Journal articles on the topic 'Theatre manager'
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1
Featherstone, Ann. "‘A Good Woman of Business’: The Female Manager in the Portable Theatre." Nineteenth Century Theatre and Film 45, no. 1 (May 2018): 9–26. http://dx.doi.org/10.1177/1748372718791052.
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The portable theatre embraced and valorised women throughout its 150-year history (from around 1800 to 1950), taking dramatic performances to towns and cities throughout the United Kingdom and Ireland. Mothers, wives and daughters were also actors and managers in these travelling companies, in close family units, and their career paths reflected both their skills and opportunities. Their working lives were physically hard, often organising theatrical licenses and recruiting professionals, as well as performing themselves. Many women combined the leading lady roles with management and caring for their children. Others were forced to relinquish an acting career to concentrate upon business. Mrs Marie Livesey, with six children to care for, fulfilled her late husband’s ambition to build a permanent theatre and did so, in part, with revenue from her portable theatre. Women managers of portable theatres were respected in their business and their achievements challenge the perception that all theatrical women laboured under ‘restricted conditions’.
2
McConachie, Bruce A. "William B. Wood and the “Pathos of Paternalism”." Theatre Survey 28, no. 1 (May 1987): 1–14. http://dx.doi.org/10.1017/s0040557400008942.
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Theatre historians have been kind to William B. Wood, actor and co-manager of the Chestnut Street Theatre in the early nineteenth century. Reese D. James, in his Old Drury of Philadelphia: A History of the Philadelphia Stage, 1800–1835 (1932), set the sentimental tone that subsequent historians would echo. Relying extensively on Wood's Personal Recollections of the Stage (1855), James lamented that the Chestnut Theatre, following the breakup of Warren and Woods' management in 1826, became “a body without a soul.” In his Theatre U.S.A. (1959), Barnard Hewitt quoted copiously from Wood's Recollections, allowing the co-manager the final word on the deleterious effects of the star system. Calvin Primer's two articles published in the 1960s on Warren and Wood continued the tradition, picturing both managers as the unfortunate victims of rapacious stars.
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Hughes, Amy E. "Harry Watkins's Sword: An Object Lesson in Nineteenth-Century US Theatre Culture." Theatre Survey 59, no. 3 (July 27, 2018): 340–62. http://dx.doi.org/10.1017/s0040557418000297.
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For US actor, playwright, and theatre manager Harry Watkins (1825–94), the 1852–3 season was a whirlwind of ups and downs, elation and despair, triumph and tragedy. His engagement as an actor in C. R. Thorne's stock company at the New York Theatre ended abruptly in mid-September, leaving him without work at a point when few theatres were hiring. He mourned the loss of a beloved cousin, Jane Mott, who passed away one rainy day in October after a drawn-out illness. He endured many a headache while spearheading a fund-raising effort among his fellow actors to contribute a memorial stone to the Washington Monument. He was elected to the board of the American Dramatic Fund Association, but infighting among the directors left him feeling insulted and underappreciated, ultimately leading him to cease his involvement. By far, his biggest frustration was his inability to obtain reliable employment. He wrote many letters to many managers, to no avail. More than once, he considered giving up the theatre altogether.
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Cowhig, Ruth M. "Ira Aldridge in Manchester." Theatre Research International 11, no. 3 (1986): 239–46. http://dx.doi.org/10.1017/s0307883300012372.
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On Saturday, 10 February, 1827, the Manchester Guardian announced the coming appearance of ‘the African Roscius’ at the Theatre Royal, Manchester. After referring to ‘his success in New York and in all the principal theatres in the United States’ and to his performances ‘in the Theatres Royal, Bath, Bristol, Brighton, Plymouth, Exeter, and upwards of fifty nights at the Royal Coburg Theatre, London, with universal approbation’, the notice states that he will spend one night in Manchester on his way to Edinburgh and Glasgow. A note in the Manchester Courier the following week (17.2.1827) emphasizes the adventurous nature of the theatrical event, telling the public that ‘the spirited manager of this establishment seems determined to spare no pains to render the theatre as attractive as circumstances will permit’. The attitude behind this retains a protective ambiguity towards the experiment.
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Franklin, Jo. "The theatrical and the accidental academic: An autoethnographic case study." Arts and Humanities in Higher Education 18, no. 4 (September 18, 2017): 281–95. http://dx.doi.org/10.1177/1474022217731543.
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This article is an autoethnographic account of my journey from theatre stage manager to academic stage manager. Performing arts education and training in Higher Education is a diverse field, ranging from small private institutions to large research lead universities. Professional practitioners (performers, stage managers, technicians, designers, directors, etc.) are sought by all types of institution to share their expertise in teaching, yet find themselves working in a world that is familiar (the theatre) but at the same time alien (the academy). Those who make a successful transition find a way to reconcile these contrasting worlds. I hope, through this paper, to contribute to discussion of the challenges this transition entails through critical reflection and contextualisation of my personal journey.
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Nikolić, Sanela. "The opera question in Belgrade as 'staged' by Milan Grol." New Sound, no. 43-1 (2014): 107–22. http://dx.doi.org/10.5937/newso1443107n.
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Writer, politician, and dramaturge Milan Grol can be credited with the most important contribution of an individual to the modernization of the National Theatre in Belgrade. A reformer, legislator, organizer of international theatre cooperation, and manager of the National Theatre, he also played a key role in defining 'the opera question' in Belgrade during the first two decades of the 20th century. Commendable as his activities were in terms of the institutional organization and advancement of South Slavic theatres, it must also be noted that owing to his unfavorable attitude towards the performance of opera at the National Theatre, the development of its opera ensemble and establishment of an artistically worthy opera repertoire at this theatre came to a halt in the first decade of the 20th century. Grol's views about opera at the National Theatre reflect a striking ambivalence in his dual professional personality of a politician and writer. As a member of the Independent Radical Party, he supported a pro-European orientation and cultural elitism, which were meant to serve democratic and educational goals. However, when it came to the question of opera at the National Theatre, he abandoned his guiding principles devoted to modern European standards. Grol thus reinterpreted his firm political basis in the field of partisan clashes and appropriated the power to regulate the repertoire of the National Theatre; yet, for all that, he never gave up his primary vocation of a writer and dramaturge, who saw the presentation of the highest aesthetic achievements of national and European literature as the sole purpose of the institution he managed.
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Koskinen, Kaj U., and Pekka Pihlanto. "The Project Manager in the Theatre of Consciousness." International Journal of Knowledge Society Research 1, no. 4 (October 2010): 20–31. http://dx.doi.org/10.4018/jksr.2010100102.
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This paper focuses on knowledge management stressing an individual project manager’s point of view. First, the authors outline two knowledge management strategies as well as the notion of project manager. The authors concentrate on the project manager’s knowledge creation and communication using the so-called theatre metaphor for conscious experience. According to this metaphor, the human brain and consciousness work together like a theatre. With the help of the metaphor, the authors describe and attempt to understand important aspects of the project manager’s mental action in the above tasks.
