Bibliographies thématiques / Humanities -> theatre -> directing

Littérature scientifique sur le sujet « Humanities -> theatre -> directing »

Auteur : Grafiati
Publié le 26 juillet 2024

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Articles de revues sur le sujet "Humanities -> theatre -> directing"

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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 (1 juillet 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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Harbuziuk, Maiia. « “We Could Have Ventured in the Opposite Direction” : Exploring the Legacy of Polish Theatre on the Festival Map of Independent Ukraine ». Pamiętnik Teatralny 72, no 4 (16 décembre 2023) : 57–80. http://dx.doi.org/10.36744/pt.1550.

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This article examines the representation of Polish theatre on the Ukrainian festival map. This study includes key stages, events, and trends, and aims to uncover both positive developments and underlying problems. The research is based on sources such as published material, information resources, and my experience as a theatre critic. The periods of individual “breakthroughs” (1992–2000), “local encounters” (2001–2011), and “dramaturgical and performative landing forces” (from 2011) are identified and briefly characterized. The article outlines a broad geographical and genre-specific range of festivals in which Polish theatres participate and highlights their contribution. It also discusses the reception of individual performances by Polish theatres in Ukrainian criticism. The author focuses on the absence of iconic plays of Polish theatre on the posters of Ukrainian festivals (the exception is Bzik tropikalny (The Tropical Craze) by Witkacy, directed by Grzegorz Jarzyna, 1998). This resulted in the fact that the most important achievements of Polish theatre remained unknown to the Ukrainian audiences, and the professional community gravitated more towards Russia than towards the West. Given the more than four-hundred-year history of Polish–Ukrainian relations, it is essential that steps be taken to restore Polish–Ukrainian theatrical communication in order to ensure that Ukrainian theatre is connected to the European cultural space.
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Chebotarev, Sergey A. « Art of theater direction in the 20th–21st centuries ». Neophilology, no 28 (2021) : 718–25. http://dx.doi.org/10.20310/2587-6953-2021-7-28-718-725.

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We analyze the cultural and historical development of art of theater direction in the 20th–21st centuries. We consider the features of director’s theater on the example of Anatoly Vasiliev’s theater, Mark Zakharov’s theater, Zhenovach’s theater, Pyotr Fomenko’s theater, etc. We note that throughout the entire period there is a transformation of the role of the director in the theater. We note that throughout the entire period there is a transformation of director’s role in the theater. The significance of the theater director – artist grows into more complex forms of his existence: the playwright – the organizer of the performance – the teacher and educator of the theatrical collective. We conduct an analysis of directing schools allow us to draw the following conclusions. Firstly, the Russian theater at the turn of the 20th–21st centuries managed to preserve its traditions even in the conditions of the most powerful computer and television boom. Secondly, the theater continued to occupy one of the leading places in the spiritual, moral and aesthetic edu-cation of society. Thirdly, the direction of domestic theater adopted and multiplied the best tradi-tions of realistic art, coming from K. Stanislavsky, V. Nemirovich-Danchenko, E. Vakhtangov, M. Chekhov, taking into account modern trends and interests of the audience. Fourthly, there was an active search for new forms in directing and acting, experimental theaters and studios were formed. Fifthly, a huge place in directing was given to the production of classics. We note that the period under review provided an opportunity to fully reveal the originality in directing and acting.
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Pizzato, Mark. « Staging Consciousness : Theater and the Materialization of Mind. By William W. Demastes. Ann Arbor : University of Michigan Press, 2002 ; pp. 193. $47.50 cloth. » Theatre Survey 45, no 2 (novembre 2004) : 294–96. http://dx.doi.org/10.1017/s0040557404280267.

