while the other critiques neoliberal capitalism; there is some unpronounced overlap between the two. Productions of Shakespeare feature significantly in the delineated theatrescape. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London. Her most recent book (co-authored) is The Cambridge Introduction to Theatre Directing (2013).
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Snow, Marina. "Theatre Arts Collection Assessment." Collection Management 12, no. 3-4 (May 17, 1990): 69–89. http://dx.doi.org/10.1300/j105v12n03_05.
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Golovlev, Alexander. "Political Control, Administrative Simplicity, or Economies of Scale? Four Cases of the Reunification of Nationalized Theatres in Russia, Germany, Austria, and France (1918–45)." New Theatre Quarterly 38, no. 2 (April 20, 2022): 107–24. http://dx.doi.org/10.1017/s0266464x22000021.
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In 1917–18, the new republican governments of Russia, Germany, and Austria nationalized their former court property. A monarchic-turned-national heritage of prestigious opera and dramatic theatres weighed heavily on national and regional budgets, prompting first attempts to create centralized forms of theatre governance. In a second wave of theatre reorganization in the mid-1930s, the Soviet government created ‘union theatres’ under a Committee for Arts Affairs; the German and Austrian theatres underwent the Nazi Gleichschaltung (1933–35 and 1938); and France, a ‘democratic outlier’, opted for nationalizing the Opéra and Opéra-Comique under the Réunion des théâtres lyriques nationaux. These conglomerates have so far been little studied as historically specific forms of theatre management, particularly from a comparative, trans-regime perspective. What balance can be struck between economic, political, and ‘artistic’ costs and benefits? How does ‘Baumol’s law’ of decreasing theatre profitability apply to these very different politico-economic systems, as well as to war economies? Dictatorships reveal an economic seduction power, while this essay argues for confirming a long-term ‘great European convergence’ of state-centred theatre management, internal structure, and accountability, both in peace and war. Here, the stated goals and short-term contingencies yielded to trends originating from the logic of theatre production itself, and the compromises that the state, theatre professionals, and the public accepted in exchange for the capital of prestige. Alexander Golovlev (PhD, European University Institute in Florence, 2017) is a senior research fellow at the HSE Institute for Advanced Soviet and Post-Soviet Studies at the University of Moscow. His recent publications include, for New Theatre Quarterly, ‘Theatre Policies of Soviet Stalinism and Italian Fascism Compared, 1920–1940s’ (2019), and ‘Balancing the Books and Staging Operas under Duress: Bolshoi Theatre Management, Wartime Economy, and State Sponsorship in 1941–1945’, Russian History XLVII, No. 4 (2020).
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Huntington, Paul. "Cash and Customers: Theatre Revenue and the National Economy." New Theatre Quarterly 4, no. 15 (August 1988): 258–63. http://dx.doi.org/10.1017/s0266464x00002803.
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While statistical information on certain sectors of the British theatre is slowly becoming available – notably from the Arts Council and the Society of West End Theatre, as also from researchers in the Department of Arts Administration at the City University – few attempts have yet been made to draw useful conclusions from these figures, or to deduce how they might be helpful in terms of forward-planning and projections. In the following article. Paul Huntington examines the relationship between theatre revenue and total consumer expenditure, in the context of published figures which illustrate the changing national economic picture of the past decade. He examines not only the way in which these figures tend, naturally enough, to confirm certain expectations – for example, concerning the impact of tourism on the theatre – but also less expected findings, such as the relative upsurge in the fortunes of the regional theatres at a time of slump in the commercial sector of the West End.
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Yta, Edisua Merab. "Beyond Watt Market Roundabout Audiences: Redesigning Tourists Oriented Theatres in Calabar." Jurnal Office 6, no. 1 (September 8, 2020): 71. http://dx.doi.org/10.26858/jo.v6i1.15008.
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Calabar, a coastal town in South-South Nigeria, has had a long-standing history of cultural tourist-oriented theatre performances. And today, its image as a tourist city has grown in leaps because of the Christmas Festival (A 32-day entertainment art and cultural events) it hosts annually plus other tourism products or attractions that complement the festival. Carnival seems to be a major attraction. Other attractions are not emphasized. This study explored how tourism-oriented theatres can be developed to add to existing attractions and increase varieties for tourists. The study used a combination of research methods including experiential theatre performances, participant observation, and focus group discussion. Findings show that local culture and arts and creative industries i.e., theatre can be used to promote destinations and enhance their attractiveness. They can help build the image of the city and promote indigenous arts and culture. This research significantly models the utility of theatre in the service of tourism and urban development. Some key recommendations this research makes include, the collaboration of the tourism industry, the performing arts sectors, and private business owners. Creating demand and market for specially packaged theatre products for tourists working with travel agencies to ensure that theatre is taken from the mainstream to the tourists.
