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Relevant bibliographies by topics / Theatre festival

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Academic literature on the topic 'Theatre festival'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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Journal articles on the topic "Theatre festival"

1

Đurica, Radmilla. "Imaginative Anarchy." Maska 31, no. 177 (June 1, 2016): 102–9. http://dx.doi.org/10.1386/maska.31.177-178.102_1.

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Like numerous other festivals, the PUF festival in Croatia got its start as an experiment, in this case following the war and disintegration of Yugoslavia. In an era of great crisis in the Croatian theatre scene, this international festival introduced a new dramatic vocabulary. It was founded in 1994 by the directors of three non-institutional theatres: Branko Sušec (PUF), Nebojša Borojević (the Daska Theatre in Siska), and Roman Bogdan (the Čakovec Pinklec). In the war-torn 90s, the founders decided that the festival was to take place in Pula and not Dubrovnik because the war had largely spared the former. The festival finalised its name, the PUF International Theatre Festival, in 1996.

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Rodriguez, Chantal. "Is One Octopus Enough?" Theater 49, no. 1 (February 1, 2019): 6–21. http://dx.doi.org/10.1215/01610775-7253739.

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Likening Latinx theater to many octopuses with many legs, Chantal Rodriguez reflects on the 2017 Encuentro de las Américas Festival, hosted in Los Angeles by the Latino Theater Company, which included the first international convening of the Latinx Theatre Commons. Rodriguez describes current and emerging trends in Latinx theater across the Americas as expressed over the course of two panel discussions and among small-group participants. Recounting how these geographically diverse conveners responded to questions concerning Latinx aesthetics, political activism, funding, festivals, and inclusion, Rodriguez unpacks the festival’s predominant question: “What can we do together that we can’t do alone?”

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RENIHAN, COLLEEN. "Pitching Opera: Innovating New Music Theater at Banff and Stratford, 1970–1990." Journal of the Society for American Music 14, no. 1 (January 15, 2020): 33–50. http://dx.doi.org/10.1017/s1752196319000531.

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AbstractThe Banff Summer Festival of the Arts and the Stratford Summer Music Festival have been unrecognized sites of operatic innovation in Canada. Indeed, the flourishing of what might be termed “new music theater” in Canada is imbricated with the history of these two festivals. Archival research reveals that the inventive, often revolutionary, approaches to music theater honed at Stratford and Banff from 1970–1990 ultimately defined the course of Canadian new music theatre in the decades that followed. Founded in 1953 as a Shakespeare festival, the Stratford Festival eventually became renowned for its (nearly exclusive) focus on musical theater. At Banff, discussions about generic innovation occurred regularly, producing what I suggest was one of the foremost centers in the world for innovation in music theater. Charting the development of opera in Canada through conversations that took part at the Banff and Stratford festivals during the period 1970–1990 reveals the unique possibilities that the peripheral positioning of these festivals—aesthetically, critically, and geographically—offered to the development, dissemination, and innovation of so-called new music theater in Canada.

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Tyszka, Juliusz. "The School of Being Together: Festivals as National Therapy during the Polish ‘Period of Transition’." New Theatre Quarterly 13, no. 50 (May 1997): 171–82. http://dx.doi.org/10.1017/s0266464x00011039.

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For most western theatre people, accustomed to the festival as an institutionalized annual ritual, the notion of a theatre festival as a celebration of true, holiday festivity – as signifying freedom from institutionalized ritual – comes alive more often in the pages of Bakhtin than on the stages of Edinburgh or other ‘festive’ cities. Yet Juliusz Tyszka, surveying no fewer than a hundred and fifty festivals that have sprung up or renewed themselves in his native Poland during the post-Cold War ‘period of transition’, finds that, while their economic success has been surprising in a straitened economy, the social causes which have ensured this success have to do with changed notions of communality and sociality. The festivals signify, he suggests, a rediscovery that joining together in celebration need not be an imposition of church or state, but can be a means of renewal for the national psyche after a long period of suppression. The following article has the quality rather of a heartfelt polemic – and, through lavish illustration, a celebration of the multiplicity of performance styles – than the academic analysis to which NTQ more usually subjects the new theatres of eastern Europe. It is none the less significant as a theatre document for our times.

