Log in

Relevant bibliographies by topics / Theatrica / Journal articles

Journal articles on the topic 'Theatrica'

To see the other types of publications on this topic, follow the link: Theatrica.

Author: Grafiati

Published: 9 March 2023

Last updated: 10 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Theatrica.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Olson, Glending. "The Medieval Fortunes of ‘Theatrica’." Traditio 42 (1986): 265–86. http://dx.doi.org/10.1017/s0362152900004098.

Full text

Abstract:

Early in the twelfth century, Hugh of St. Victor in his Didascalicon divided philosophical knowledge into four areas: theoretical, practical (i.e., moral), mechanical, and logical. He further divided mechanical knowledge into seven arts, parallel to the liberal arts, giving last place to theatrica, which he defined briefly as ‘scientia ludorum.’ It proved to be the most controversial of his seven categories. Some twenty years ago W. Tatarkiewicz studied Hugh's idea, its sources, and its appearance in a few subsequent texts from the Middle Ages and Renaissance; later Nancy Howe added a reference from Petrarch. Since then, the concept of theatrics has seldom been treated in itself, although we now have substantially more evidence of its pervasiveness in medieval thinking, as a result of further scholarship on the Didascalicon and on the history of the mechanical arts. Drawing on these sources and on previously unreported material, this study attempts to describe in some detail the progress of theatrica during roughly the first three hundred years after its appearance in the works of Hugh. The medieval history of this idea does not tell us much about the theater, but it does tell us quite a lot about medieval attitudes toward play, entertainment, and performance, topics that learned circles did not often discuss extensively or dispassionately.

APA, Harvard, Vancouver, ISO, and other styles

2

Davis, Tracy C. "Laborers of the Nineteenth-Century Theater: The Economies of Gender and Industrial Organization." Journal of British Studies 33, no. 1 (January 1994): 32–53. http://dx.doi.org/10.1086/386043.

Full text

Abstract:

In the purview of theater history, as on the theatrical stage itself, performers' and writers' command on attention is almost complete. Ancient Greek gave a word to its mask builders (skeuopoio), but apart from distinct vocabulary, history leaves few traces of theatrical laborers. A glance through any number of theatrical books, periodicals, bibliographies, biographical guides, and encyclopedias reveals the predominance of performers in the public eye, though managers, directors, designers, and critics occasionally attract scholarly studies. Even among novels, journalism, and theatrical guidebooks—genres that venture behind the scenes—the personnel that dress, light, paint, and build shows are rarely present. Their identity and labor is marginalized in the annals because it is marginalized in the conceptualization of what is important in theater production. Susan Todd takes unusual measures to challenge this tradition by documenting the experience of women stage managers in the contemporary theater, but in the historical realm this has not been attempted. Writers devote attention to how the stage actually worked (how stage effects were achieved and how the creative chain of command functioned), but to date no one has examined the structures and traditions of backstage labor by asking basic questions about the sociopolitical organization of the work.Only in highly esoteric treatises or the lightest of literature do theatrica jewelers, armorers, weavers, hosiers, basket makers, shoemakers, furnishers, cosmeticians, perruquiers, costumiers, seamsters, dressers, property makers, carpenters, gas fitters, printers, or ticket takers usually appear. These are all specialized trades and occupations indispensable to the building and running of nineteenth-century theatrical entertainment.

APA, Harvard, Vancouver, ISO, and other styles

3

VARNEY, DENISE. "Caught in the Anthropocene: Theatres of Trees, Place and Politics." Theatre Research International 47, no. 1 (February 18, 2022): 7–27. http://dx.doi.org/10.1017/s030788332100047x.

Full text

Abstract:

This article investigates live performance in the broad geo-historical context of the Anthropocene, a contested term in recent scholarship, but one that offers a breadth of focus on human relations with its coexistent non-human other. These interrelations are examined through a range of theatrical and non-theatrical genres and sites from the Australian parliament's coal theatrics to exemplary performances by Indigenous companies Bangarra Dance Theatre and Marrugeku. It sets the scene with a visit to the Curtain Tree in the rainforests of north Queensland, Australia, arguing that the vitality and display of its root system models a special kind of reciprocity between the performative elements of the environment and the environmental elements of theatre and performance. This is traced through recent short-run immersive works, Hanna Cormick's Mermaid (2020) and Melinda Hetzel and Company's Conservatory (2020), and a rereading of a canonical Australian drama, Summer of the Seventeenth Doll.

APA, Harvard, Vancouver, ISO, and other styles

4

Pertea, Alina, and Valentin Grecu. "Using Theatric Pedagogy To Develop Social And Emotional Skills In Order To Improve Employability Of Engineering Students." ACTA Universitatis Cibiniensis 66, no. 1 (July 1, 2015): 143–46. http://dx.doi.org/10.1515/aucts-2015-0043.