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Yta, Edisua Merab. "Beyond Watt Market Roundabout Audiences: Redesigning Tourists Oriented Theatres in Calabar." PINISI Discretion Review 4, no. 1 (August 22, 2020): 73. http://dx.doi.org/10.26858/pdr.v4i1.14790.
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Calabar, a coastal town in South-South Nigeria, has had a long-standing history of cultural tourist-oriented theatre performances. And today, its image as a tourist city has grown in leaps because of the Christmas Festival (A 32-day entertainment art and cultural events) it hosts annually plus other tourism products or attractions that complement the festival. Carnival seems to be a major attraction. Other attractions are not emphasized. This study explored how tourism-oriented theatres can be developed to add to existing attractions and increase varieties for tourists. The study used a combination of research methods including experiential theatre performances, participant observation, and focus group discussion. Findings show that local culture and arts and creative industries i.e., theatre can be used to promote destinations and enhance their attractiveness. They can help build the image of the city and promote indigenous arts and culture. This research significantly models the utility of theatre in the service of tourism and urban development. Some key recommendations this research makes include, the collaboration of the tourism industry, the performing arts sectors, and private business owners. Creating demand and market for specially packaged theatre products for tourists working with travel agencies to ensure that theatre is taken from the mainstream to the tourists.
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Obracaj, Piotr. "Theatre architecture. A synthesis of arts in theatre." Czasopismo Techniczne 3 (2019): 51–62. http://dx.doi.org/10.4467/2353737xct.19.033.10207.
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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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Krasner, David, Lisa M. Anderson, Nadine George-Graves, John Rogers Harris, Barbara Lewis, Henry Miller, and Harvey Young. "African American Theatre." Theatre Survey 47, no. 2 (September 12, 2006): 191–97. http://dx.doi.org/10.1017/s0040557406000159.
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David Krasner: In surveying contemporary London theatre, New York Times critic Ben Brantley reported that the Tricycle Theatre hadinaugurated a season of African-American plays with the commandingly titled but obscure Walk Hard, Talk Loud, a play by Abram Hill from the early1940's. Abram who? The name meant nothing to me, but Abram Hill (1910–1986) was a founder and director of the American Negro Theater in New York (1940–1951) and a playwright, it seems, of considerable verve.3That Abram Hill and the American Negro Theatre—the most important black theatre company during the mid-twentieth century—has flown below the radar is indicative of how much work still needs to be accomplished.
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Brown, John Russell. "Voices for Reform in South Asian Theatre." New Theatre Quarterly 17, no. 1 (February 2001): 45–53. http://dx.doi.org/10.1017/s0266464x00014317.
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The classical theatres of southern Asia are variously treated with the reverence thought due to sacrosanct and immutable forms – or as rich sources for plunder by western theatre-makers in search of intra-cultural building-blocks. The rights and wrongs of this latter approach have been much debated, not least in the pages of NTQ; less so the intrinsic desirability of leaving well alone. At the symposium on Classical Sanskrit Theatre, hosted in Dhaka by the Centre for Asian Theatre in December 1999, an unexpected consensus sought ways in which classical theatre forms might best meet contemporary needs, not only by drawing upon their unique qualities – but also by respecting the injunction in the Natyasastra that the actor must combine discipline with a readiness for improvisation. John Russell Brown here supports the conclusions of the symposium that the qualities of Asian theatre which differentiate it from western forms – of a quest for transformation rather than representation, a concern with emotional truth rather than ideological ‘meaning’ – can best be pursued by such an approach, restoring to the theatre ‘its enabling and necessary role in society’. John Russell Brown was the first professor of Drama and Theatre Arts at the University of Birmingham, and subsequently Associate Director at the National Theatre in London. More recently he has taught and directed in the USA, New Zealand, and Asia, and is now Visiting Professor of Performing Arts at Middlesex University. The most recent of his numerous books is New Sites for Shakespeare: Theatre, the Audience and Asia (Routledge, 1999).