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Gomez-Casero, Gema, Carol Angélica Jara Alba, Tomás López-Guzman, and Jesús Claudio Pérez Gálvez. "Theatre festival as a tourist attraction: a case study of Almagro International Classical Theatre Festival, Spain." International Journal of Culture, Tourism and Hospitality Research 14, no. 4 (July 31, 2020): 599–617. http://dx.doi.org/10.1108/ijcthr-04-2019-0061.

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Purpose Researchers have become aware of the importance of festivals as a phenomenon worthy of studying, but in-depth studies of cultural festivals are lacking. The purpose of this study is to describe the attributes of cultural festivals, specifically theatre festivals and examine the motivations to organise them. Similarly, this study seeks to discover the type of tourist that attends these types of festivals. Design/methodology/approach A questionnaire was applied to a representative sample of tourists who visited one of the most prestigious festivals in the international panorama: Almagro International Festival of Classical Theatre. A non-probabilistic technical sample was used. Tabulation of the data was performed by the study group using the SPSS, v. 23. Findings This study makes a segmentation of the tourists who attend the festival based on their motivations. Using this segmentation, the authors analyse the socio-demographic characteristics and tourists’ behaviour, as well as their experience at the festival. Amongst the higher-rated attributes of the festival are care and service organisation and interpretative quality of the actors and/or theatre company. Research limitations/implications The main practical application of this study is to help understand the peculiarities of each segment of visitors and their evaluation of the destination to create tourist and cultural products that provide greater satisfaction with respect to their needs. Originality/value The main value is the novelty of studying this kind of cultural event. The authors analyse the reasons to visit it in relation to the motivations that move the visitors. The authors also study the assessment the tourist does of the qualities of the festival.

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Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (April 19, 2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.

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Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and eventifying Afrikaans writing and performance, but also in communicating a particular vision of the Afrikaans-speaking and ‘Afrikaner’ cultural context. Using the Klein Karoo Nasionale Kunstefees in Oudtshoorn as a case study, in this article Temple Hauptfleisch discusses the nature, content, and impact of this particular festival as a theatrical event, and goes on to explore the polysystemic nature of the festival phenomenon in general. Temple Hauptfleisch is a former head of the Centre for South African Theatre Research (CESAT) and Chair of the University of Stellenbosch Drama Department. He is currently the director of the Centre for Theatre and Performance Studies at Stellenbosch and editor of the South African Theatre Journal. His recent publications include Theatre and Society in South Africa: Reflections in a Fractured Mirror (1997), a chapter in Theatrical Events: Borders, Dynamics, Frames (2003), and one on South African theatre in Kreatives Afrika: Schriftstellerlnnen über Literatur, Theater und Gesellschaft (2005).

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Goršič, Niko. "To the last breath." Maska 31, no. 181 (December 1, 2016): 146–49. http://dx.doi.org/10.1386/maska.31.181-182.146_7.

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While still a student of sociology, Damir Domitrović co-founded Club B-51 on Gerbičeva Street, a nexus of the subculture in Ljubljana. In 1991, during the beginnings of the wars in former Yugoslavia, he conceived the B-51 Cultural Society, then two years later started the EX PONTO festival as a sort of creative-spiritual meeting point of refugee artists from the Balkan Wars. In the 22 years since, it has grown into an important international festival of the performing arts. He supported the Rajvosa project, which was dedicated to the Bosnian minority community in Slovenia, was an instigator of the Kluže festival at the tri-border of Slovenia, Italy and Austria, and in 2005 co-founded the New European Theatre Action (NETA), the largest theatre network in South-Eastern Europe, which today encompasses 68 festivals and theatres in 20 countries.

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Bogdańska, Olga, Verónica D’Auria, Coen Heijes, and Xenia Georgopoulou. "Theatre Reviews." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 133–52. http://dx.doi.org/10.2478/mstap-2013-0010.