Full text

Abstract:

Abstract This research is the result of intense concerns about the role of theater in society beyond the theater show, from the creative process of analysis and introspective psychological insight, to the side effects of theater as a form of expression of the individual, and reception, assimilation and processing of theatrical codes and messages. The paper focuses therefore on theatric pedagogy, the forming tools and the size of the theater, and its value as a means and as a didactic factor for personality stimulation and development, both in terms of form and content. To this end, there are presented both theoretical perspectives and an exploratory study, which aims to verify the applicability, usefulness and effectiveness of theatric pedagogy means as an additional training method to facilitate the integration of graduates in employment and a successful professional collaboration, in an industry mainly in the field of real profile

APA, Harvard, Vancouver, ISO, and other styles

5

Boje, David M., Grace Ann Rosile, Jillian Saylors, and Rohny Saylors. "Using Storytelling Theatrics for Leadership Training." Advances in Developing Human Resources 17, no. 3 (May 28, 2015): 348–62. http://dx.doi.org/10.1177/1523422315587899.

Full text

Abstract:

The Problem How can leaders learn to use power in ways that minimize oppression and resistance, and instead are more liberating? As perceived oppression leads to resistance, leaders who are untrained in these power dynamics may enact oppressive behaviors and trigger resistance without awareness or intention to do so. The Solution This article describes a leadership training process we call storytelling theatrics. These storytelling theatrics formats explore power dynamics in multi-voiced scenarios that incorporate many perspectives. This method gives participants a voice in their own learning and creates actors instead of auditors. It brings hidden sources of oppression to center stage, to fully explore more liberating possibilities for both followers and leaders. Leaders can minimize repression and resistance if they understand, uncover, and confront these expressions of power. The Stakeholders Organizational leaders as well as their followers are stakeholders in this embodied theatrical training. This intervention creates benefit for both leaders and followers, because both are potentially oppressed by power dynamics.

APA, Harvard, Vancouver, ISO, and other styles

6

Gubina, Nina, and Elena Tagiltseva. "CRISIS OF CULTURAL IDENTITY IN THEATRE IN THE CONTEXT OF MAINSTREAMING OF PERFORMATIVITY AESTHETIC." Proceedings of Altai State Academy of Culture and Arts, no. 3 (2021): 40–45. http://dx.doi.org/10.32340/2414-9101-2021-3-40-45.

Full text

Abstract:

. Immediacy of the paper is related with strengthening of points of performative aesthetic in culture and art of last two decades. Accordingly to that, authors consider a conflict between two aesthetic paradigms of theatric culture: performative, on the one side, and psychological and realistic, on the other side. The researchers trace a correlation between appearance of a crisis in theatrical culture and transformation of cultural identity. Also, the paper clarifies a concept “cultural identity”, considers manifestations of crisis of cultural identity in theatre, reveals aesthetic values of two paradigms mentioned above, highlights related contradictions, mark perspectives in researching identification process in modern theatre.

APA, Harvard, Vancouver, ISO, and other styles

7

Mitchell, Tony. "Doppio: a Trilingual Touring Theatre for Australia." New Theatre Quarterly 8, no. 29 (February 1992): 70–75. http://dx.doi.org/10.1017/s0266464x00006333.

Full text

Abstract:

Doppio is a theatre company which uses three languages – English, Italian, and a synthetic migrant dialect it calls ‘Emigrante’ – to explore the conditions of the large community of Italian migrants in Australia. It works, too, in three different kinds of theatrical territory, all with an increasingly feminist slant – those of multicultural theatrein-education; of community theatre based in the Italian clubs of South Australia; and of documentary theatre, exploring the roots and the past of a previously marginalized social group. The company's work was seen in 1990 at the Leeds Festival of Youth Theatre, but its appeal is fast increasing beyond the confines of specialisms, ethnic or theatric, and being recognized in the ‘mainstream’ of Australian theatrical activity. Tony Mitchell – a regular contributor to NTQ, notably on the work of Dario Fo – who presently teaches in the Department of Theatre Studies in the University of Technology in Sydney, here provides an analytical introduction to the company's work, and follows this with an interview with one of its directors and co-founders, Teresa Crea.

APA, Harvard, Vancouver, ISO, and other styles

8

Boje, David M., Grace Ann Rosile, Rita A. Durant, and John T. Luhman. "Enron Spectacles: A Critical Dramaturgical Analysis." Organization Studies 25, no. 5 (June 2004): 751–74. http://dx.doi.org/10.1177/0170840604042413.

Full text

Abstract:

Enron shows us dramaturgy gone amuck. In this article, critical theory and postmodern theory are crossed to form a critical dramaturgyresulting in two main contributions. First, critical dramaturgy is differentiated from other forms of dramaturgy, showing how ‘spectacle’ is accomplished through a theatrical performance that legitimates and rationalizes, and casts the public in the role of passive spectators. Second, critical dramaturgy has important connections with public relations theory. While contemporary public relations is concerned with the building of relationships, critical dramaturgy looks at how corporate theatrical image management inhibits relationships by erecting the barrier of the metaphorical proscenium. The Enron scandal is viewed as the collapse of a corporate spectacle illusion into megaspectacle fragments. These fragments include the naming of Enron, the Valhalla Rogue Traders scandal, the Gas Bank, Greenmail, Cowboy Capitalism, the Skilling–Mark rivalry, and the Masters of the Universe theme. Intertextual analysis demonstrates how these fragments contribute to the ‘Greek Mega-tragedy’ of the Enron megaspectacle. The article integrates several corporate theatre processes relevant to understanding four types of spectacle: concentrated, diffused, integrated, and megaspectacle. The value of the critical dramaturgy conceptual work is to lift the romantic veil of spectacle theatrics to reveal the antenarrative fragments of stories marginalized and backgrounded.