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Nygaard, Jon. "Popular Theatre - Highbrow or Lowbrow." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 48. http://dx.doi.org/10.7146/nts.v29i2.104605.
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For 13 years, from 1851 to 1864, Ibsen worked full time at the Norwegian theatres in Bergen and Christiania (Oslo) as a stage director and theatre manager. Ibsen’s period in the theatre and the repertory he staged have seldom enjoyed much attention in scholarly research. The reason for this has been that the repertory Ibsen staged has been seen as vulgar and lowbrow, and Ibsen’s period in the theatre has almost unanimously been seen as a waste of time. The general understanding has been that Ibsen’s development as an artist had been much faster if he had been working with a highbrow repertory of serious drama.Contrary to this established opinion I will contribute to the discussion of popular theatre as highbrow or lowbrow by presenting the production A Caprice (En Kaprice) by Erik Bøgh, staged by Henrik Ibsen at the Norwegian Theatre in Christiania (Oslo). It premiered 7 September 1859 and then ran for another thirty-five performances during the 1859-60 season. The total number of attendances was more than 30.000. In relation to the population of the town of 42.000, it was about 2/3 or 67%. This is the by far largest box-office success in Norwegian theatre history. No wonder that Ibsen scholars generally have understood A Caprice as the ultimate example of the unholy trade Ibsen was forced into as a theatre manager. According to Michael Meyer Ibsen for the only time in his life “rebuked for truckling to the box-office” (Meyer 1971, 166). The contemporary criticism in Morgenbladet (Nr. 278, 9.10.1859) claimed that Ibsen was declining the Norwegian Theatre in Christiania into a kind of amusement ground for the lower classes.I will, however, present A Caprice as the summit of Ibsen’s theatrical career and underline that both this and other dance productions staged by Ibsen in this period, were not at all amusement for the lower classes but on the contrary important expressions of his artistic creativity and development – and actually a highbrow performance presented for an upper class audience.
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Wichsova, Jana, and Jana Škvrňáková. "Key Skill Management in Operating Room – Results of ERASMUS+ project." Revista Romaneasca pentru Educatie Multidimensionala 13, no. 2 (July 2, 2021): 78–89. http://dx.doi.org/10.18662/rrem/13.2/411.
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The Key Skills Management in Operating Room (KSMOR) was a project that assessed key skills, knowledge, procedures and the degree of adaptation of perioperative nurses in operating theatres in the countries of the European Union (EU). Five EU countries participated in data collection. The respondents were perioperative nurses divided into two groups (with experience in operating rooms up to 2 years and over 2 years). The third group consisted of operating theatre managers who participated in the data collection and subsequently evaluated the user-friendliness of the questionnaires used for the data collection. The user-friendliness of the questionnaires was also assessed by all the perioperative nurses participating in the data collection. The majority of respondents from the Czech Republic rated the level of knowledge/skills at a good level, i.e. 2 points ("You are independent, you manage the procedure normally in your daily routine"), even for the group of the respondents with the length of experience in operating rooms up to 2 years. Both the managers and the perioperative nurses assessed the user-friendliness of the questionnaire on skills and knowledge of perioperative nurses positively. The output of the KSMOR project is an electronic version of the questionnaire on skills and knowledge of perioperative nurses, which enables evaluation and training of perioperative nurses not only in basic skills but also in very specific ones according to the particular field. It is also a suitable tool for the operating theatre manager for the management and evaluation of perioperative nurses, planning and support of educational activities and its subsequent integration into the operation of operating theatres.
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Lawrence, Robert G. "Vaughan Glaser on Stage in Toronto 1921-1934." Theatre Research in Canada 9, no. 1 (January 1988): 59–80. http://dx.doi.org/10.3138/tric.9.1.59.
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The American actor and stock-company manager Vaughan Glaser settled in Toronto to operate an extraordinarily popular repertory company at the Uptown and Victoria theatres, September 1921-June 1928, with occasional appearances later. His carefully chosen comedies, musicals, pantomimes, melodramas and infrequent serious dramas contributed significantly to the great vogue for stock theatre in Toronto before radio, talking films, and the Depression brought it to an end.
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FAUST by Johann Wolfgang von Goethe, from:. "Prelude at the Theatre." Scenario: A Journal of Performative Teaching, Learning, Research V, no. 2 (July 1, 2011): 1–12. http://dx.doi.org/10.33178/scenario.5.2.1.
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In this rubric we present various perspectives on theatre – historical and contemporary, intercultural and culture-specific, unexpectedly weird, unusually suspenseful, disturbedly gripping, fascinatingly enigmatic … The following extract is taken from Johann Wolfgang von Goethe’s tragedy FAUST (first published in 1808). A conversation between a theatre director, a writer (and a “merry person“) revolves around a fundamental question: to what extent should the audience’s desire for entertainment be the deciding factor when staging plays? Goethe worked on Faust nearly two centuries ago, but the text is still of high topicality nowadays, particularly in the face of increasing pressure on educational and cultural institutions. Indeed, the justification of performances is often intricately tied to measurable success (i.e. audience size). Apart from this we are looking at a downright pedagogical question: what plays should be staged, by which means, and to what end? MANAGER — DRAMATIC POET — MERRY-ANDREW MANAGER You two, who oft a helping hand Have lent, in need and tribulation. Come, let me know your expectation Of this, our enterprise, in German land! I wish the crowd to feel itself well treated, Especially since it lives and lets me live; The posts are set, the booth of boards completed.
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Duckett, Victoria. "The Actress-Manager and the Movies: Resolving the Double Life of Sarah Bernhardt." Nineteenth Century Theatre and Film 45, no. 1 (May 2018): 27–55. http://dx.doi.org/10.1177/1748372718795562.
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Sarah Bernhardt is one of the most globally celebrated actress-managers of the late nineteenth century. Bernhardt’s fame, however, is rarely associated with silent film. This article explores the coincidence between Sarah Bernhardt’s role as a theatrical manager in the late nineteenth and early twentieth century and her pioneering work in the nascent film industry. I argue that Bernhardt was not only a performer and manager in the theatre, but a creative agent in modern media industries. Questions about the relationship between Bernhardt and early film allow us to discuss the formation of female business experience in the theatre and its subsequent movement into a cinematographic culture that would dominate and define twentieth-century culture and commerce. Even if Bernhardt is regarded as a ‘lone entrepreneur’ and therefore extraneous to broader national discussions of theatrical industrialisation, it is important to understand the impact she has as a media celebrity who used film in order to expand her own twentieth-century global marketability.