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The Tempest. Dir. Silviu Purcarete. The National Theatre “Marin Sorescu” of Craiova, Romania. 16th Shakespeare Festival, Gdansk, Poland Richard III. Dir. Gabriel Villela. Blanes Museum Garden, Montevideo, Uruguay Henry V. Dir. Des McAnuff. Stratford Shakespeare Festival, Ontario, Canada Julius Caesar. Dir. Gregory Doran. Royal Shakespeare Company A Midsummer Night’s Dream. Adapted and dir. Georgina Kakoudaki. Theatre groups _2 and 4Frontal, Theatro tou Neou Kosmou, Greece Julius Caesar: Scripta Femina. Dir. Roubini Moschochoriti. Theatre group Anima Kinitiras Studio, Greece

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Edmond, Murray. "A Saturated Time: Three Festivals in Poland, 2007." New Theatre Quarterly 24, no. 4 (November 2008): 307–21. http://dx.doi.org/10.1017/s0266464x08000468.

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What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their aims, success, and role in what Barthes called the ‘special time’ which festivals have occupied since the Ancient Greeks dedicated such an occasion to Dionysus. Murray Edmond is Associate Professor of Drama at the University of Auckland, New Zealand. His recent publications include Noh Business (Berkeley: Atelos Press, 2005), a study, via essay, diary, and five short plays, of the influence of Noh theatre on the Western avant-garde, and articles in Contemporary Theatre Review (2006), Australasian Drama Studies (April 2007), and Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (2007). He works professionally as a dramaturge, notably for Indian Ink Theatre Company, and has also published ten volumes of poetry, of which the most recent is Fool Moon (Auckland: Auckland University Press, 2004).

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Seymour, Jasmine. "From Armenia to Poland ‘with love’s light wings’." Cahiers Élisabéthains: A Journal of English Renaissance Studies 104, no. 1 (March 7, 2021): 95–104. http://dx.doi.org/10.1177/0184767821991553.

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On 30 July 2019, Yerevan State Chamber Theatre’s unconventional version of Romeo and Juliet was performed at the annual Gdańsk Shakespeare Theatre Festival in Poland, after successfully premiering in Yerevan, Armenia, in 2017. Following the overwhelming success of the production with local and international audiences and critics, invitations from other European festivals followed. When the current devastating restrictions imposed on theatres worldwide by the Covid-19 pandemic are finally lifted, the journey of the world’s best-known love story retold by this innovative theatre troupe will resume.

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Dissertations / Theses on the topic "Theatre festival"

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Le, Grange Rene. "Effective planning and organisation of a student theatre festival." Diss., Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-08112004-100939.

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Batchelder, Xela. "The world's largest arts festival, The Edinburgh Festival Fringe: mechanics, myth and management." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1149104422.

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3

Piola, Catherine. "Le "Dublin Theatre Festival", analyse, rôle et impact, de 1957 à 1992." Paris 3, 1994. http://www.theses.fr/1994PA030192.

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L'objectif de cette thèse est d'analyser le rôle et l'impact du festival de théâtre de Dublin depuis sa création en 1957. Une période de trente-cinq années est étudiée, soit, en fait, trente-deux festivals, le dernier pris en considération étant celui de 1992. Pour cela, trois aspects sont successivement abordés : d'une part, l'analyse s'articule autour de la genèse de la manifestation, en rappelant le contexte culturel de l'Irlande des années cinquante et en s'attachant à définir la forme festivalière, dans différentes disciplines artistiques et dans le cas spécifique des festivals d'art dramatique. D'autre part, l'évaluation de l'impact est effectuée autour des quatre points suivants : la structure de l'organisation du festival de théâtre de Dublin, son déroulement dans la capitale irlandaise, l'aspect économique de la manifestation et son impact artistique. Enfin, l'analyse se tourne vers une étude sur les publics de la manifestation. Grâce à trois enquêtes réalisées au cours des trois derniers festivals étudiés, un profil des spectateurs est établi en termes d'identité et de perception de l'acte théâtral notamment
The aim of this thesis is the analysis of the role and the impact of the Dublin Theatre festival since its inception in 1957. A period of thirty five years is studied up to 1992, covering thirty two festivals. Three aspects of the festival are considered in this analysis : firstly, the genesis of the event in its cultural dimension in Ireland during the fifties is leading to the study of the form of festivals, in different art disciplines as well as from a drama point of view. Secondly, the impact of the festival is assessed on four levels : the structure of the organisation, the place of the event in the city, the importance of the economic aspects of the event and the artistic impact of the festival. Finally, the analysis provides an opportunity to define the audience of the festival. The three surveys carried out during the last three festivals studied reveal a profile of its audience and outline their identity and their perception of the festival

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Yarnelle, David. "Conceiving American Chekhov: Nikos Psacharopoulos and the Williamstown Theatre Festival." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/291967.