APA, Harvard, Vancouver, ISO, and other styles

9

Rozzoni, Claudio. "Body Becoming Image: The Theatrical Window." HORIZON. Studies in Phenomenology 4, no. 1 (2015): 114–23. http://dx.doi.org/10.18199/2226-5260-2015-4-1-114-123.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Nyanda, J. "A Theatrical Reading of a Theatrical Life." Shakespeare in Southern Africa 26, no. 1 (October 14, 2014): 141. http://dx.doi.org/10.4314/sisa.v26i1.11.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Reynolds. "Theatrical Marriages." Shaw 41, no. 1 (2021): 217. http://dx.doi.org/10.5325/shaw.41.1.0217.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Hamilton, James R. "Theatrical Enactment." Journal of Aesthetics and Art Criticism 58, no. 1 (2000): 23. http://dx.doi.org/10.2307/432347.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Jannarone, Kimberly. "Theatrical Confrontations." Theatre Journal 57, no. 2 (2005): 280–84. http://dx.doi.org/10.1353/tj.2005.0066.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Boone, Joseph A., and Joseph Litvak. "Theatrical Victorians." NOVEL: A Forum on Fiction 27, no. 2 (1994): 218. http://dx.doi.org/10.2307/1345828.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Andrzejewski, Adam, and Marta Zaręba. "Theatrical Scripts." Rivista di estetica, no. 65 (August 1, 2017): 177–94. http://dx.doi.org/10.4000/estetica.2169.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Bonnevier, Katarina. "Theatrical Devices." Thresholds 23 (January 2001): 82–85. http://dx.doi.org/10.1162/thld_a_00416.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

DOBSON, MICHAEL. "THEATRICAL SOURCES." Essays in Criticism XLI, no. 2 (1991): 166–72. http://dx.doi.org/10.1093/eic/xli.2.166.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Rozik, Eli. "Theatrical Irony." Theatre Research International 11, no. 2 (1986): 132–51. http://dx.doi.org/10.1017/s0307883300012165.

Full text

Abstract:

It is my intention to derive the concept of ‘theatrical irony’ from the general theory of theatrical communication.The basic meaning of the term ‘irony’, from the Greek word ‘ειρωνεια’, was ‘dissimulation’. Over the centuries, this term has been extended to additional semantic fields and consequently acquired new meanings as in ‘Socratic irony’, ‘philosophical irony’, ‘romantic irony’, ‘dramatic irony’, ‘tragic irony’, and so on. At the same time, a number of more colloquial expressions were introduced as well, as in ‘ironic smile’, ‘irony of events’, ‘irony of fate’, and so on. I am of the opinion, however, that despite the diversity of such phrases and regardless of their partial overlap, it is still possible to unveil a common semantic core. Furthermore, it is my belief that our understanding of theatrical irony benefits from all these additional usages.

APA, Harvard, Vancouver, ISO, and other styles

19

Giaccherini, Enrico. "Theatrical Chaucer." European Medieval Drama 2 (January 1998): 85–98. http://dx.doi.org/10.1484/j.emd.2.300903.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Martinez-Conde, Susana, and Stephen L. Macknik. "Victorian Theatrics." Scientific American Mind 26, no. 6 (October 15, 2015): 18–20. http://dx.doi.org/10.1038/scientificamericanmind1115-18.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Cerasano, S. P. "Theatrical Movements." Shakespeare Quarterly 56, no. 3 (2005): iii—x. http://dx.doi.org/10.1353/shq.2006.0003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Butler, Judith. "Theatrical Machines." differences 26, no. 3 (November 2015): 23–42. http://dx.doi.org/10.1215/10407391-3340336.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Shetty, Dr Pavithra Kumar. "Theatrical Dentistry – A New Dimension of Dentistry." International Journal of Scientific Research 3, no. 6 (June 1, 2012): 384–85. http://dx.doi.org/10.15373/22778179/june2014/129.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Ferraz, Mirela Ferreira. "Entre a escrita e a pele: a dramaturgia confessional e a encenação de Angélica Liddell redimensionados em devir." ouvirOUver 13, no. 1 (May 25, 2017): 284. http://dx.doi.org/10.14393/ouv20-v13n1a2017-21.