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Carroll, Kathleen L. "The Americanization of Beatrice: Nineteenth-Century Style." Theatre Survey 31, no. 1 (May 1990): 67–84. http://dx.doi.org/10.1017/s0040557400000995.
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To nineteenth-century theatre managers, who believed in the play as a commercial venture rather than an aesthetic one, portrayal of the modern American woman presented a dilemma. Sophisticated theatregoers, familiar with the rhetoric of the women's suffrage movement, looked to female role models for direction on how to maintain a delicate balance between independence and subservience: to project strength of convictions without loss of femininity (traditionally measured by male desirability), and to remain dependent on the economic necessity of marriage (Ziff, 278–80). Speculative theatre managers found Shakespeare's comedies especially adaptable to modern audience's tastes because the plays lacked stage directions, required no royalty payments, were exempt from copyright laws, and centered on ambiguous female characters. American audiences, believing they were becoming cultured, supported Shakespearean revivals, and strongly applauded those plays Americanized by theatre managers. Two late nineteenth-century productions of Much Ado About Nothing, one in 1882 by Henry Irving, the other in 1896 by Augustin Daly, clearly demonstrate how each speculative manager, acting in the name of art, refashioned Shakespeare's text and interpreted Beatrice around his own ideal of femininity, an ideal each believed American audiences would endorse.
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Lamont, Sue. "A SWAB Story." British Journal of Perioperative Nursing (United Kingdom) 15, no. 11 (November 2005): 495–99. http://dx.doi.org/10.1177/175045890501501104.
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This is a tale of when radio-opaque strips in surgical swabs aren't always radio-opaque. Sue Lamont has a 30-year background as a theatre nurse and a theatre manager. Her current role is clinical procurement and risk management coordinator for Surgical Services at the University Hospitals of Leicester NHS Trust. A recent experience illustrated her job's many challenges.
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Zhestkova, Olga V. "Henri Duponchel and the Birth of Romantic Theatrical Decor." Observatory of Culture, no. 4 (August 28, 2014): 66–74. http://dx.doi.org/10.25281/2072-3156-2014-0-4-66-74.
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Is devoted to Henri Duponchel, the brightest personality in Romantic musical and theatrical art. Being an architect, stage and costume designer, stage director and theatre manager of Académie Royale de Musique, he was the first who made Paris audience interested in Medieval colours, which became an essential part of Romantic theatre setting. Duponchel’s work and his input to development of the French grand opera are analysed within the Russian art criticism tradition for the first time.
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Sutherland, Lucie. "‘The Power of Attraction’: the Staging of Wilde and his Contemporaries at the St James's Theatre, 1892–1895." New Theatre Quarterly 31, no. 1 (January 30, 2015): 33–48. http://dx.doi.org/10.1017/s0266464x15000044.
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The actor-manager system remained pivotal to West End production throughout the later nineteenth century. Focusing on one actor-manager, George Alexander, and using records of his expenditure on productions during the early 1890s, Lucie Sutherland demonstrates how financial data can be used to examine evolving relationships between industry leaders and dramatic authors in this era. She argues that this kind of evidence demonstrates not only the fiscal dimension to such relationships – level of investment per production, percentage of royalties paid – but also that the data may be analyzed to ascertain the responsiveness of an actor-manager to income generated. Here, significant attention is paid to box-office revenue and expenditure for the first productions of Lady Windermere's Fan and The Importance of Being Earnest, exploring the income Alexander achieved by staging Wilde's drama prior to the arrest and trials of 1895. The use of quantitative data allows for close scrutiny of the work undertaken by prominent figures in the professional theatre; familiar narratives can be contested and endorsed through engagement with this type of material. Lucie Sutherland is a Teaching Associate in Drama and Performance at the University of Nottingham. She has written on aspects of nineteenth- and twentieth-century British theatre, including regional performance cultures and the impact of increasing professional regulation (for example the emergence of an actors' union) upon commercial theatre. She is currently completing a critical biography of Alexander.
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Udengwu, Ngozi. "Funmilayo Ranco: Feminist Self-Assertion in Late-20th-Century Yoruba Traveling Theatre." TDR/The Drama Review 63, no. 1 (March 2019): 52–63. http://dx.doi.org/10.1162/dram_a_00816.
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Funmilayo Ranco was a radical self-proclaimed feminist in 1960s Nigeria. As the only female actor-manager in the professional Yoruba traveling theatre, she upended the conventions of the popular form’s opening and closing glee entertainments to assert her complex gender expression.
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Bowers, Rick. "John Lowin: Actor-Manager of the King's Company, 1630–1642." Theatre Survey 28, no. 1 (May 1987): 15–35. http://dx.doi.org/10.1017/s0040557400008954.
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The most prominent names associated with the King's Company in the first half of the seventeenth century include Shakespeare, Burbage, Heminges and Condell. Yet John Lowin, one of the “Principall Actors” listed in the Heminges and Condell First Folio of Shakespeare and a leading performer for over half a century, rarely rates more than a mention. According to theatre historian G.E. Bentley, Lowin “was, of course, one of the most important Jacobean and Caroline actors”; and it is the use of the phrase “of course,” that apology for stating the obvious, along with a scarcity of biographical fact that combine to obscure Lowin's reputation so tantalizingly.
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Jackson, Russell. "Oscar Asche: an Edwardian in Transition." New Theatre Quarterly 12, no. 47 (August 1996): 216–28. http://dx.doi.org/10.1017/s0266464x00010216.
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Oscar Asche is one of a number of Edwardian actor-managers who have been largely ignored by theatre historians in favour of the dominant figure of Herbert Beerbohm-Tree. Asche was one of that generation of directors, which also included Lewis Waller, Sir John Martin-Harvey, and Arthur Bourchier, who regarded the staging of pictorial productions of Shakespeare as a sign of status – a claim to be taken seriously in his profession. He had an adventurous career, representative in many respects of the energy and enterprise that characterized the Edwardian theatre – yet his work also exemplified attitudes and practices that would be discounted by a generation of playgoers enthused by different ways of interpreting Shakespearean drama, a new theatrical aesthetic, and the broader social and educational aims of the non-commercial stage. After his death in 1936, he was remembered more as the author of one of the new century's most successful romantic fantasies – Chu Chin Chow – than as a Shakespearean actor-manager. The author of this reassessment, Russell Jackson, is Deputy Director of the Shakespeare Institute, University of Birmingham. His publications include editions of plays by Wilde and Jones, and Victorian Theatre: a New Mermaid Background Book (1989). He is currently working on a study of Shakespeare in Victorian criticism and performance.
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Howard, Tony. "‘A Piece of Our Life’: the Theatre of the Eighth Day." New Theatre Quarterly 2, no. 8 (November 1986): 291–305. http://dx.doi.org/10.1017/s0266464x0000230x.