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This thesis examines the work of director Nikos Psacharopoulos on the plays of Anton Chekhov while Executive Director at The Williamstown Theatre Festival in Massachusetts. Components of Psacharopoulos' productions are contextualized within an American tradition of producing Chekhov and elements identified in previous research by Laurence Senelick. Using the constituents of Senelick's analysis, Psacharopoulos' work is examined in two general areas: his teaching, directing, and rehearsal techniques with the Chekhov texts, and the qualities in production of the plays at The Williamstown Theatre Festival between 1962 and 1986. This study offers, for the first time, a scholarly examination of Psacharopoulos' work and considers the director's position as an American producer of Chekhov's plays. As one of the most prolific directors of Chekhov in North America, Nikos Psacharopoulos emerges from this study as an essential component in any future consideration of Chekhov production in the United States.

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Cabanilla, Galuszka Shannon Rhae. "REDLANDS THEATRE FESTIVAL: DIRECTING IN REPERTORY -- THE HOT L BALTIMORE." CSUSB ScholarWorks, 2014. https://scholarworks.lib.csusb.edu/etd/114.

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The purpose of this project was to broaden my skill set and responsibilities within a well-established theatre company by transitioning from performer to director. I would accomplish this goal by using my extensive knowledge of the inner-workings of the Redlands Theatre Festival, while applying my own set of techniques, philosophies, and judgments. The project was based around the Redlands Theatre Festival’s (RTF) production of The Hot L Baltimore, written by Lanford Wilson, performed by resident actors and the acting company of RTF. I was given the opportunity to direct the play under the supervision of the Artistic Producing Director and founder of the then 40-year-old theatre company. The assignment had one main component: directing a successful production in an already-established company of experienced theatre artists. This main task was riddled with myriad complications in its production methodology. Contributing factors to the success of this project included thorough research of the period and material, a strong background in acting, creativity and the willing suspension of disbelief amongst performers and audience, trial and error, and the drive to share my passion of theatre. Many opinions and critiques were available upon the opening of the production and I am confident that this project was a success, in many ways. The play was well-received by audiences, as well as a positive and educational experience for the performers. Upon the completion of the project, I have a deeper understanding of the specialized techniques that are required, and necessary, for me to amass future successes in similar endeavors with the Redlands Theatre Festival.

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Blasenak, Andrew Michael. "Six Companies in Search of Shakespeare: Rehearsal, Performance, and Management Practices by The Oregon Shakespeare Festival, The Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare and Company, Shakespeare’s Globe and The Ame." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354047834.

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Asagba, O. A. "Festival drama : Aspects of continuity and change in contemporary Nigerian theatre." Thesis, University of Leeds, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.372955.

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Vávrová, Anna. "Vizuální styl studentského divadelního festivalu." Master's thesis, Vysoké učení technické v Brně. Fakulta strojního inženýrství, 2012. http://www.nusl.cz/ntk/nusl-230434.

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The thesis deals with the creation of corporate indentity of student festival Salon původní tvorby at the Theatre Department of Janacek Academy of Brno. The objective of the thseis is to assess the theoretical rules of creating corporate identity and then to apply them on creating the logo and logotype of the festival that could be used for any theme of the festival. Furthermore the thesis creates the design of the actual year, Salon [si ty]. There it attemps mainly for the increase of presentation of the festival and the orientation of the participants. The design follows the ergonomic, constrictional and other rules set up in the theoretical research.

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Nicholas, Larraine. "The lion and the unicorn : festival of Britain themes and choreography in the postwar decade." Thesis, University of Surrey, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298898.

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Mouton, Pierre Le Fras. "Developing a potential youth festival model to aid and develop the theatre for young people industry in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95840.