Full text

Abstract:

Ao considerar a escrita teatral como ponto nevrálgico do teatro contemporâneo, esse artigo propõe trabalhar com a ideia de uma ligação contínua presente entre a escrita confessional e a encenação na obra “Yo no soy bonita” de Angélica Liddell. Acredita-se que o espetáculo e a língua da autora, encenadora e atriz/performer tornam-se diluídas no próprio acontecimento teatral, em que a ideia de um “devir-cênico” estabelece-se como um dispositivo cênico das novas teatralidades. Analisa-se como a noção de “eu” da artista se mescla ao desfalecimento da ideia de um personagem, criando uma zona de fronteiriça entre o teatro e a performance art, a qual se evidencia pela busca de uma possível experiência-limite da artista. ABSTRACT When considering the theatrical writing as nerve center of contemporary theater, this article proposes working with the idea of a continuous link between the present confessional writing and staging the Angélica Liddell work "Yo no soy bonita". It is believed that the show and the language of the author, stage director and actress / performer become diluted in their own theatrical event, in which the idea of "becoming-scenic" is established as a scenic device of new theatrics. It is analyzed how the notion of "I" of the artist melds the faintness of the idea of a character, creating a border zone between theater and performance art, which is evidenced by the search for a possible artist of limit-experience. KEYWORDS Becoming- scenic; confessional writing; limit-experience; contemporary theater.

APA, Harvard, Vancouver, ISO, and other styles

25

Gryzunova, Olga V. "Theatrical and Non-Theatrical Thinking in Actual Choreographic Practice." Observatory of Culture 18, no. 4 (October 11, 2021): 416–23. http://dx.doi.org/10.25281/2072-3156-2021-18-4-416-423.

Full text

Abstract:

The article attempts to concretize the essence of the two aesthetically polar staging approaches — theatrical and non-theatrical (performative) — in the context of the choreographic art development. The author suggests that the basis for separating these approaches can be some peculiarities in the ways they interpret such fundamental concepts as “actor”, “role”, “spectator”, “drama”, “action”, “conflict”, which, in a choreographic performance, are in certain relationships determined by cultural traditions, and in a non-theatrical production, they are transformed up to their disappearance. A similar experience of separating a theater and a non-theater on the basis of the presence of an actor, a role, a spectator and an hierarchy between them is proposed in theater studies. However, in choreographic (including ballet) performances, the content of the role is closely linked with the music and is often determined by the emotional background and musical dramaturgy. In the case of a radical departure from the composer’s intention, turning to a different starting point for the composition, the specificity of the choreographic (ballet) performance is destroyed. Borrowings from non-theatrical art are showed in the construction of meanings when working with intrinsic body movement, as well as in the reliance on interdisciplinarity. Within a single line of choreographic art, there is a whole spectrum of ideas that interpret the concepts of “theatricality”, “non-theatricality”, “drama”, and “performativity” in different ways. On what basis to classify them in order to reduce them to a consistent system is a difficult question. The article attempts to outline the foundation for future classification. The relevance of this topic is caused by the insufficient elaboration of the conceptual base in the specialized literature on choreographic art.

APA, Harvard, Vancouver, ISO, and other styles

26

Muñoz Salazar, Luz Elena. "Experiencia de creación teatral sobre el abuso sexual infantil." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 48 (June 27, 2022): 129–70. http://dx.doi.org/10.32621/acotaciones.2022.48.05.

Full text

Abstract:

La investigación-creación Experiencia de creación teatral sobre el abuso sexual infantil inició en junio de 2018 en la ciudad de Cartagena de Indias; giró en torno al propósito de identificar aspectos relevantes sobre el abuso sexual infantil, a tener en cuenta en la creación de una obra teatral en la que se empleó una metodología de enfoque cualitativo, con el diseño de Investigación-Acción-Creación como propuesta modificada de la IAP (investigación-Acción- Participativa) de Orlando Fals Borda; la herramienta de investigación se basó en el Teatro Foro de Augusto Boal utilizando dos rejillas como instrumentos para el levantamiento de información: una de registro al espacio de experimentación con actores, aplicada a una pareja de actores participantes del proceso, y otra de registro de laboratorio de espectactores, aplicada a cinco grupos de espectactores y espectadores. La investigación obtuvo como resultado, para direccionar los productos creativos dramaturgia y puesta en escena, los siguientes insumos: las violencias simbólicas contra las mujeres y expresadas en la música, el juego infantil y los relatos populares, la trata de personas con fines sexuales, y los imaginarios colectivos con respecto a las soluciones a situaciones de abuso sexual infantil.

APA, Harvard, Vancouver, ISO, and other styles

27

Enders, Jody. "Delivering Delivery: Theatricality and the Emasculation of Eloquence." Rhetorica 15, no. 3 (1997): 253–78. http://dx.doi.org/10.1525/rh.1997.15.3.253.