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Poland's Teatr Osmego Dnia – the Theatre of the Eighth Day – has survived for 22 years, with essentially the same personnel since the early seventies, and with a constant commitment to social engagement. The group – which has never included trained actors, because, according to director Lech Raczak, any graduate of a Polish theatre school, ‘cannot act with his whole self’ – was a major voice of protest for the Polish student generation of 1968. Despite constant harassment and frequent arrests, it continues both to inspire and record the work of young oppositional theatres, although in 1985 it was forced to split when six members toured western Europe whilst four others, denied their passports, played in Polish churches. What follows is a collage of two interviews conducted that autumn – in London with Tadeusz Janiszewski, Adam Borowski, and Leszek Sczaniecki, and in Poznan with Lech Raczak and Marcin Keszycki. They discuss the importance of Grotowski for their generation: their working method, based on group improvisation; the function of poetry in physical theatre; their major productions; and the day-to-day survival strategies of a collective dedicated to exploring the expressive and political potential of the actor. The interviews were assembled by Tony Howard, a playwright who also teaches English in the University of Warwick, and who expresses his thanks to the many people who made this feature possible – especially Nick Gardiner, the ‘European’ group's manager, and the translators. Ewa Elandt and Ewa Kraskowska.
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Howard, Tony, and Tomasz Łubienski. "The Theatres of Józef Szajna." New Theatre Quarterly 5, no. 19 (August 1989): 240–63. http://dx.doi.org/10.1017/s0266464x00003328.
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In the summer of 1988 two events focused British attention on the great Polish scenographer Józef Szajna: he participated in an ambitious seminar at the Young Vic on the legacy of the absurd, and in a BBC documentary on the art produced by holocaust victims and survivors. After the war, Szajna emerged as a central figure for Polish theatre and then for the international avant-garde. He became a stage designer, sculptor, director, environmental artist, manager, scenarist and teacher. In the 1970s, Szajna created his famous series of dramatic ‘open theatre’ spectacles inspired by the lives and art of Witkiewicz, Dante, Cervantes, Mayakovsky - and Szajna. For Józef Szajna's biography has been extraordinary, harrowing, and iconic. His work has questioned the functions of theatre after Auschwitz and Hiroshima. In his Warsaw flat-cum-studio and at the Studio Theatre, he surveyed forty years of work for New Theatre Quarterly, in conversation with the playwright Tomasz Lubienski - from a more literary theatrical tradition - and with Tony Howard, who here compiles a collage portrait of his career. The translations are by Barbara Plebanek.
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Ross, Ina. "The Mobile Theatre Movement in India: a Success Story in Assam." New Theatre Quarterly 33, no. 1 (January 10, 2017): 65–77. http://dx.doi.org/10.1017/s0266464x16000646.
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Taking mobile theatre in Assam as an example, Ina Ross questions in this article how professional, contemporary theatre can be successful in India, where it is considered to be a niche culture and economically precarious. She examines what would be needed for contemporary theatre in India to appeal to all segments of the population and asks how the theatre can compete with its omnipresent big brother, the cinema. A brief historical introduction to the mobile theatre movement is followed by an analysis of recent performances, complemented by interviews conducted with the major players in Assam's mobile theatre movement. The article shows that the success of mobile theatre is not to be found on the stage alone: it is also a social and societal model that is lived and experienced with the audience, and this ultimately is the key to its success. Ina Ross is a cultural manager with a focus on the performing arts. She has held the position of Associate Professor at the Ernst Busch Academy of Dramatic Art in Berlin, and since 2015 has been teaching arts management at the National School of Drama (NSD) in Delhi. She is the author of Wie überlebe ich als Künstler? (How to Survive as an Artist, 2013).
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Pagani, Maria Pia. "Eleonora Duse: An Actress-Manager for the Italian Film Industry in the 1910s." Nineteenth Century Theatre and Film 45, no. 1 (May 2018): 81–95. http://dx.doi.org/10.1177/1748372718787369.
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From a historiographical point of view, the Italian diva Eleonora Duse (1858–1924) as an actress-manager offers an original case study in relation to her only film performance in Cenere ( Ashes, 1916). This is a film adapted from the eponymous novel by Grazia Deledda (Nobel Prize for Literature in 1926). In the 1910s, when Duse decided to work in the Italian film industry, she was a celebrity and her name was a guarantee of success for the Ambrosio Company in Turin. The film producers wanted to use her celebrity in order to ensure success at the box office. As an actress-manager with a long and acclaimed international career in the theatre, Duse knew this mechanism very well, but her position was contrary to their expectations. In fact, she aimed to present herself as an anti-diva, with her wrinkle-furrowed face and white hair, proposing a fascinating artistic creation based on the ‘mother roles’ that she had created for the theatre. This paper explores new elements concerning the position of Duse as an actress-manager for the Italian film industry in the 1910s. It is focused on her strategy of reiterating her stage success in playing a mother. On film, she did not want to be an instrument used for commercial purposes, and she did not want to create a common popular diva film. With Cenere, Duse's capability as an actress-manager can be seen in her creation of this non-conventional, poetic role for the silent film industry in wartime Italy.
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Scouten, Arthur H., and Mary Edmond. "Rare Sir William Davenant: Poet Laureate, Playwright, Civil War General, Restoration Theatre Manager." Yearbook of English Studies 20 (1990): 265. http://dx.doi.org/10.2307/3507565.
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Resing, Mary C. "Source Theatre Company and the Mandate of the NEA: a Case Study." New Theatre Quarterly 11, no. 42 (May 1995): 128–34. http://dx.doi.org/10.1017/s0266464x00001147.
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The controversy in the United States surrounding the funding of ‘offensive‐ and ‘pornographic‐ works by the National Endowment of the Arts (NEA) has centered on whether or not the organization should espouse a morally conservative outlook in regard to the public funding of artistic works. However, the NEA arguably already pursues conservative policies rooted in its vision of the form, function, and outlook of the arts it exists to serve. The appointment of the actress Jane Alexander as chair of the NEA may have indicated that the organization would become more liberal in its moral stance, but the question remains: can government-supported art be anything but conservative? The following is a case study of one theatre's relationship to the NEA in the context of the Washington, DC, theatre community. The author, Mary C. Resing, is a former business manager of New Playwrights' Theatre in Washington, DC, and a former grant writer at the University of North Carolina at Chapel Hill. She is currently working on her dissertation on the actress-manager Vera Kommissarzhevskaia.
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Schwind, Klaus. "“No Laughing!” Autonomous Art and the Body of the Actor in Goethe's Weimar." Theatre Survey 38, no. 2 (November 1997): 89–108. http://dx.doi.org/10.1017/s0040557400002088.