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Posner, Dassia N. "PERFORMANCE AS POLEMIC: TAIROV'S 1920PRINCESS BRAMBILLAAT THE MOSCOW KAMERNY THEATRE." Theatre Survey 51, no. 1 (April 26, 2010): 33–64. http://dx.doi.org/10.1017/s0040557410000219.
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Aside from hinting at the rift between the two directors that had become evident after their failed 1918 collaboration on Claudel'sThe Exchange, Tairov's criticism of Meyerhold'sThe Dawnreveals a widening gap in the two directors’ fundamental conceptions of the purpose of theatre in the wake of the Revolution. Meyerhold famously declared “October in the theatre” after becoming head of the Theatre Department of Narkompros (the Commissariat of Enlightenment) in the fall of 1920; he attempted to liquidate the Moscow state academic theatres, of which the Kamerny was one, and to require that all theatres stage revolutionary works using the radical methods of “cubism, futurism and suprematism.” Although Tairov had experimented with cubist designs, he had spent his immediate post-Revolutionary years defending theatre as an autonomous art form that should express universal truths rather than being a vehicle for topical content, declaring, “A propagandist theatre after a revolution is like mustard after a meal.”
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Wainscott, Ronald H. "American Theatre Versus the Congress of the United States: The Theatre Tax Controversy and Public Rebellion of 1919." Theatre Survey 31, no. 1 (May 1990): 5–22. http://dx.doi.org/10.1017/s0040557400000958.
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For eight days in January 1919 the theatre industry was at war with the U.S. Congress, a nationwide event surprisingly overlooked in previous theatre history. Theatre management and its host of workers joined with the public to wage a well-orchestrated campaign in the newspapers and mail, in the theatres and on the streets to stop what was perceived as a gross injustice to the American theatre and its paying audience.When the United States Congress was framing a six billion dollar tax revenue bill to recover exorbitant war costs from the first world war, it attempted to slip in a new tax which would raise theatre admissions by ten per cent in order to return between seventy-five and eighty-one million dollars to the government. The original bill levied a twenty per cent tax on all tickets of admission above thirty cents (thus most movie houses were exempt). In addition box seat holders at theatres and the opera were to be taxed twenty-five per cent.
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Misnawati Misnawati, Petrus Poerwadi, Apritha Apritha, Anwarsani Anwarsani, and Siti Rahmawati. "Kajian Semiotik Pertunjukan Dalam Performa Drama “Balada Sakit Jiwa”." PROSIDING SEMINAR NASIONAL PENDIDIKAN, BAHASA, SASTRA, SENI, DAN BUDAYA 1, no. 1 (May 22, 2022): 110–24. http://dx.doi.org/10.55606/mateandrau.v1i1.148.
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Performance Semiotics in Dramatic Performance is a study of the semiotics of theater or stage performances related to the theory of signs and sign systems in the performing arts called theater. Theater semiotics tries to understand the components of theater and establishes the assumption that everything within the framework of theater is a sign or sign. Theatrical performances are essentially a series of sign systems.
This study aims to: (1) reveal the process of creating and presenting the performance art of the Mental Ill Ballad Drama, (2) reveal signs related to the activities of the Mentally Ill Ballad Drama performance actors, (3) reveal signs related to the appearance of the Mentally Ill Ballad Drama performance actors Jiwa, (4) reveals signs related to the spatial aspect or place of the performance of the Mentally Ill Ballad and (5) reveals signs related to the non-verbal acoustic aspects of the Mentally Ill Ballad's performance.
This research was carried out at the Campus of the Indonesian Language and Literature Education Study Program, Department of Language and Arts Education, FKIP, Palangka Raya University, Central Kalimantan Province. The object of research is students who practice theater and perform theater. This study involved (1) lecturers who taught the Drama/Theatre Performance course, (2) drama/theatre arts workers, and (3) students who practiced and performed plays/theatre. Data collection techniques in this field research are observation, recording, recording, and interviews. The collected data will be analyzed using the theory of Performance Semiotics.
The performance semiotics contained in the performance of the drama Balada Illness, are: (1) signs related to the process of creating and presenting performing arts, (2) signs related to actor activities, (3) signs related to actor appearances, (4) signs related to spatial aspects, and (5) signs related to non-verbal acoustics.