Full text

Abstract:

Abstract: Ever since Aristotle noted in the Rhetoric that, when fashionable, delivery ταύτό ποιήσϵι τῆ ύποκριτικῆ (has “the same effect as acting”; 1404a), classical and medieval rhetorical theorists fulminated against a crowd-pleasing oratory that had devolved into a theatrical spectacle more akin to that provided by the comic “actress” or the “effeminate” male. It cannot be coincidental, however, that, as the fifth rhetorical canon documents the theatricalization of rhetoric, it also offers companion testimony about the so-called emasculation of eloquence. In this essay, I examine the early belief that legal and religious rituals crossed gender lines into effeminacy at they same time that they crossed genre lines into theater. Close analysis suggests that the persistent association between theatrics, bad rhetoric, and effeminacy struck four different targets in a single, well-conceived blow: it marginalized women, homosexuals, bad oratory, and theater by casting certain types of speakers and speech as perverse and disempowered. Delivering delivery today thus entails exposing the ways in which early theorists themselves attempted to deliver it from evil.

APA, Harvard, Vancouver, ISO, and other styles

28

Zich, Otakar, Emil Volek, and Andrés Pérez-Simón. "The Theatrical Illusion." PMLA/Publications of the Modern Language Association of America 134, no. 2 (March 2019): 351–58. http://dx.doi.org/10.1632/pmla.2019.134.2.351.

Full text

Abstract:

Otakar Zich (1879–1934) is a striking figure in modern czech aesthetics and art theory. A gifted librettist and opera composer and a professor at Charles University in Prague, his place in the history of aesthetics is still controversial. His Aesthetics of Dramatic Art (Estetika dramatického umění [1931]) came out at a time of paradigmatic change in the humanities (the emergence in the 1930s of functional structuralism through the Prague linguistic circle). Also, it was only in the 1930s that the Czech theatrical avant-garde got into full swing. Zich's work apparently “fell short” both of the new scientific paradigm, imposed by the tandem of Roman Jakobson (1896–1982) and Jan Mukařovský (1891–1975), and of the expectations of the students of theater coming from Mukařovský's seminars, some of them already distinguished avant-garde directors (Veltruský 67). Zich's untimely death precluded the development of his project, as well as fruitful debate about it. Mukařovský, as Zich'fs protégé, felt obliged to address the work of his mentor, but his early semiotic reading was avowedly partial and tentative and barely concealed his puzzlement. This marginal inclusion in the new paradigm without real assimilation left Zich's complex and comprehensive undertaking out in the cold.

APA, Harvard, Vancouver, ISO, and other styles

29

Chekalov, Kirill A. "Rocambole’s theatrical mission." Vestnik of Kostroma State University, no. 3 (2019): 72–78. http://dx.doi.org/10.34216/1998-0817-2019-25-3-72-78.

Full text

Abstract:

The article deals with the influence of theatrical aesthetics on Pierre Alexis Ponson du Terrail – the famous writer of the French popular literature of the second half of the 19th century. The great connoisseur of the theatre, Viscount of Ponson du Terrail filled his novels – and first of all, an extensive cycle of works about Rocambole – with allusions to the scenic practices of his time (first and foremost, he speaks about Parisian pulp theatres) and plays that had won favour with the commonalty: "Le Chiffonnier de Paris" by Félix Pyat and "La Tour de Nesle" by Alexandre Dumas. On the other hand, performability is a paradigmatic feature of feuilleton. Viscount of Ponson du Terrail was the leading representative of this genre. Particular attention is paid to the production of the play "Rocambole" by Auguste Anicet-Bourgeois and Ernest Blum (1864) and the transformations that the novel text underwent in the stage version.

APA, Harvard, Vancouver, ISO, and other styles

30

Jansson, Siv, and Hanna Scolnicov. "Woman's Theatrical Space." Modern Language Review 93, no. 1 (January 1998): 165. http://dx.doi.org/10.2307/3733647.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Sajewska, Dorota. "Toward Theatrical Communitas." Pamiętnik Teatralny 70, no. 3 (October 13, 2021): 15–56. http://dx.doi.org/10.36744/pt.846.

Full text

Abstract:

The term communitas, introduced into anthropological discourse by Victor Turner in the late 1960s, returned to humanist debates at the threshold of the twenty-first century by way of Roberto Esposito. Referring to Esposito’s concept of communitas, this essay brings out the anthropological tradition in thinking about the common, which Esposito had marginalized. The present author emphasized the importance of processuality and antistructural dimensions of egalitarian forms of togetherness, along with their potential to liberate human capacities of creativity. Examining the relation between munus and ludus, she shows theatricality residing immanently in the root of communitas. Focusing on the aesthetic and creative dimensions of togetherness helps in detecting multiple forms of commonality, and indicates various models of theatrical communitas. Exploring a nonnormative, transformative potential in experimental theater (Jerzy Grotowski, Sarah Kane, Ron Athey, Krzysztof Garbaczewski), she emphasizes collective, temporal, and excessive natures of theater that eschews the market-driven economy, along with the importance of a transversal communitas where the human being is only one of many actors. Some threads of the argumentation are expanded upon in a conversation with Leszek Kolankiewicz, included as an appendix.