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In his “Special Formal Report” of 24 April 1808, Weimarian court actor Heinrich Becker informed his superiors about a little theatrical irregularity. Becker was reporting in his official function as controlling supervisor for representations—a kind of stage manager for the theatre. By this report the “graciously decreed Noble Saxonian Commission for Direction of the Court Theatre,” chaired by Johann Wolfgang von Goethe, had to take official notice of the following punishable histrionic faux pas:Wednesday the 20th of April during the performance of Piccolomini [Schiller's] in the scene with the butler Actus 3, Scene 3. Mister Morhardt has willfully acted the cavalry captain Neumann in a comical way.
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White, Graham. "Direct Action, Dramatic Action: Theatre and Situationist Theory." New Theatre Quarterly 9, no. 36 (November 1993): 329–40. http://dx.doi.org/10.1017/s0266464x0000823x.
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In exploring the relationship between situationist theory and theatre in the period of the ‘counter-culture’ in Britain, the following article seeks to provide an account of the ‘spectacularization’ of political action through the language and forms of drama. The relatively neglected work of Raoul Vaneigem is examined for its treatment of theatricality as one of the organizing discourses of the spectacle, and the suggestion that ‘drama’ is a constant choreographic presence in the social world is explored alongside related ideas concerning the dramatization of everyday life in the work of Raymond Williams and Aida Hozic. Attempts to ‘disrupt the spectacle’ through political action during the period of the counter-culture are discussed in relation to this material. Graham White is Lecturer in English at King's College, University of London, and has been Literary Manager of the Finborough Theatre since 1990.
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Mori, Mitsuya. "Intercultural Problems and the Modernization of Theatre in Japan." Theatre Research International 20, no. 2 (1995): 149–55. http://dx.doi.org/10.1017/s0307883300008397.
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Shakespeare was first produced in Japan in a version fairly faithful to the original when, in 1903, the actor-manager Kawakami Otojiro, who came from outside the Kabuki world, directed Othello. Some reviewers were quite critical of the production, saying that it would make no sense to call this genuine Shakespeare since the serious drama was played so badly as to become comic. Others were more sympathetic and said that one had to be satisfield with this brave undertaking since the audience seemed to have enjoyed it very much. However, most critics did not see the entire performance, either arriving late or leaving before the end. Yet they seem to have felt no need to apologize: they had simply followed the usual custom of theatre-going practised by Kabuki audiences.
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Vickery, Anthony. "Stage, Page, Scandals, and Vandals: William E. Burton and Nineteenth-Century American Theatre. By David L. Rinear. Carbondale: Southern Illinois University Press, 2004; pp. 272. $55.00 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 335–37. http://dx.doi.org/10.1017/s0040557405330201.
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One of the seven titles in Southern Illinois University Press's Theatre in the Americas series, David Rinear's book elevates the early nineteenth-century actor-manager William E. Burton to the front ranks of American theatre in the period of transition from stock companies to touring stars. As Rinear writes, “no one in the theatrical or literary world of pre–Civil War America left a mark so thoroughly on his age as William E. Burton. He was lauded as the greatest comic actor of his age, and his managerial acumen provided him with a tremendous fortune” (xii). Perhaps because Burton specialized in such little-studied areas as low comedy and management, this is the first thorough study to give due attention to his career.
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Tapper, Janne. "Performance-in-Business." Nordic Theatre Studies 30, no. 1 (August 2, 2018): 165–83. http://dx.doi.org/10.7146/nts.v30i1.106928.
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My article, “Performance-in-Business: Armi Ratia’s Marimekko”, examines what happens to artistic performance in the concept of arts-in-business. In theatre and artistic performance, artistic thinking has traditionally been considered primary over economic thinking, but in arts-in-business the goal has been economic. The concept of arts-in-business, created in the 2000s, involves the strategic use of artistic elements in business in order to develop the creativity, problem-solving abilities, and innovativeness of employees as well as the brand of the business company. I will analyze the use of theatre as part of two historical forms of arts-in-business, the Bauhaus movement in Germany from 1919 to 1933, and the 2000s concept of arts-in-business. Regarding the latter, I will draw meanings from Lotte Darso’s (2004), Giovanni Schiuma’s (2011), and Jon McKenzie’s (2001) research on performance in business. After initiating a dialogue between these two approaches, I will provide a new theory for arts-in-business and apply it to Marimekko’s business practice. McKenzie (2001), as well as other studies of arts-in-business in the 2000s, does not emphasize the role of the manager-as-an-artist. In this article, I claim that only if the manager initiates artistic practice and the arts are interrelated to the product, can the arts penetrate the whole enterprise because of the role of managers in making constitutive decisions for the business. I will argue that some managers are able to do this. Ratia’s Marimekko is my exemplary case. As the key concept of my new theory of performance-in-business I employ performance scholar Josette Féral’s (2002) cognitively-oriented theory of theatricality based on the concept of a cleft and its variants in other theories. In the last section of this article, I will examine the Finnish fashion design company, Marimekko, under the management of Armi Ratia, as a business that employs the theatricality of clefts.
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Bottomore. "From Theatre Manager to Globetrotting Cameraman: The Strange Career of Charles Rider Noble (1854–1914)." Film History 24, no. 3 (2012): 281. http://dx.doi.org/10.2979/filmhistory.24.3.281.
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Schmitt, Natalie Crohn. "The Style of Commedia dell'Arte Acting: Observations Drawn from the Scenarios of Flaminio Scala." New Theatre Quarterly 28, no. 4 (November 2012): 325–33. http://dx.doi.org/10.1017/s0266464x12000620.
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The only collection of commedia dell'arte scenarios to have been published in the sixteenth and seventeenth centuries is that of the actor-manager Flaminio Scala, in 1611. This can serve, among other things, as a primary source of information about the style of acting in commedia dell'arte performance in its golden age, from 1570 to 1630. While English drama of the same period provides us, in the main, with only the words the actors were to have spoken, the Scala collection rarely provides us with these, but rather, with a wealth of descriptions of actions and emotions. These descriptions enable us to make inferences about the style in which they were acted – that is, about the particular way in which the stories the actors presented were said, performed, or expressed. Natalie Crohn Schmitt is Professor of Theatre, Emerita, University of Illinois at Chicago. She has published on commedia dell'arte in Viator, Renaissance Drama, and Text and Performance Quarterly, and previously in New Theatre Quarterly on Stanislavsky (NTQ 8), on theatre in its historic moment (NTQ 23), and on John Cage (NTQ 41).
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Lundberg, Anna. "Beyond the Gaze. Translations as a Norm-Critical Praxis in Theatre for Children and Young." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 94. http://dx.doi.org/10.7146/nts.v28i1.23976.