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Thesis (MDram)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: This study aims to investigate the phenomena of theatrical events and festivalisations, specifically aimed at young people. Various methodologies on theatrical events and festivalisation are integrated into a devised model. The devised model offers a clear and comprehensive understanding of the numerous processes and structures that play significant roles in the production and experience of a theatrical event or festival. The devised model is utilised to investigate and analyse the trends and practices of Theatre for Young People internationally (specifically Australia) and locally. The devised model allows the study to highlight certain strengths, opportunities, challenges and shortcomings of the different industries. Through comparing the local trends and practices with those of the international Theatre for Young People industries, areas of development are identified. Finally, the study develops a model that can be implemented into the South African environment, and highlights specific challenges and areas that should be developed in order to create a thriving and sustainable Theatre for Young People industry in South Africa. It is evident that South Africa’s support structures differ significantly from those of other countries where Theatre for Young People industries flourish. This has caused Theatre for Young People practitioners to adopt a predominantly didactic approach to producing events for young people. The study found that, in order to create a thriving Theatre for Young People industry, a balance between the educational and entertainment values of Theatre for Young People should be maintained.
AFRIKAANSE OPSOMMING: Hierdie studie het ten doel om die verskynsel van die teatrale gebeurtenisse (theatrical events) en verfeesteliking (festivalisations) wat spesifiek op jong mense gemik is, te ondersoek. Verskeie metodes van teaterale beurtenisse en verfeesteliking word in 'n ontwerpmodel geïntegreer. Die ontwerpmodel bied 'n duidelike en omvattende begrip van die talle prosesse en strukture wat 'n belangrike rol speel in die produksie en ervaring van 'n teatergebeurtenis of fees. Die ontwerpmodel is gebruik om die tendense en praktyke van Teater vir Jongmense op sowel internasionale (spesifiek Australië) as plaaslike vlak te ondersoek en te ontleed. Die ontwerpmodel laat die studie toe om sekere sterkpunte, geleenthede, uitdagings en tekortkominge van die onderskeie bedrywe te belig. Areas van ontwikkeling vir die plaaslike bedryf word geïdentifiseer deur plaaslike tendense en praktyke met dié van die internasionale Teater vir Jongmense-bedryf te vergelyk. Ten slotte; ontwikkel die studie 'n model wat in die Suid-Afrikaanse omgewing geïmplementeer kan word. Die model beklemtoon spesifieke uitdagings en gebiede wat verder ontwikkel moet word om ten einde 'n vooruitstrewende en volhoubare Teater vir Jongmense in Suid-Afrika te skep. Dit is duidelik dat Suid-Afrika se ondersteuningstrukture aansienlik verskil van dié van ander lande met ‘n bloeiende Teater vir Jongmense-bedryf. Die verskil veroorsaak dat Teater vir Jongmense-praktisyns 'n oorwegend didaktiese benadering tot die daarstel van gebeurlikhede vir jong mense volg. Die studie het bevind dat, ten einde 'n vooruitstrewende Teater vir Jongmensebedryf te produseer 'n balans tussen die opvoedkundige- en vermaaklikheids waardes van Teater vir Jongmense moet gehandhaaf word.

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Books on the topic "Theatre festival"

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Festival, Berkshire Theater. Berkshire Theatre Festival 96. [Berkshire, Ma: s.n.], 1996.

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Simon, Williams. Richard Wagner and festival theatre. Westport, Conn: Greenwood Press, 1994.

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Williams, Simon. Richard Wagner and festival theatre. Westport, Conn: Praeger, 1994.

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Poorva Asian Women Directors: Theatre Festival & Conference (2003 New Delhi). Poorva Asian Women Directors: Theatre Festival & Conference: Theatre festival, January 3-10, 2003. New Delhi: National School of Drama, 2003.

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Theatre, Pitlochry Festival. Pitlochry Festival Theatre 2005 summer season. Pitlochry: Pitlochry Festival Theatre, 2005.

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The miracle theatre: The Chichester Festival Theatre's coming of age. Newton Abbot: David & Charles, 1987.

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Theatre, Pitlochry Festival. Festival '86: Souvenir programme. Pitlochry: Pitlochry Festival Society, 1986.