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Pesti, Madli, and Kristiina Reidolv. "Institutional and artistic changes in Estonian performing arts with a case study of Vaba Lava / Open Space." Nordic Theatre Studies 30, no. 1 (August 1, 2018): 34–54. http://dx.doi.org/10.7146/nts.v30i1.106917.
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The article gives an insight into the theatre system of Estonia, the development of the system in the turmoil of history and the current situation in the 21st century.
The first part of the article looks back at the period of 30 years: what happened with the Estonian theatre system when it moved from the Soviet occupation period into the Republic of Estonia. We show the developments in the funding system of theatres during the big changes in the socio-economic environment. We give an insight into how theatres are funded nowadays: how the funding of public and private theatres is connected with the quantitative (the number of premieres, performances and visits to the theatre) and qualitative (nominations, awards and artistic tendencies) results.
The second part of the article is a case study. We introduce a new type of performing arts organization in the Nordic and Baltic countries – Vaba Lava (Open Space) in Tallinn, which is funded as a PPP (public private partnership) in cooperation between the private and the public sector. Vaba Lava offers an open platform to all private theatres and companies offering them both a stage for performing as well as support services. The core of the Vaba Lava programme is its International Curated Programme. Performances of the programme are selected by a team of curators, who announce an International Open Call. The projects are selected from the applications submitted to the competition. We show how this kind of theatre is adapting to the funding system and what kind of performance strategies and working practices have been developed. We analyse what are the main artistic ideas of the international programme that also gives voice to underprivileged people talking about socially relevant themes.
The general research questions of the article are: how Estonian theatre has developed during the last decades and how it is adapting to the prevailing financial system? What kind of performance strategies and working practices have been developed and how do the economic conditions affect the artistic outcome?
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Heinrich, Anselm. "WILLIAM GLADSTONE AND THE THEATRE." Theatre Survey 52, no. 1 (May 2011): 83–103. http://dx.doi.org/10.1017/s004055741100007x.
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William Ewart Gladstone, four times prime minister (1868–74, 1880–5, 1886, and 1892–94), the “greatest colossus of the Victorian Age,” the most influential prime minister of the nineteenth century, and the Grand Old Man (G.O.M.) of British politics and statesmanship, seems an unlikely advocate for the theatre. Deeply religious, conservative, and serious, Gladstone is not easily imagined as an avid theatregoer. It is difficult to imagine him supporting the ephemeral, often subversive, and suggestive character of the theatre. And indeed, in his early years Gladstone despised the theatre and called it an “encouragement of sin.” As prime minister, he was almost obsessed by a religious zeal; Richard Foulkes has noted that “Few, if any, prime ministers have carried out their role in making senior Church appointments as assiduously as Gladstone did.” For members of Victorian Britain's Christian majority, the theatre was anathema and regarded as morally suspect. They were intensely suspicious and saw playgoing as a distraction from religion and as a promoter of frivolity, vanity, and female forwardness. They linked theatres to “prostitution, juvenile delinquency, idleness, drunkenness and frivolity.” In fact, theatres were the “antithesis of the Victorian world view which prized respectability, gentility, decency, education and uplift.” Until at least the later decades of the nineteenth century, theatre “was widely regarded as the lowliest of the arts, if one at all.”
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Ozieblo, Barbara. "Composing Ourselves: The Little Theatre Movement and the American Audience. By Dorothy Chansky. Carbondale: Southern Illinois University Press, 2004; pp. 256; 15 illus. $55 cloth; Summer Stock! An American Phenomenon. By Martha Schmoyer LoMonaco. New York: Palgrave Macmillan. 2004; pp. 320; 25 illus. $27.95 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 343–46. http://dx.doi.org/10.1017/s0040557405370207.
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The theatre has long been recognized as a site from which national and social values can be promoted, and this was particularly the case with the Little Theatre and summer stock phenomena. Even when performing non-American plays, these movements addressed the education of the audience, as Dorothy Chansky and Martha Schmoyer LoMonaco make apparent in two rigorously researched studies. Both have chosen to focus on the audience as an integral component of the theatrical event and, eschewing postmodern theories of the spectator's gaze, they bring a sociohistorical perspective to their findings, which are based on in-depth research of theatre documents, memoirs, and reviews. Chansky examines how the Little Theatres constructed and educated their audiences, whereas LoMonaco, in tracing the history of a number of summer-stock theatres, uncovers the hold that the audience has on artistic and financial policies. The two books cover areas and aspects of theatre history not frequently studied; they examine the complex artistic and economic issues involved in founding and running a theatre, while also certifying that American theatre has never been contained by a few streets in the vicinity of Times Square.