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This article is based on the project Experimental theatre:. Intersectional encounters between dramatic art, school and academia, financed by the Swedish Research Council. It is an action research project on interactive dramatic art based at ung scen/öst (Östgötateatern), an experimental theatre group for children and young people.. with Malin Axelsson is the group’sas artistic director. Project manager Anna Lundberg has a background in drama studies and gender studies.The troika of dramatic art-school-academia provides an empirical focus, coupled with a closer analysis of the artistic processes between children and adults based on productions by ung scen/öst.What happens with the staging when the method involves open collaboration and shared learning? How is knowledge and meaning negotiated in artistic endeavours The project includes two performances and a publication. The project received financial support from the Swedish Research Council for the period 2012–2013.This article focuses on translation practices at ung scen/öst, the creative processes within the project built by the group as a form, i.e. director, ensemble (actors), researcher and other members of the artistic team exploring ideas and expressions and creating theatre together.
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DiPietro, Cary. "Shakespeare in the Age of Mechanical Reproduction: Cultural Discourse and the Film of Tree's ‘Henry VIII’." New Theatre Quarterly 19, no. 4 (October 8, 2003): 352–65. http://dx.doi.org/10.1017/s0266464x03000241.
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In early twentieth-century England the general recognition among dramatists and theatre practitioners that the theatre had reached a crisis or turning point – that as an institution it no longer answered the social and moral requirements of a modern industrialized society – resulted in a profusion of books and articles which addressed alternative modes of theatrical production or proposed institutional restructuring. Simultaneously with these discussions of the social utility of the theatre as an institution, a broad debate about theatrical aesthetics was continuing under the influence of new European and avant-garde movements such as symbolism and expressionism. Examining the shift from the actor-manager system in conjunction with these campaigns, Cary DiPietro here considers the recurrence of Shakespeare in the theatrical tracts of the period, variously regarded as a cultural authority at the intersection of issues of class, new modes of mechanical reproduction, aesthetic value, and old versus new modes of theatrical production. He sees the making – and the wilful destruction – of the film of Beerbohm Tree's Henry VIII as paradigmatic of the ways in which the period tried to distinguish popular, mass forms from what was ‘authentically’ artistic. Cary DiPietro currently lectures at Kyoto University, Japan.
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Custură, Ştefania Maria. "Ion Valjan: With the Voice of Time. The Hypostasis of a Romanian Belle Epoque." Acta Universitatis Sapientiae, Philologica 6, no. 1 (December 1, 2014): 25–34. http://dx.doi.org/10.1515/ausp-2015-0003.
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Abstract Ion Valjan is the literary pseudonym of Ion Al. Vasilescu (1881-1960), famous lawyer, playwright, writer of memoirs, publicist and politician. Dramatic author in the line of Caragiale, he was the manager of The National Theatre in Bucharest between 1923 and 1924, and general manager of theatres between 1923 and 1926. He wrote drama, he collaborated with Sburătorul, Vremea, Rampa, being appreciated by the exigent literary critique of the inter-war period. After the war, in 1950, he was involved in a political trial, accused of high treason, espionage for Great Britain, and got sentenced to 15 years imprisonment, where he died. Valjan is the author of the only theatrical show, played in a communist prison, Revista Piteşti 59. Ion Valjan’s memoirs, With the Voice of Time. Memories, written during the Second World War, represent a turn back in time, into the age of the author’s childhood and adolescence, giving the contemporary reader the chance to travel in time and space, the end of the nineteenth century and the first two decades of the past century projecting an authentic image, in the Romanian version of a Belle Epoque, interesting and extremely prolific for the Romanian cultural life. Also, evoking his childhood years spent in cities by the Danube (Călăraşi, Brăila, Turnu-Severin), Valjan unveils the harmonious meeting of different peoples and their mentalities, which transform the Danube Plain into an interethnic space of unique value.
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Mok, Denise K. "Transcending Categories, Staging Autonomy: Marion Davies’s Transitions from Showgirl to Screen Star and Producer-Manager." Nineteenth Century Theatre and Film 45, no. 1 (May 2018): 121–40. http://dx.doi.org/10.1177/1748372718796498.
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Marion Davies (1897–1961) transitioned from showgirl and musical theatre performer in the 1910s to silent screen star and actress-producer in the 1920s. In addition to her comedic talents, she multitasked as producer-manager of her production unit, ‘Marion Davies Productions’ at Cosmopolitan Productions. She used her professional collaborations with screenwriter-friend Frances Marion and strong directors such as King Vidor to make appealing pictures that also transformed her star image. This paper argues that her years of discipline and professionalism on the stage and in show business contributed to her subsequent screen successes and as actress-producer of the films in which she starred. Her career complicates the notions of stardom and creative agency in the ‘lively arts’ of the late 1910s–1930s.
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Ren, Hui, Qian Yi Yang, Xue Jun Zhao, and Tian He Zhao. "Research on Intercom System for Stage Dispatch Console Based on IP Network." Advanced Materials Research 846-847 (November 2013): 421–24. http://dx.doi.org/10.4028/www.scientific.net/amr.846-847.421.
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Traditional theatre dispatch platform, which is designed by circuit switching technology, has its limitation and disadvantages. So this paper proposed an effective intercom system for stage dispatch console based on IP network. We analysed its functional requirements, hardware and software framework, and the key technologies during IP communication. Various network technologies can be synthetically used, so as to realize IP integration for the whole system. Our study is of great significance in providing stage manager with fast and centralized information, which can help improving the stage performance.
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Sherr, Richard. "Offenbach, Pépito and the Théâtre des Variétés: Politics and Genre in the First Year of the Second Empire." Cambridge Opera Journal 32, no. 2-3 (July 2020): 154–86. http://dx.doi.org/10.1017/s0954586721000033.
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AbstractOffenbach's first commercially performed dramatic work, the opéra comique Pépito, premiered in Paris at the Théâtre des Variétés on 28 October 1853. This article examines it from historical and musical perspectives. First, I argue that its production at the Théâtre des Variétés is an example of what Mark Everist has called ‘the politics of genre’, in this case the attempts by managers of Parisian boulevard theatres to circumvent the hierarchical system of genre imposed on them by the government. Offenbach may have been directly complicit by offering an opéra comique to a theatre that was legally not allowed to perform the genre and by supplying a musical element – ‘local colour’ – as part of the political strategy by which the manager of the Variétés sneaked the opéra comique past the authorities. The subterfuge did not work, however: I argue that Pépito was recognised by audiences as an opéra comique primarily through the character of its music. A discussion of the score, and the musical competence of the original cast and orchestra of the Variétés, allows a partial reconstruction of the actual sound of the first performance of Pépito. Finally, I consider the later history of Pépito, and in a postscript suggest that a faint memory of Offenbach's Spanish opéra comique may have resurfaced twenty-two years later when Georges Bizet, who became part of Offenbach's circle in the late 1850s, was composing his own Spanish opéra comique, Carmen.
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Marneweck, Aja. "On the 10-year anniversary of the Barrydale Giant Puppet Parade South Africa: A conversation between parade creative directors Aja Marneweck and Sudonia Kouter." Applied Theatre Research 8, no. 1 (July 1, 2020): 31–44. http://dx.doi.org/10.1386/atr_00024_1.