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Theatre Festival (1998 Kathmandu, Nepal). Theatre Festival 12-18 June 1998, Kathmandu. [New Delhi]: The School, 1998.

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teatar, Ambijentalni pozorišni festival Tvrđava. Ambijentalni pozorišni festival Tvrđava teatar 02: Sviraj to ponovo, Sem = Site-specific Theatre Festival Fortress Theatre 02 : Play it again, Sam. Smederevo: Tvrđava teatar, 2010.

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Newstead, Anya. Visions94, the festival of international animated theatre: Documentation and evaluation report. Brighton: University of Brighton, 1995.

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Book chapters on the topic "Theatre festival"

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Kleberg, Lars. "Iconoclasm and Festival." In Theatre as Action, 2–7. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22867-6_1.

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Sen, Ong Keng. "Festival dramaturgy." In The Routledge Companion to Theatre and Politics, 185–88. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge theatre and performance companions: Routledge, 2019. http://dx.doi.org/10.4324/9780203731055-46.

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White, Willie. "Festivals and Curation: What Is a Festival For?" In The Palgrave Handbook of Contemporary Irish Theatre and Performance, 631–36. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58588-2_44.

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McCluskie, Gary. "Festival Theatre, 1957 Stratford, Ontario, Canada." In Modern Theatres 1950–2020, 156–67. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-21.

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Armitstead, Claire. "LIFTing the Theatre: The London International Festival of Theatre." In Contemporary British Theatre, 152–65. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-25091-2_11.

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Armitstead, Claire. "Lifting the Theatre: The London International Festival of Theatre." In Contemporary British Theatre, 152–65. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23078-5_11.

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Cummings, Scott T. "The Humana Festival of New American Plays." In The Theatre of Les Waters, 200–203. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003170808-49.

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Sacco, Daniela. "Reenactment in Theatre." In Cultural Inquiry, 131–40. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_14.

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Theatre, because of its ability to represent through restaging, would seem to be the quintessential platform for reenactment. The Orestea (una commedia organica?) by R. Castelluci and Socìetas Raffaello Sanzio, restaged at the Paris Automne Festival in 2015, twenty years after its 1995 world premiere in Prato, is the starting point for a reflection on the status of restaging in theatre. This case study is the occasion to apply Walter Benjamin’s philosophical concept of the Jetztzeit to a theatrical context, and to consider also the ‘citational’ value of theatrical reenactment. These concepts are useful to study not only the reenactment of theatrical gesture and acting but also to consider the practice of restaging related to the theatrical event conceived in its entirety.

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McMahon, Christina S. "Toward a Conclusion: Forum Theatre in Festival Venues." In Recasting Transnationalism through Performance, 164–82. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137006813_6.

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Read, Gray. "The Festival of Seeing Others and Being Seen: Theatre of Space." In Modern Architecture in Theatre, 43–61. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137368683_3.

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Conference papers on the topic "Theatre festival"

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Foster, Frank, and Joan Collins. "Computer animation festival/electronic theatre." In ACM SIGGRAPH 95 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '95. New York, New York, USA: ACM Press, 1995. http://dx.doi.org/10.1145/216037.225466.

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Fischer, Andre. "New transmedia design for traditional film festivals." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.

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The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced and consumed. The convergence of media made porous the boundaries between what are conventionally called video, cinema, theater and performance. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. To understand the potential of transformations, the study investigates in depth the experience of MixBrasil Festival, largest LGBTQIA+ cultural event in Latin America, created in 1993, showcasing multiple formats and techniques (cinema, theater, music, literature). With digital content being programmed since 2018, in 2020 it expanded its online exhibition to four different digital platforms. The study is carried out concurrently with the monitoring of MixBrasil and other film festivals held in Brazil, considering what strategies are being adopted and how they will stand out as innovative - or just replications of the traditional movie theater model. It also aims to identify processes, paths and perspectives for the sector considering that the old template for launching films used since the 1950´s might no longer be applicable to the current state of the industry. Facts and trends that are forcing these events to face a crisis of identity and questioning the viability of a (still) prestigious circuit. Platformization implies the adoption of online functionalities integrated at economic and infrastructure levels which fully affects the organization strategies of festivals. Therefore, a change in the way of thinking the place of film festivals in the industry chain is in progress: as a possible space for capturing data from the public to support future curatorships and permanent actions which would make them more dynamic and relevant. Associated with this process is the notion of attention economy and the reorientation of users as active producers of culture, in the way they can affect the hybrid future of festivals. Metrics recurrently used like engagement, geolocation, retention and abandon rates are necessary to identify obstacles and potentialities that the new scenario presents. The research is raising additional questions about the behavior and expectations of different age groups, the motivations of audiences for attending festivals. It also investigates why although movie theaters are closing, distributors keep restrictions on festival theatrical screenings. This is a unique opportunity to reflect on perspectives for audiovisual festivals in order to capture viewers' attention, reposition their relevance to society, get the (re)cognition of different audiences and forge new experiences.