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Long, Khalid Y. "La Donna L. Forsgren, Sistuhs in the Struggle: An Oral History of Black Arts Movement Theater and Performance." Modern Drama 65, no. 1 (March 1, 2022): 122–25. http://dx.doi.org/10.3138/md-65-1-br2.
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La Donna Forsgren’s Sistuhs in the Struggle: An Oral History of Black Arts Movement Theater and Performance is a critical intervention in theatre studies, women’s studies, and Black studies, employing a narrative methodology to recover and centre the voices of Black women who built the Black Arts Movement.
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Klivis, Edgaras. "Inside Frozen Geographies." Nordic Theatre Studies 32, no. 2 (January 22, 2021): 138–55. http://dx.doi.org/10.7146/nts.v32i2.124357.
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After the annexation of the Crimean Peninsula by the Russian Federation in 2014, the attitude of Baltic theatre producers and artists towards cultural and institutional partnerships with Russian theatres and their involvement in the mutual artistic exchanges, tours, common projects, and networking changed; not only due to these exchanges becoming a controversial issue in the public eye, but also due to the polarization they caused in the artistic community itself. Some artists, like Latvian stage director Alvis Hermanis, have decisively terminated all their previous creative partnerships, arrangements and tours, calling also other theatre artists “to take sides”. Others, like Russian stage and film director Kirill Serebrennikov who, for years, had been involved with Baltic theatres, would regard taking sides as a disastrous yielding of culture to the logic of war – theatre should be kept as the last link between societies gradually separated by reciprocal propaganda insanity. Building upon these conflicts describing the changes in intercultural theatrical cooperation between Russian and Baltic theatres, the article focuses on the analysis of three productions: Dreams of Rainis by Kirill Serebrennikov at the Latvian National Theatre (2015), Alexander Pushkin’s play Boris Godunov directed by Eimuntas Nekrošius at the Lithuanian National Drama Theatre (2015) and Brodsky/Baryshnikov staged by Alvis Hermanis at the New Riga Theatre in 2016. All of the performances refused to stay inside the frameworks marked for them by the regimes of propaganda wars, public diplomacy, or dispositif of security, but focused instead on the possibilities of intellectual disobedience.
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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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Skjoldager-Nielsen, Daria. "Theatre Talks." Nordic Theatre Studies 33, no. 2 (June 17, 2022): 58–71. http://dx.doi.org/10.7146/nts.v33i2.132872.
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Almost each year, the pop-cultural world is buzzing with a “new” Nordic word that can bring a piece of Nordic life to every home. Lagom, fika, fredagsmys or hygge - they all refer to slowness, break, taking a moment to feel good and happy, being considerate. Those concepts are believed to be a Nordic approach to life - and a very desirable one.When I think of theatre in this context, one Nordic invention comes to my mind: theatre talks, which emerged as an audience reception research method in Sweden. They proved to be an effective audience development practice (even for non-theatregoers) in Australia (Scollen), Denmark (Hansen; Lindelof), and Poland (Rapior) because (among other things) they bring the element of pleasure, community building, and feeling safe into the theatre experience especially for non-attenders.In this article I will focus on looking at theatre as a possible “oasis of deceleration” in the constantly accelerating world, using Hartmut Rosa’s theory of social acceleration. By going through the development of theatre talks, I will demonstrate what theatres can gain from using this method - both in attendance and image. I will deliberate on how theatre can become a metaphorically “hyggelig” place for anybody during times when everybody ought to live faster and faster.
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Pekkala, Laura, and Riku Roihankorpi. "An Artistic Community and a Workplace." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 115–43. http://dx.doi.org/10.7146/nts.v30i1.106926.