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2020 marks the tenth anniversary of the Barrydale Giant Puppet Parade, a large-scale, experimental annual public puppetry event and performance in a small rural town in the Klein Karoo of South Africa. This multifaceted, collaborative puppet theatre-making process, which results annually in the creation of a parade and large-scale original performance, is co-organized by Net Vir Pret (a children’s school aftercare non-profit organisation based in the town of Barrydale) and the Laboratory of Kinetic Objects (LoKO) at the Centre for Humanities Research at the University of the Western Cape (CHR@UWC). The following conversation between the author (a Theatre Research Fellow at the CHR@UWC and creative director of the parade since 2014) and Sudonia Kouter (the Net vir Pret Aftercare manager and a key artistic contributor in the parade creative and directing teams) explores some of the experiences of meaning-making that arise in such a multi-layered and ambitious project.
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Moran, James. "Avon Calling: The Influence of Frank Benson on the Irish Theatre." Irish University Review 42, no. 2 (November 2012): 217–35. http://dx.doi.org/10.3366/iur.2012.0031.
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This essay reassesses the position of the British actor-manager Frank Benson within the Irish theatrical tradition. Benson has been derided for his involvement in premiering Diarmuid and Grania for the Irish Literary Theatre in 1901, a production described by Gerard Fay as ‘the last time Dubliners had to call in English actors before they could see a production of an Irish play’. However, as this essay argues, that production may not have been as badly received as Fay implies, and in any case should scarcely occlude the long-term influence of Benson's numerous well-received Dublin performances. The earlier productions given by the Benson's company exerted an influence on the dramatic vision of the young Seán O'Casey, who acted out the troupe's most famous Shakespearean scenes, and later incorporated what he had seen into the Dublin trilogy. Likewise Yeats travelled to Stratford specifically to watch Benson perform, and found there a set of ideas about modernity, regionalism, and patronage that would inform the poet's own playwriting and management of the Abbey Theatre in Dublin.
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Baumgarth, Carsten. "“This theatre is a part of me” contrasting brand attitude and brand attachment as drivers of audience behaviour." Arts Marketing: An International Journal 4, no. 1/2 (September 30, 2014): 87–100. http://dx.doi.org/10.1108/am-01-2014-0007.
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Purpose – The purpose of this paper is to investigate the influence of brand attitude and brand attachment on different categories of visitors’ behaviour. Design/methodology/approach – The paper adapts a model from the classical brand research on the cultural sector. This model is tested by a visitor survey for an independent theatre and the soft modelling approach PLS. Findings – Brand attitude and brand attachment explain similar simple types of consumer behaviour in the cultural and arts context. However, most difficult visitors’ behaviour like volunteering or demonstration is only explained by brand attachment. Practical implications – Cultural manager should consider brand attachment as an additional construct in classical visitor surveys. Furthermore, cultural manager should develop and implement measures for increasing the brand attachment via a higher level of brand identification and brand prominence. Originality/value – This paper is the first research, which integrates the construct brand attachment in the cultural sector. Furthermore, the distinction between different categories of visitors’ behaviour is new and fruitful for further brand research in the cultural sector. Finally, the discussed measures for improving the brand attachment opens directions for further research.
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Cordero-Hoyo, Elena, and Begoña Soto-Vázquez. "Women and the Shift from Theatre to Cinema in Spain: The Case of Helena Cortesina (1903–84)." Nineteenth Century Theatre and Film 45, no. 1 (May 2018): 96–120. http://dx.doi.org/10.1177/1748372718791996.
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The purpose of this article is to identify the main causes behind women achieving, on the one hand, important positions as theatre managers in Spain but, on the other, being relegated a marginal status in the shift to cinema. We use the career of the artist Helena Cortesina to illustrate the only known example of a woman becoming a silent cinema entrepreneur in Spain. An actress, producer, and director of Flor de España o la leyenda de un torero ( Spanish flower or the bullfighter's story, 1921) Cortesina transitioned from the variety dances stage to silent film and became a theatrical manager. Her professional career exemplifies the inter-artistic relations between cinema and the scenic arts at the beginning of the twentieth century and the professional bridge between them. This article contributes to feminist film historiography. Following Monica Dall’Asta, it presents a ‘history that invites us to work using creative hypotheses and even imagination’. The article revisits Spanish Film History, reinterpreting the hegemonic production of knowledge that has been historically told from a (supposedly) un-gendered perspective. Our article seeks to disrupt this patriarchal narrative of firsts (including geniuses, technical discoveries, and masterpieces) that relegate women's experiences to the margins of History.
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Barovic, Vladimir, and Dejan Pralica. "Jovan Hranilovic’s work on founding the Novi Sad section of Journalists’ Association of Yugoslavia." Zbornik Matice srpske za drustvene nauke, no. 147 (2014): 295–307. http://dx.doi.org/10.2298/zmsdn1447295b.
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Jovan Hranilovic was an important poet, literary and theatre critic. Neither his journalistic career has ever been analysed nor has any research been made about him although he worked in media as a journalist, an editor and a manager. Some authors have analyzed his role in foundation and organization of the first Novi Sad section of the Journalists? association of Yugoslavia (JNU), which was established in 1922. Jovan Hranilovic was a prominent manager and, afterwards, the first president of Jedinstvo, a daily paper famous for its informative and political reporting. He was also the most important advocate for establishing the support fund for journalists threatened by sudden illnesses or job losses. The authors have studied moral and ethical principles in journalism which he advocated as the president of the Novi Sad section of JNU, as well as how he saw the role and importance of the newspapers in the media system of the Kingdom of Serbs, Croats and Slovenes. The analysis of the texts that Hranilovic published as the editor and manager of Jedinstvo enables us to determine his specific media discourse. Furthermore, we can grasp his media initiative used to promote the journalists? association he was leading and the humanitarian activities he undertook.
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Altschuler, Sari, and Aaron M. Tobiason. "Playbill for George Lippard's The Quaker City." PMLA/Publications of the Modern Language Association of America 129, no. 2 (March 2014): 267–73. http://dx.doi.org/10.1632/pmla.2014.129.2.267.
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On 11 november 1844, a Mob gathered outside philadelphia's chesnut street theatre for, in the words of the theater's manager, Francis Wemyss, the purpose “of a grand row” (395). The crowd intended to prevent the opening of The Quaker City; or, The Monks of Monk Hall, a play George Lippard had adapted from the work he was simultaneously publishing serially; it would become the best-selling novel of the first half of the nineteenth century. Capitalizing on a sensational 1843 murder case that fascinated Philadelphians, the novel retold the story of Singleton Mercer, a Philadelphia clerk acquitted of killing his sister's seducer. Infuriated by the playbill, Mercer attempted to purchase two hundred tickets for his supporters, who threatened to destroy the theater (Durang 247). Wemyss wanted Mercer jailed, but the mayor, wary of “riot and bloodshed,” countered, “I really think you have struck the first blow in your playbill” and called for the play's cancellation (qtd. in Wemyss 319-20). As the crowd of irate Philadelphians gathered, Lippard strode through it draped in an “ample cloak and carrying a sword-cane to repel assaults” (Bouton 20). Facing the very real prospect of violence, Wemyss reluctantly canceled the production.