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William W. Demastes's new book is a rare find. It shows a new direction for interdisciplinary theatre scholarship, combining drama and performance with cognitive science, fuzzy logic, and complexity theory. With this challenging combination, Demastes extends the significance of theatre beyond its conventional place in the humanities and proposes specific ties between an ancient art form and recent scientific discoveries. He demonstrates a post-postmodern or “neostructuralist” approach that dares to discuss “the emergent essence of life itself,” through a materialist, yet “nonpositivist” science of the drama. He thus offers a glimpse “of ’universal' consciousness” in theatre's “spiritual something more” (7–9).
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Troiani, Sara. « Ettore Romagnoli, rievocatore of ancient Greek drama ». Classical Receptions Journal 16, no 1 (1 janvier 2024) : 56–72. http://dx.doi.org/10.1093/crj/clad029.

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Abstract The Italian classicist Ettore Romagnoli (1871–938) is mostly remembered as a popularizer of ancient drama through his work as a translator for and artistic director of classical performances at the Greek theatre of Syracuse (1914–27). His theatrical productions were inspired by a programmatic aesthetic approach to the study of classical culture called ‘artistic Hellenism’, which aimed at making the Graeco-Roman classics accessible to a broader audience, as well as renewing Italian prose theatre by referring to the example of the ancient chorodidaskalos. This article aims to describe Romagnoli’s attempt to promote his aesthetics in the staging of Greek drama within the cultural framework of Fascism. Even after his dismissal from the artistic direction of the National Institute of Ancient Drama, which he helped to establish in 1925, Romagnoli strove to find the financial support for his project of a ‘Fascist Institute of Classical Drama’. This Institute never became a reality and was probably intended to compete with the classical productions staged at Syracuse, which in the thirties were undergoing a shift in terms of aesthetics and production management according to the new Fascist politics about theatre matters.
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Sajid, Nida. « revisiting the woman's question on the nation's stages : new directions in research on Indian theatre ». Feminist Review 84, no 1 (octobre 2006) : 124–29. http://dx.doi.org/10.1057/palgrave.fr.9400304.

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Hoffman, Ian, Richard Talaske et Byron Harrison. « Understanding the role of direction in thrust and in‐the‐round theater spaces. » Journal of the Acoustical Society of America 128, no 4 (octobre 2010) : 2274. http://dx.doi.org/10.1121/1.3507957.

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Davidson, J. F. « The Circle and the Tragic Chorus ». Greece and Rome 33, no 1 (avril 1986) : 38–46. http://dx.doi.org/10.1017/s0017383500029946.

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It is a well-known and often lamented fact that we know very little about the actual staging of plays in the theatre of Dionysus in the Fifth Century b.c. What snippets of information we do have date from later centuries and may reflect contemporary conditions of performance, or may be mere inference based on fifth-century texts. Even though we can derive considerable comfort from Oliver Taplin's dictum that ‘the Greek tragedians signalled all their significant stage directions in the words’, 2 much that would enhance our knowledge of a fifth-century production remains a mystery.
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Maystrenko-Vakulenko, Yuliya. « Ukrainian Theatrical Drawings and Sketches of the Avant-Garde Era ». Ars & ; Humanitas 15, no 1 (20 juillet 2021) : 197–211. http://dx.doi.org/10.4312/ars.15.1.197-211.

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The study of time, space and movement as constituent art elements was a focus of attention of avant-garde artists. The theatre where events unfold both in space and time became a place of consolidation of Ukrainian artists, with the synergistic association of representatives in various art branches and movements. A scenographic sketch, that is, a two-dimensional realisation of idea of a future four-dimensional work, is a unique phenomenon to study the evolution of the avant-garde’s concept of the space-time continuum. Through the example of works of both distinguished and less known Ukrainian theatre artists we have studied features of the realisation of time and space categories according to the key stylistic directions of the Ukrainian avant-garde: cubism, futurism, cubo-futurism, constructivism, suprematism. A theoretical basis for the study has been provided by works of Western thinkers of the late nineteenth and early twentieth centuries: Edmund Husserl, Henri Bergson, Oswald Spengler, Ludwig Wittgenstein, Maurice Merleau-Ponty, and Meyer Schapiro, along with the Ukrainian art theorists Kasimir Malevich, Aleksandr Bogomasov, and Les Kurbas, as well as works of modern researchers such as Linda Henderson and Igor Duchan. We have drawn a parallel between the development of art concepts in the Ukrainian avant-garde and scientific achievements, and the sense of time and space categories in the philosophical thought of that epoch.
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Miles, Patrick. « Reviews : Improvisation in Drama. By Anthony Frost and Ralph Yarrow. (New Directions in Theatre.) London : Macmillan, 1990. Pp ix + 214. £30.00 ». Journal of European Studies 21, no 2 (juin 1991) : 149–50. http://dx.doi.org/10.1177/004724419102100207.