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The article analyzes how money interacts with the practices and organizational activities of independent theatres in Finland in the 2010s. It discusses what kind of development the interaction entails or favors in the wider context of Finnish cultural policy. We share the results of Visio (2015-16), an empirical study and development project funded by the Ministry of Education and Culture and carried out with four professional independent theatres, which originated as group theatres, but are now institutionalized and operate with discretionary state subsidies. During the development project supported by Theatre Centre Finland, the study observed aspects of organizational development and learning as well as sustainable work in the said theatres. This was done via ethnographic and multiple case study methodologies. The study defined a theatre organization as a community for artistic work and a workplace for a diverse group of theatre professionals. The cases and the ethnographies were then reflected against current Finnish cultural policy.As descendants of the group theatre movement – arising from artistic ambition and opposition to commercialism – Finnish independent theatres have developed in different directions in their ideas of theatre, artistic visions, objectives, production models, and positioning in the field. Yet, there is a tendency to define independent theatres in opposition to theatres subsidized by law (the so-called VOS theatres), instead of laying stress on their specific artistic or operational visions or characteristics. This emphasis is present in public discussions, but also in the self-definitions of independent theatres. Money, and the economic affairs it underlines, strongly interact with the development, organizational learning, and working culture of Finnish independent theatres. Theoretically, we promote a Simmelian framework that stresses the socio-cultural dimension of money. Thus, we examine how the practices of the monetary economy are present in the practices and the development of independent theatres, and how this reflects their position within the current cultural policy and funding systems. Based on the above, the article suggests a more versatile approach to artistic independent theatres – one that emphasizes recognizing the heterogeneity of their operating models and artistic orientations, and their roles as diverse artistic communities aside from workplaces.
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Zhang, Shenghuan. "The dilemma and reflection of Chinese theatre arts education in universities." SHS Web of Conferences 140 (2022): 01053. http://dx.doi.org/10.1051/shsconf/202214001053.
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At present, the education of Traditional Chinese theatre arts in universities is lacking in both “software” and “hardware”, which is in the dilemma of being marginalized by teaching. There are many common problems in the bottleneck and causes of many kinds of theatre arts in the development of universities education, such as the shortage of teachers, the lack of interest of students, the weakness of scientific research, the poor environment of Traditional Chinese Theatre arts and so on. In view of the above problems, it is suggested to adopt multi-channel strategies to cultivate students’ interest, improve the supporting Traditional Chinese Theatre arts curriculum, and optimize the traditional Chinese Theatre arts environment, so as to change the current dilemma of Traditional Chinese Theatre arts in universities.
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Edgar, David. "Views across Borders." New Theatre Quarterly 18, no. 4 (November 2002): 304–6. http://dx.doi.org/10.1017/s0266464x02000404.
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Early on in the first Thatcher term, one of her young Turk backbenchers announced that his mission in life was to eliminate all small touring theatre companies with the word ‘red’ in their title. In doing so, he acknowledged that in the 'seventies oppositional theatre had ceased to be constrained within theatre buildings (in the mid-'sixties, he'd have wanted to abolish all companies called ‘English’ working in theatres called ‘Court’).
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Thompson, Cheryl. "The Show Did Go On." Canadian Theatre Review 187 (July 1, 2021): 91–93. http://dx.doi.org/10.3138/ctr.187.027.
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Using examples from Toronto’s newspapers, this article examines the impact of the 1918–19 Spanish flu pandemic on the city's theatre and the changes that followed in the twenties. Like during the COVID-19 pandemic, in 1918 health boards across Ontario ordered all theatres to close. However, after two weeks, theatres opened, and productions from New York City’s Broadway, such as the musical comedy Ask Dad, appeared at the Royal Alexandra Theatre, to rave reviews. Toronto’s stages became more diverse following the Spanish flu, with productions such as Shuffle Along, the first all-Black musical on Broadway, which hit the city’s stages in 1923, and one of the first locally cast shows, Amateur Minstrel Frolics, which appeared in 1924 at the Winter Garden Theatre. This article explores how and why the theatre changed after the last pandemic and what issues, such as those related to race and gender, lingered on.
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Wetmore Jr., Kevin J. "A History of Theatre in Africa. Edited by Martin Banham. Cambridge: Cambridge University Press, 2004, pp. xvii + 478; $140 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 313–15. http://dx.doi.org/10.1017/s0040557405220203.
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One of the greatest challenges to teaching world theatre history in the United States is that the vast majority of survey history books spend two dozen chapters on the theatre of the West, giving the theatres of Africa, Asia, and the Middle East a single chapter each at best. In addition, there have to date been no comprehensive histories of African theatre covering the entire continent, Africa north of the Sahara being linked for cultural reasons with the Middle East instead of geographically with the rest of the continent. A History of Theatre in Africa, edited by the pioneer of African-theatre scholarship, Martin Banham, is an excellent, if uneven, redressing of those imbalances.