APA, Harvard, Vancouver, ISO, and other styles

32

Bruegge, Andrew Vorder, and Larry F. Norman. "The Theatrical Baroque." Sixteenth Century Journal 33, no. 3 (2002): 905. http://dx.doi.org/10.2307/4144092.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Travers, Bonnie, and Carrie Russell. "Theatrical Videodisc Acquisition." Acquisitions Librarian 6, no. 11 (April 27, 1994): 125–33. http://dx.doi.org/10.1300/j101v06n11_12.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Welch, Ellen R. "Diderot’s Theatrical Acoustics." Eighteenth-Century Studies 51, no. 4 (2018): 437–52. http://dx.doi.org/10.1353/ecs.2018.0012.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Puchner, Martin. "Sade's Theatrical Passions." Yale Journal of Criticism 18, no. 1 (2005): 111–25. http://dx.doi.org/10.1353/yale.2005.0007.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Boje, David, and Grace Ann Rosile. "Theatrics of SEAM." Journal of Organizational Change Management 16, no. 1 (February 2003): 21–32. http://dx.doi.org/10.1108/09534810310459747.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Marcus. "Victorian Theatrics: Response." Victorian Studies 54, no. 3 (2012): 438. http://dx.doi.org/10.2979/victorianstudies.54.3.438.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Testa, Giuseppe. "Stem-cell theatrics." Nature 465, no. 7301 (June 2010): 1012. http://dx.doi.org/10.1038/4651012a.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Harris, Richard, Kim Harris, and Steve Baron. "Theatrical service experiences." International Journal of Service Industry Management 14, no. 2 (May 2003): 184–99. http://dx.doi.org/10.1108/09564230310474156.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Marcus, Sharon. "The Theatrical Scrapbook." Theatre Survey 54, no. 2 (April 22, 2013): 283–307. http://dx.doi.org/10.1017/s0040557413000069.

Full text

Abstract:

Librarian's nightmare or researcher's dream? Theatre historians frequently use and librarians happily acquire the rare theatrical scrapbook related to a single famous individual, but many undervalue and overlook ordinary theatrical albums, and with good cause: the ordinary theatrical scrapbook's provenance is often unclear, its compilers are usually unknown, and its contents are typically heterogeneous, commonplace, and decaying. The cracked bindings and flaking newsprint characteristic of such scrapbooks frustrate conservation, while their clippings, programs, and images pose serious cataloging challenges, shorn as they often are of identifying information. Finally, at least some of the material in these albums (such as newspaper clippings) is often duplicated elsewhere, making their contents easily seem redundant.

APA, Harvard, Vancouver, ISO, and other styles

41

Kerth, Thomas. "SIEGFRIED'S THEATRICAL LISTE." AMSTERDAMER BEITRÄGE ZUR ÄLTEREN GERMANISTIK 24, no. 1 (November 17, 1986): 129–61. http://dx.doi.org/10.1163/18756719-024-01-90000013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Pentzell, Raymond J. "Cracked theatrical mirrors." Society 24, no. 2 (January 1987): 78–82. http://dx.doi.org/10.1007/bf02695827.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Moriarty, Michael. "Barthes's Theatrical Aesthetic." Nottingham French Studies 36, no. 1 (March 1997): 3–13. http://dx.doi.org/10.3366/nfs.1997.002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Fois, Eleonora. "Theatrical translation or theatrical adaptation? Staging Noises Off in Italy." Journal of Adaptation in Film & Performance 11, no. 3 (December 1, 2018): 241–57. http://dx.doi.org/10.1386/jafp.11.3.241_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

López Villalba, Almudena. "DENTRO DEL ESPEJO. LA MÁQUINA CATÓPTRICA O ESPEJO TEATRAL." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 42 (June 18, 2019): 15–36. http://dx.doi.org/10.32621/acotaciones.2019.42.01.

Full text

Abstract:

Desde la Antigua Grecia los primeros científicos que se dedi-caron al estudio de la óptica idearon sistemas de espejos planos enlaza-dos con distintos ángulos que denominaron máquina catóptrica o espejo teatral. El jesuita Athanasius Kircher recuperó dichas investigaciones para construir sus diferentes cajas catóptricas y teatros ilusorios. Gian Lorenzo Bernini, en su faceta como director y escenógrafo, utilizó fal-sos espejos mezclando realidad y ficción para generar «la maravilla» y el entretenimiento del público. Este artículo explica el uso del espejo en las artes escénicas como elemento de diversión, y en la creación de espacios ambiguos que generan heterotopías.

APA, Harvard, Vancouver, ISO, and other styles

46

Tupitsyn, Victor. "Fried avec Debord: Theatricality by Default." Journal of Visual Culture 16, no. 1 (April 2017): 74–88. http://dx.doi.org/10.1177/1470412917690968.