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Thèses sur le sujet "Humanities -> theatre -> directing"

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Taylor, Shanea. « DIRECTING AUTOBIOGRAPHICAL THEATRE ». VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1935.

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This is an exploration of the director's role in autobiographical theatre. The director is in a unique position when storytelling on a personal level is being executed theatrically. I explored this topic over the course of directing three plays, each of which contained a strong personal storytelling element, which broadened my perspective of the director's role. The three plays were Slashtipher Coleman’s The Neon Man and Me, Birth by Karen Brody, and Will Power to Youth Richmond presents: William Shakespeare’s Romeo and Juliet. Traditionally, the director’s role includes a myriad of tasks. These tasks can include and are not limited to creating pictures on stage that reflect the story being told, coaching actors in their craft specific to the production, vocal and movement coaching, viii creating a concept, interpreting and translating the action, and being the intermediary amongst the creative team in reaching the overall artistic vision. However, when the director is presented with personal stories to shape and mold, this role changes; no longer can the director wear a traditional hat and assume that the story will tell itself through a series of pictures, but now the director dons different hats and accesses other skills that more closely reflect those of mentor, spiritual leader, psychologist, teacher, and friend. This thesis is a narrative of the explorative process that one director experienced when staging these three prototypes of autobiographical theatre.
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Williams, Robert Hunter. « Directing For the Small Professional Theatre : Directing "Nothing Sacred" ». VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/763.

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The challenges of producing and directing small professional theatre in any metropolitan area are many. This thesis is concerned with the process of finding a producing theatre, casting, rehearsal and staging the play, "Nothing Sacred" by George F. Walker, in the Washington D.C. metropolitan area. Unlike many thesis projects this one was conducted completely outside of the university setting and is thus a true reflection of the small professional theatre community.
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Vrtis, Brian Robert. « Teaching Theatre History : Re-Directing an Existing Course ». VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1409.

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Cooley, Brock J. Mr. « Student Directing Thesis : Directing a Main Stage Show ». Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/188.

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My thesis gives insight on directing a main stage production at the collegiate level as a student. Specifically directing Tradin’ Paint, an original piece from playwright Catherine Bush a native of Abingdon Virginia, and a company playwright for the Barter Theatre. In the thesis I discuss how I arrived at different conclusions for my show through different research. I discuss the experience of being a director over professors, and my own peers, and how all of these challenges and discoveries eventually gave me a finished product to be proud of. If a director were to look at this work, they will find chapter two interesting, as it is my prompt book, with blocking and little notes on the script. This thesis is a great representation of a student directing thesis: Directing a Main stage Show.
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Hopkins, Boone J. « An Exploration of Process : Directing All My Sons ». VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/14.

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The role of the director in the contemporary theatre is constantly evolving in relationship to the art form. This thesis explores the process of directing Arthur Miller's American Tragedy All My Sons . Produced on the campus of Virginia Commonwealth University in December 2006, the role of the director is explored as it relates to this university community. The examination focuses on challenges surrounding script selection, casting, rehearsal, and ultimately production. By exploring the process of directing this production of All My Sons, larger revelations are discovered about the changing role of leadership in academic theatre.
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Angelone, Alison. « A COMPARATIVE ANALYSIS OF DIRECTING & ; CHOREOGRAPHING MUSICAL PRODUCTIONS FOR PROFESSIONAL, ACADEMIC AND COMMUNITY THEATRES ». VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1767.