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McCormick, Frank. "John Vanbrugh's Architecture: Some Sources of His Style." Journal of the Society of Architectural Historians 46, no. 2 (June 1, 1987): 135–44. http://dx.doi.org/10.2307/990182.
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This essay posits three basic sources for the vocabulary of Vanbrugh's mixed style: namely, (1) the interior architecture and scene design of the contemporary theatre, with which Vanbrugh became familiar in his capacity as dramatist and manager of the Queen's Theatre at the Haymarket; (2) the medieval forms of the walled city of Chester in which he spent his youth; and (3) the donjon and courtyards of the Chateau of Vincennes, which Vanbrugh would have come to know during his imprisonment there in 1691. The first two operate as rather general sources of the "theatrical" and the "medieval" elements in Vanbrugh's buildings. In the case of the Chateau of Vincennes the influence is more specific: the arrangement of the Chateau's donjon and courtyards supplied a model for the typical design of Vanbrugh's large-scale buildings in which forward-thrusting wings are attached to a deeply recessed centerblock. David Cast's neo-Hobbesian suggestions for "seeing" Vanbrugh are invoked as a means of making aesthetic sense of Vanbrugh's use of his three sources.
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Kelly, Veronica. "North Star and Southern Cross: Shakespeare's Comedies in Australia, 1903–1904." New Theatre Quarterly 26, no. 4 (November 2010): 383–94. http://dx.doi.org/10.1017/s0266464x10000680.
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Michael Gow's celebrated play Away (1986) commences with a tatty school version of Shakespeare's A Midsummer Night's Dream. Set in the era of anti-Vietnam War protests, Away ironically salutes the iconic performance traditions of the ‘romantic’ Dream. At the Prince's Theatre, Manchester, in 1901–02, actor-manager Robert Courtneidge directed elaborate productions of this play and As You Like It, and under the management of George Musgrove toured them to Australia, where Twelfth Night was added. These productions' ensemble casting was central to Courtneidge's and Musgrove's ambitions for addressing the ‘distinctive geographies’ of regional taste. Veronica Kelly is an Honorary Research Advisor at the University of Queensland. Her book The Empire Actors: Stars of Australasian Costume Drama 1890s–1920s is published by Currency House (2010).
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Markovic-Bozovic, Ksenija. "Theatre audience development as a social function of contemporary theatres." Zbornik Matice srpske za drustvene nauke, no. 175 (2020): 437–51. http://dx.doi.org/10.2298/zmsdn2075437m.
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From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize its cultural-emancipatory, social-inclusive, social-cohesive, educational, and other similar potentials. Extensive research of the functional type, which combines the analysis of the process of theatre production, distribution and reception, and sheds light on the ways in which theatre functions in the community, has not been conducted in Serbia so far. However, for many years, there have been conducted researches that provide sufficiently relevant answers, analysing this topic from individual aspects of the audience, marketing activities, cultural policy and theatre management. Their overall conclusion is that theatres in Serbia must (re)orient themselves to the external environment - (re)define their social mission and actively approach the process of diversification of the audience. However, the practical implementation of such recommendations is still lacking, theatre organizations find it difficult to adopt the idea that changes must be initiated by themselves, which brings us to the question of the attitudes on which these organizations establish their work. In this regard, the paper maps of and analyzes the opinions of managers and employees of Belgrade theatres on the topic of the role of theatre in the audience development and generation of the ?additional? social value, contextualizing the opinions in relation to the current circumstances, i. e. specific practices of these institutions. In conclusion, an original theoretical model of ?two-way adaptation of public city theatres? is developed, recognizing the importance of strategic action in culture both ?bottom-up? and ?top-down?, and proposing exact activities and approaches to theatre and cultural policy in the field of theater audience development.
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Monks, Aoife. "Dressing the law." International Journal of Law in Context 14, no. 4 (November 23, 2018): 479–92. http://dx.doi.org/10.1017/s1744552318000198.
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AbstractThe theatre shares many features with the law. One key commonality is the presence of dressers in both professions. In the law and the theatre, the dresser is a key intermediary in the transformation of bodies and the transmission of professional culture, while being relatively under-recognised in criticism and scholarship. The point of departure for this paper is that the dresser is a figure worthy of further scrutiny. As the Court and Ceremonial Manager at Ede and Ravenscroft, Christopher Allen is perhaps one of the common law's most important dressers. Allan is instrumental to the entry of the judiciary into their new roles by dressing them for the very first time in advance of their swearing-in ceremony. Established as a wig-making business in 1726 (later selling robes from 1871), Ede and Ravenscroft are the tailors and robe-makers of choice for the judiciary, not only in England and Wales, but in many common-law jurisdictions. This paper draws upon an interview with Allen about his work as the dresser of the judicial establishment of England and Wales in order to explore the role of dressing up in the production of images of the judiciary. Thinking about the role of the dresser in the production of the judicial image draws attention not simply to the function that dress plays in the law, but foregrounds the process of dressing up as a key aspect of the law's performance.
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Retkes, Attila. "A hangversenyrendezés finanszírozása." Jelenkori Társadalmi és Gazdasági Folyamatok 7, no. 1-2 (January 1, 2012): 36–42. http://dx.doi.org/10.14232/jtgf.2012.1-2.36-42.
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The author of the paper has done research and analysis related to musical performance - also to certain fields of theatre and dance performance - since 2005. These examinations were above all focusing on economic (financing) problems of the mentioned areas. After the publishing of the book entitled Zene - Művészet, piac, fogyasztás [Music - Art, market, consumerism] in 2010, he pursues his work as the head manager of the Institute for Cultural Analysis Budapest and as a PhD candidate. The present paper is a presentation of his latest qualitative research which concentrates on the work of concert organizers. Examining different sources and means of financing, he concludes that the governmental budget and the National Cultural Fund continue to be determining in Hungarian concert financing. The recourse to the remaining five financing possibilities - European Union, local governmental sector, non governmental organizations, private sector and families - seems to present serious difficulties for various reasons.
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Barlow, Graham. "Christopher Rich of Drury Lane: The Biography of A Theatre Manager. By Paul Sawyer. Lanham: University Press of America, 1986. Pp. vi + 136." Theatre Research International 13, no. 1 (1988): 58–60. http://dx.doi.org/10.1017/s0307883300014255.
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