Full text

Abstract:

The title of this article alludes to Jacques Lacan’s text ‘Kant avec Sade’ (1963). With that in mind, the author compares Michael Fried’s Art and Objecthood (1998[1967) to Guy Debord’s The Society of the Spectacle, also published in 1967. Whereas Fried unleashes his criticism against ‘the condition of theatre’ and its mounting presence in the realm of visual culture, Debord accuses spectacle of ‘becoming a life style’, endorsed by power structures and fuelled by the media. Chances are that neither art nor objecthood, but rather the spectacle itself is ‘the chief product of present-day society’. Or should we agree that human beings are homo theatricals, for whom ‘the condition of theatre’ is an inalienable part of their ‘social contract’. Among the issues discussed here are ‘ Heterotopia of the spectacle’ (e.g. play within a play) and the ‘theatrical drive’, which plays a fundamental role in balancing the rivalry between libido (Eros) and the ‘death drive’ (Thanatos) in the playhouse of our psychic life.

APA, Harvard, Vancouver, ISO, and other styles

47

Azim, Muhammad Umer, Muhammad Saleem, and Umar ud Din. "A Theatrical Study of Ikram Azam's Short Peace Plays." Global Regional Review VII, no. I (March 30, 2022): 72–79. http://dx.doi.org/10.31703/grr.2022(vii-i).08.

Full text

Abstract:

This piece of research pursues the critical investigation of the distancing devices used in Ikram Azam’s Short Peace Plays: The Quaid at the Jinnah Road, The Two Voices, The Vicious Circle, and The Sepulture. Naïve characters with their simplistic but basic questions on the sociopolitical ailments confronting the nation alienate and orient the reader dynamically. The dialectical juxtaposition of characters, with multiple points of views, has always been a popular technique to produce the spectacular discourse. In addition to the unity of opposites, the role of the narratological analogies is well entrenched in these plays. Courts rooms and dead bodies play their role very tactfully in imparting staginess to the text. Wars and their impacts on each and every aspect of social life are not less important than other techniques of theatricality. Historical characters that remain an integral part of the unconsciousness and the conscience of the society. Memories, dreams, and histrionic words and actions also play their role to contribute to the theatrics of the data. The study is informed by Mohsen Mosilhi A. Barakat’s Theatricality of Edward Bond’s Plays (2021). The use of theatrical techniques produces a dynamic awareness of the burning issues of the Pakistani society.

APA, Harvard, Vancouver, ISO, and other styles

48

Botunova,, H. Ya. "Organizational-pedagogical, scientific-research and theatrical-critical activity of A. V. Pletniov through the prism of time." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 9–40. http://dx.doi.org/10.34064/khnum1-51.01.

Full text

Abstract:

The article deals with the main aspects of organizational-pedagogical, scientific- research and theatrical-critical activity of the candidate of art studies A. V. Pletniov. Little-known biographical data on the life of the theater scientist and the creative environment, in which his professional formation took place, are presented. It is noted that A. V. Pletniov was one of the first graduates of the State Institute of Theatrical Arts named after A. V. Lunacharsky (now – RUTM). He studied there in 1934–1938, surrounded by highly-qualified students, many of whom subsequently became the pride of Russian theater studies. A. V. Pletniov entered the history of the theatrical culture of Kharkiv as a talented scientist-researcher, a well-known theater critic and teacher. He stood at the origins of theater studies in Kharkiv and for almost 30 years he headed the department of the History of the Theater (now – the Department of Theater Studies) of the higher theater educational institution in the city. However, the value of his activity is much wider. The formation of the Kharkiv State Theater Institute is closely linked with the personality of A. V. Pletniov, since 1963 he wax also connected with the theater department of the Kharkiv Institute of Arts named after I. P. Kotliarevsky, and in general – with the theatrical culture of our city. However, until this time his organizational-pedagogical, scientific-research, and theatrical-critical heritage has not been properly investigated and objectively not covered. The purpose of the research is to analyze the organizational, pedagogical, scientific, research and theatrical-critical activity of A. V. Pletniov, writing it into the socio-political and artistic context of time and, at the same time, into the history of theater studies of Ukraine. A. V. Pletniov started his pedagogical activity in 1938 at the Kharkiv Theater School as a teacher of the history of the theater and the head of the educational department. With the beginning of the war, the school, which merged with the Kyiv State Theater Institute, was evacuated to the city Saratov, where A. Pletniov as a teacher worked until January 1942. From this time until the end of the war he was on the front in the field force. In 1945 he returned to the newly founded Kharkiv State Theater Institute and was immediately appointed Deputy Director of Educational and Scientific Work and a senior lecturer at the Department of History of the Theater. Together with the director of the institute Z. Smoktiy, A. Pletniov was making considerable efforts to organize the educational process in the time of economic trouble, lack of staff with the corresponding education, and provided basic conditions of work and education in the newly created higher education. Existing and new departments were supplemented and opened, the prominent artists from Kharkiv theaters and leading scientists from other universities were invited to work. Among them: D. Antonovych, O. Serdiuk, M. Krushelnytsky, O. Kramov, L. Dubovyk, V. Chystiakova and others. The peculiarity of the organization of research and methodological work was its focus on providing educational process. Several comprehensive topics on the methodology of actor education, stage language teaching, encyclopedic dictionary of theatrical terms, and a study on the history of theater development in Kharkiv were planned. It was at that time that several dissertations were planned, including A. Pletniov’s “Kharkiv Theater of the Second Quarter of the 19th Century”, which he successfully presented in 1952 in his alma mater – State Institute of Theater Art after A. V. Lunacharsky, and he was awarded a degree Doctor of Arts. In 1960, the completed dissertation study was published in the form of a monograph titled “At the Origins of the Kharkiv Theater”, which until now has not lost its relevance and is actively used in the educational process. In 1947, while being the Deputy Director of the Institute, A. Pletniov also headed the Department of Theater History. It was with him as the head of the department, the actual renewal of the department as a theatrical research center and methodological center began, it largely determined the main directions of its activities for the future. Under the direction of A. V. Pletniov, the department trained a lot of talented theatrical scholars who successfully worked and work as teachers of higher educational institutions, heads of literary units of creative groups, heads of leading theaters, heads of cultural management, members of mass media staff, well-known theatrical critics. A. Pletniov headed the department for almost 30 years – until 1976 (with a brief break in 1961–1962), giving a significant impetus to the development of theater studies in Kharkiv, in particular, theatrical criticism. He himself was actively involved in the illumination of the theatrical process in Kharkiv, leaving after himself dozens of highly professional reviews, articles, notes, sometimes controversial, bearing the imprint of time. The article emphasizes that A. Pletniov was one of the most skilled and highly educated teachers. He taught a whole range of theater studies disciplines: the history of Russian theater, the history of foreign theater, the theory of drama, theatrical criticism. Until the last years of his life, A. Pletniov conducted active scientific research, methodological, theatrical-critical and public activity. In 1968–1972, he was the Vice-Rector of the Kharkiv State Institute of Arts named after I. P. Kotliarevsky for the scientific work and theatrical department. In 1975, he finished a doctoral dissertation “From the History of the Establishment of the Soviet Theater in Ukraine”, in which he for the first time thoroughly recreated the extremely complex and multifaceted theatric life of Kharkov in the October decade (1917–1927) in the socio-cultural context, but he did not have time to defense this study. Nowadays this scientific work is striking by its multidimensional and enormous amount of material. Conclusions. As a result of the research was established that with A. Pletniov personality as a well-known teacher, a scientist and theater critic, one of the leaders of the Kharkiv Theater Institute (1945–1953), later the Kharkiv Institute of Arts named after I. P. Kotliarevsky, more than thirty years of theater education in Kharkiv were connected. Particularly remarcable the role of A. Pletniov was in the development of theater studies and theater education in such a significant theatrical center as Kharkiv, where he nearly thirty years was heading the specialized department of the history of theater (now the department of theater studies). It was under his leadership that a methodology for preparing theatrical scholars of a broad profile was formed, based on a high level of general culture and education of future specialists, on the possession of a wide spectrum of theatrical research tools. Despite some contradictions inherent in A. Pletniov’s scientific and theatrical- critical activity and reflected in his heritage, that was typical for most scholars of the humanitarian sphere of the 1930–1970s, he remains one of the decisive figures in the development of theater education and theater researches in Kharkiv. All the above motivates for a further, more profound study of the scientific-pedagogical and theatrical-critical activity of A. Pletniov and, more broadly, the development of theater studies in Kharkiv.

APA, Harvard, Vancouver, ISO, and other styles

49

Jabbari Hafez, Mahmoud, and Mothana Mohammed Sharif. "Production mechanisms and their implications for Iraqi theater techniques." Al-Academy, no. 105 (September 15, 2022): 169–84. http://dx.doi.org/10.35560/jcofarts105/169-184.

Full text

Abstract:

Theatrical production mechanisms were determined according to the extents of the theatrical performance, the directing plan, and the ideas that the theatrical performance seeks to convey to the audience. Accordingly, theatrical production mechanisms differ between one theatrical performance and another according to the requirements of each of them and the surrounding circumstances that accompany the production of theatrical performance, and in order to search for production mechanisms and their repercussions on the show. Theatrical The current research was divided into four chapters, namely (Chapter One - Methodology), which identified the research problem in the following question: What are the production mechanisms and their implications for the techniques of Iraqi theatrical performance? The aim of the research came according to the question of the problem, as well as the terminology was defined, while the second chapter (the theoretical framework) came in three sections (1- The concept of theatrical production mechanisms, 2- Management and planning in theatrical performance, 3- The production mechanism and techniques of theatrical presentation). As for the third chapter (research procedures) choosing a play (Silphon) and it was analyzed within the descriptive analytical approach, while the fourth chapter (results and conclusions) concluded the research with a list of sources.

APA, Harvard, Vancouver, ISO, and other styles

50

Dombrovska, Valeriia, and Viktoriia Prylipko. "METHOD OF THEATRICAL EXPRESSION." Pedagogical Education: Theory and Practice 2, no. 26 (May 8, 2019): 70–76. http://dx.doi.org/10.32626/2309-9763.2019-26-2.70-76.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!