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In my thesis, I plan to explore the realms of academic, professional and community theatre through the eyes of a director and choreographer. Highlighted themes will consist of the varying approaches to the script, music and choreography. This thesis will also include specific teaching and or non-existent teaching methods for professional, academic and community theatre. Included will be three definitive case studies which will consist of one musical production per academic, community and professional theatrical setting. I will focus on the director/choreographer’s overall approach to the research, rehearsal and final performance processes for the Pioneer Theatre Company’s production of My Fair Lady, Virginia Commonwealth University’s production of Chicago and St. Michael’s Catholic Church production of Starting Here, Starting Now.
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Adolphi, Pamela S. « Pamela on Directing Three the Hard Way : An Exploration of Theatrical and Communicative Processes ». Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2065.

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The direction of the play Three the Hard Way by Linda Eisenstein achieved the playwright's intent and the super objective of the play. The application of theatrical and communicative processes facilitated the direction of the desired metacommunicatations associated with the family's dynamics by expressing the struggles and perceptions associated with the family and their relationships. The implementation of the director's prompt book illustrates the use of proxemics in creating picturizations for the stage. In addition, the exploration of the directing process and the progression of the production are examined in daily journal entries. The successes of the directorial approach and implementations are considered, as well as the aspects of the production that may not have reached full potential.
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Villada, Diego. « Bananas in the Mist : Directing Amazing Adventures of the Marvelous Monkey King ». VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1542.

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This thesis details -in personal narrative form- the process by which the author directed a production of Elizabeth Wong's Amazing Adventures of the Marvelous Monkey King at Dr. Michael M. Krop Senior High School in Miami, Florida. The following text explains elements of pre-production, presents relevant research associated with the play, describes the production process in detail, and states conclusions drawn by the author about the experience. The work challenged both the ensemble and the director to seek new avenues of expression and theatricality different from those traditionally explored in their respective educational settings.
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Yount, Sarah Mansell. « What's a Female Director To Do ? The Women of Medea Redux and the Men of Someone Who'll Watch Over Me : A Study of the Sexes ». VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1765.

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My thesis will explore the role of the female director. The two plays on which I will focus, Neil LaBute’s medea redux and Frank McGuinness’s Someone Who’ll Watch Over Me, call for quite different casts. The former involves a woman in a police interrogation room; the latter involves three men in a Lebanese prison. Despite the overt masculinity of these plays, traces of femininity permeate. Indeed, my status as a female director provided one of the clearest paths into these plays when I directed them last year at Virginia Commonwealth University. My gender also greatly influenced my direction of the actors. My experiences working on these shows provided a backdrop from which to reflect on my role as a female director in a male-dominated field. In my thesis I will reference notes I took during the rehearsal process. I will also include much of my dramaturgical research. Finally, throughout my writing process, I will attempt to define “masculine” and “feminine” both with regard to theatre and to theatre direction. This document was created in Microsoft Word 2003 for Mac.
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Cho, Joon Hui. « Adapting and Directing a Princess' Drum : A Directorial Journey Toward Shamanistic Ritual in Non-Verbal Physical Theatre ». VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/116.

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This thesis is my directorial narrative of a production of A Princess' Drum performed the Newdick Theatre in Shafer Street Playhouse at Virginia Commonwealth University on May 5-7, 2006. This thesis is the exploration of physical non-verbal theatre through adapting and directing Korean playwright, In-Hun Choi's Doong-Doong-Nangrang-Doong. Chapter one of this .thesis examines shamanistic ritual in the pre-production. Chapter two explores movement and voice centered physical work in the production process. Chapter three covers reflections of the process after the performance.
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Livres sur le sujet "Humanities -> theatre -> directing"

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Jordan, Eamonn. Irish Theatre and Historiography. Sous la direction de Nicholas Grene et Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.42.