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Kohtes, Martin Maria. "Invisible Theatre: Reflections on an Overlooked Form." New Theatre Quarterly 9, no. 33 (February 1993): 85–89. http://dx.doi.org/10.1017/s0266464x00007491.
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The paratheatrical form here described as ‘Invisible Theatre’ has been little investigated by the English-speaking academic world, beyond a nod in the direction of the work of Augusto Boal. In the following article, Martin Maria Kohtes suggests that the silent interlacing of art and life in ‘Invisible Theatre’ has historical and theoretical implications which extend beyond the specifics of ‘theatre for the oppressed’ or ‘guerrilla theatre’, to call into question our understanding of what constitutes the act of theatre itself. In tracing the history of the concept back to the Weimar Republic, Kohtes develops a hypothesis to explain the visibility of ‘Invisible Theatre’ at specific historic moments – and in so doing he hopes also to illuminate for a wider audience some of the ideas and research methods of German Theaterwissenschaft. Martin Maria Kohtes, who presently lives and works in Berlin and Cologne, studied Theatre Arts at the Freie Universität Berlin, at Rutgers University in New Jersey, and at the Université de la Sorbonne Nouvelle in Paris. His study of Guerilla Theater: Theorie und Praxis des amerikanischen Strassentheaters was published by Gunter Narr Verlag, Tübingen, in 1990.
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Safta, Alice-Maria. "Dance Theatre in Notes." Theatrical Colloquia 7, no. 2 (December 1, 2017): 273–81. http://dx.doi.org/10.1515/tco-2017-0026.
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Abstract The fusing of arts enriches a spectacular setting for all human feelings to thrive and express themselves. The theatre in the arts and the art in the theatre, a sublime melding of purity and mystery, speaks striking truths for those with ears to hear them. “The floors” of theatres today enjoy classical dramatic pieces, as well as the staging of experiments, which in my opinion are a real necessity for the entire development of the creative human spirit. The need for free speech and expression gives us motivation to explore the meaning of the term “classical”. The latest trends in the art of modern dance are represented by a return to expression and theatricality, the narrative genre, as well as the historical account of the development of the plot, the restoration interventions in spoken word, chanting and singing; the concepts of art are undergoing a full recovery.
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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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Modreanu, Cristina. "Elements of Ethics and Aesthetics in New Romanian Theatre." New Theatre Quarterly 29, no. 4 (November 2013): 385–93. http://dx.doi.org/10.1017/s0266464x13000705.
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Young Romanian theatre artists are very concerned to address issues from the recent past and in using collaborative art to educational and therapeutic ends. The implications of the increased ethical consciousness in their work is addressed here by Cristina Modreanu, who focuses on the productions of directors Gianina Cӑrbunariu and David Schwartz. She analyzes the relationship between ethics and aesthetics in contemporary work against the backdrop of post-Communist Romanian society and in a global context, as well as the dynamics connecting the new wave of Romanian theatre to internationall tendencies in contemporary art, as observed by authors such as Jaques Rancière and Claire Bishop. Cristina Modreanu's doctorate on Romanian theatre after 1989 is from Bucharest University of Theatre and Film, and she has also developed the subject in lectures at Tel Aviv University and Plymouth University. A Fulbright alumna and former Visiting Scholar at New York University, Performance Studies Department, Modreanu currently lectures in Contemporary Performance at Bucharest University. Her publications include articles on Romanian and Eastern European theatre for journals such as Theater, Theater der Zeit, and Alternatives Théâtrales, and for the anthology Romania after 2000: Five New Plays, edited by Martin E. Segal.
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OTTO, ULF. "Post-performance: Pandemic Breach Experiments, Big Theatre Data, and the Ends of Theory." Theatre Research International 48, no. 1 (February 9, 2023): 24–37. http://dx.doi.org/10.1017/s0307883322000384.
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All became data during the pandemic. Lockdowns made manifest what had developed for some time: that theatre has become inextricably entangled with digital cultures, the performing arts being increasingly encountered as a growing stock of multimodal fragments, textual discourses and networked communications. And, it is argued, it is precisely this appearance of theatre as (big) data that might prove to be the game-changer post-pandemic, and that this game-changer might be solely an epistemological one: what is known about theatre, how that knowledge is organized, and who is involved in organizing this knowledge, are rapidly changing. Based on an exemplary analysis of the discourses of legitimation that compensated for the loss of presence in German theatres, and the associated imperative to innovate production, this article estimates the epistemological consequences of theatre returns as data to advocate for a reconceptualization of theatre beyond performance.