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Krogmann, Alfred, Lucia Petrikovičová, and Hilda Kramáreková. "Percepcia podujatí cestovného ruchu v meste Nitra ich návštevníkmi." In XXIV. mezinárodního kolokvia o regionálních vědách. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9896-2021-29.

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Systematic analysis of the impact of tourism can help entrepreneurs in tourism and participants in local government. Research on the perception of the effects of tourism on the population is useful in introducing new forms of tourism and the creation of developmental programs. The aim of paper based on the survey questionnaires of the events "Opening of the tourist season in Nitra" in 2014 and "Opening Nitra´s cultural summer" in 2019 is to identify the perception of these very popular events by their visitors. Analysis of the results is a reference basis on which it will be possible to identify specifics and changes in tourism in Nitra in relation to the period marked by the pandemic COVID-19. In both years, information was obtained from 307 of respondents through a questionnaire survey. Subsequently, they were processed and visualized in Microsoft Excel. The results of both surveys pointed to the continuing interest in events in Nitra. In general it can be stated that most of the most attended events (except international theatre festival Divadelná Nitra) is gastro targeting a relatively smaller share of cultural content. The implementation of the questionnaire surveys are perceived as a very important source of feedback from visitors, resp. inhabitants also from the Municipal Office in Nitra point of view.

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Grant, Darin. "Computer animation festival trailer." In ACM SIGGRAPH 2003 video review on Electronic theater program. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/1006032.1006055.

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Falsetti, Marco, and Pina Ciotoli. "Introverted and knotted spaces within modern and contemporary urban fabrics: passages, gallerias and covered squares." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5913.

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The scenic plaza mayor shares with the theater organisms some formative characters, since they both derive from a transformation, by knotting, of pre-existing buildings and fabrics. This architectural transformation is generated, at the beginning, by a change in the modalities of using public space. As for the corral de comedias, the process is due to the sedentarization of the theatrical practice, which abandons the itinerant dimension of the street to move inside the buildings (such as private homes and palaces). The original corral de comedias was in fact set up inside an open place that could be covered, and this feature became permanent over time, creating a new building type. Similarly, since the sixteenth century, squares became the fundamental location of Spanish civic life as well as they hosted all sorts of political, religious and festive representations, but also the venue of executions. For this purpose, namely to allow people to watch such events, the squares were transformed, by raising temporary walls and walkways. In some cases, like Tembleque and San Carlos del Valle, they began to realize permanent continuous balconies, with solutions that seem to have followed the same morphological evolution of corrales de comedias. In both cases it was necessary to unify different elements (buildings or rooms) and connect them to each other, through a process of “knotting”, in order to create a new organism. Over time the physiognomy of the spaces, originally open, assumed the permanent characters of a new type, closed and similar to the courtyard of a “palazzo”.

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Marova, E. S., and K. E. Romanova. "FORMS OF ORGANIZING THE CREATIVITY OF YOUNG FASHION DESIGNERS: THE FESTIVAL OF YOUTH FASHION THEATERS «THE WORLD OF THE YOUNG» AND ITS ROLE IN THE ACQUISITION OF NATIONAL FASHION." In Построение систем управления устойчивым развитием территории: аспекты цифровизации. Иваново: Ивановский государственный политехнический университет, 2021. http://dx.doi.org/10.47367/978-5-88954-515-6_2021_1_7.

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Reports on the topic "Theatre festival"

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.

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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.

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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.

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