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Irish theatre history, like Irish theatre, has for many years orbited around two centres: the writer and the Abbey Theatre. To some extent this continues to be both true, and for good reason. At the same time as Irish theatre culture has diversified, so too has scholarly writing about Irish theatre. There has been a distinct turn towards the study of performance in the twenty-first century, which is notable in an area that for so long had been dominated by the study of writers. In the same period, as Irish culture became more diverse, questions of gender identity, ethnicity, and multiculturalism have come into focus in new ways; and this in turn happened during a paradigm shift that has taken place across the humanities as a result of digitization. This chapter consider both the legacy of Irish theatre scholarship, and the new directions it has been following.
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Shakespeare and the 'Live' Theatre Broadcast Experience. Bloomsbury Publishing Plc, 2018.

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Professii︠a︡--kritik. Moskva : [s.n.], 2005.

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Actes de conférences sur le sujet "Humanities -> theatre -> directing"

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Swiecicki, Klaudiusz. « THEATRE AGAINST NON-HUMAN REALITY A FEW SENTENCES ABOUT THE THEATRE OF THE EIGHTH DAY ». Dans 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.11.

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The Theatre of the Eighth Day from Poznan has been the phenomenon of the Polish independent theatre. It was founded in 1964 by students of the University of Adam Mickiewicz in Poznan. As the students theatre of poetry, for the first few years it operated under the direction of Tomasz Szymanski. The change of the stage form began two years after the group was founded, when Zbigniew Osinski became involved with him. He brought fascination of the Grotowski's method. The Theatre of the Eighth Day marked their disagreement with the communism reality. Stanislaw Baranczak, one of the most talented poets of the Generation'68, joined the group. In the 1970s he was an activist of the anti-communist opposition. For last years, liberal, pro-European Poland has been experiencing an identity crisis. It seems that the demons have put in the forefront: religious obscurantism, anti-Semitism, xenophobia and sexism. Cultural and intellectual openness is replaced by populism and nationalism. The Theatre of the Eighth Day does not remain indifferent to these processes. As in the days of communism takes the side of the open society. The research methods adopted in the article are: analysis of performances, archival materials, photographs and documentary films. Interviews with actors were also conducted.
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Schumann, William. « BLACK MOUNTAIN COLLEGE SEMESTER : (RE) LEARNING EXPERIMENTATION IN ARTS AND CULTURE EDUCATION ». Dans 2024 SoRes Paris –International Conference on Interdisciplinary Research in Social Sciences, 11-12 January. Global Research & Development Services, 2024. http://dx.doi.org/10.20319/icssh.2024.0102.

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Black Mountain College Semester (BMCS) was an interdisciplinary teaching and public education project implemented in 2018 at Appalachian State University in mountainous western North Carolina, USA. BMCS drew over 30,000 attendees and participants despite the rural character of the project area. Based on the experimental pedagogy of the influential Black Mountain College (1934=1963), the ten-month, multi-sited BCMS project sought to create intentional spaces of interdisciplinary collaboration–bringing the humanities, social sciences, arts, and design sciences into conversation–but more importantly, to facilitate the development of experimental cross-disciplinary and academic-public collaborations independently of the project leadership team. This paper offers a brief overview of Black Mountain College, followed by a discussion of the decentralized project design and the analysis of two project case studies. BMCS planning started with the original College principles of experiential and democratic learning philosophy, which invited participation and collaboration across hierarchical academic silos. Fundamentally, the concept of independent inquiry, not specific project outcomes, drove this process. Faculty, administrators, staff, non-profit leaders, educators, and the public contributed to events as varied as exhibitions, public talks, workshops, publications, theater, music, and curriculum design across four project sites. The first case study describes an interdisciplinary faculty fellowship program, created by project leaders, to support the application of learning concepts from Black Mountain College in university courses. The second describes the process of creating an interactive website linked to three museum exhibitions that extended BMCS into public domains and extra-academic spaces of learning. Broadly, this paper analyzes the process of co-creating methods of experiential learning on and beyond a university campus. Project assessment data is utilized to contextualize public responses to BMCS and discuss future directions for the project.
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