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Nellhaus, Tobin. "Online Role-playing Games and the Definition of Theatre." New Theatre Quarterly 33, no. 4 (October 11, 2017): 345–59. http://dx.doi.org/10.1017/s0266464x17000483.
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Online role-playing games are a form of entertainment in which players create characters and improvisationally perform scenes together within a digital virtual world. It has many theatre-like aspects, which raises the question of whether it is in fact a form of theatre. To answer that question, however, one must first have a definition of theatre – an issue with disciplinary consequences – and in this article Tobin Nellhaus develops a definition founded on social ontology, suggesting that theatrical performance, unlike other social practices, replicates society's ontology. From that perspective, online role-playing meets the definition of theatre. But its digital environment raises another set of problems, since embodiment, space, and presence in online role-playing are necessarily unlike what we experience in traditional theatre. Here, Nellhaus brings these three aspects of performance together through the concept of embodied social presence, showing how they operate in both customary theatre and online role-playing. Tobin Nellhaus is an independent scholar who was Librarian for Performing Arts, Media, and Philosophy at Yale University. He has published mainly on the relationship between theatre and communication practices, and on critical realist theory in theatre historiography. He is the General Editor of the third edition of Theatre Histories (London: Routledge, 2016), and the author of Theater, Communication, Critical Realism (New York: Palgrave Macmillan, 2010).
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Parham, Chris. "Description of a Theatre Review Writing Task in an Online University Classroom Setting." JALT PIE SIG: Mask and Gavel 9, no. 1 (January 2021): 15–27. http://dx.doi.org/10.37546/jaltsig.pie9.1-2.
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The Internet provides us with a plethora of material to read and view and is the tool that people use today to communicate and acquire information. YouTube is a globally-used platform for individuals and organizations to share audio and visual material. Due to the COVID-19 situation, many teachers in schools and universities have looked to this website to supplement their teaching as it provides a scope and depth of material that is easily and readily accessible to the public. Theatres having been forced to close because of the pandemic have used this platform to share their work, and many teachers, especially those teaching theatre or performance-related studies have accessed recordings of performances to use in the online classroom as it is, as far as I know, the only way to access the arts for free during the pandemic. As a teacher of English language with an interest in drama and theatre arts, I had been viewing many free performances as I hope to share and foster an appreciation of drama and theatre in my students. With that in mind, I attempted to design a theatre reviewing task for use in the EFL classroom. The report shows my findings and my reflections of the task, and reveals that viewing and writing about the theatre arts can have a positive influence on students.
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Katz (book editor), Giuliana Sanguinetti, Vera Golini (book editor), Domenico Pietropaolo (book editor), and Laurie Shepard (review author). "Theatre and the Visual Arts." Quaderni d'italianistica 23, no. 2 (June 1, 2002): 136–38. http://dx.doi.org/10.33137/q.i..v23i2.9285.
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Oguchi, Keiji, and Katsuji Naniwa. "Kitakyusyu Performing Arts Center, Theatre." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2480. http://dx.doi.org/10.1121/1.4782667.
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Brakus, Aleksandra. "Event management in theatre arts." Kultura, no. 163 (2019): 193–207. http://dx.doi.org/10.5937/kultura1963193b.
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Kornetsky, Lisa. "Signature pedagogy in theatre arts." Arts and Humanities in Higher Education 16, no. 3 (July 14, 2016): 241–51. http://dx.doi.org/10.1177/1474022216652771.
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Critique in undergraduate theatre programs is at the heart of training actors at all levels. It is accepted as the signature pedagogy and is practiced in multiple ways. This essay defines critique and presents the case for why it is used as the single most important way that performers come to understand the language, values, and discourse of the discipline. In actor training, critique is used in the studio, classroom, and rehearsal hall as the way that students learn to take theory and practical skills and apply them through choices that are clear and justifiable, demonstrating an understanding of text and dramatic style. The focus is on where and how critique is used, who is doing the critique in what setting, and how students learn and grow through this process. This is discussed in relationship to the development of self and community and preparation for the professional world.