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1
Waegner, Cathy C. "Staging (during) Crisis: Indigenous Zoomlets in the Pandemic". American, British and Canadian Studies 39, n. 1 (1 dicembre 2022): 7–30. http://dx.doi.org/10.2478/abcsj-2022-0015.
Testo completoAbstract (sommario):
Abstract The COVID-19 pandemic with its lockdowns and social distancing whirled theaters worldwide into an economic and cultural crisis. The San Francisco Playhouse, however, implemented an experimental theater genre based on computer-mediated communication (CMC) that proved to be highly productive and successful. The “Monday night Zoomlets” presented short plays by, among others, Indigenous authors, embedded in discussion by director, actors, and playwright, with a second reading of the play applying the insights gained. The presentations took advantage of technical finesses, as well as informality and humor, and the Zoom spectators in their home settings could interact via a chat function. This article analyzes three of the innovative Zoomlets focusing on crises in contemporary Native American families, crises that have arisen through the “slow violence” (Nixon) of centuries-long hegemonic colonization. DeLanna Studi’s Flight, Claude Jackson Jr.’s Cashed Out, and Lee Cataluna’s Funeral Attire. All these plays show young Native Americans attempting to reclaim rituals or knowledges through forms of “remembering,” a feature of twenty-first-century Indigenous theater according to engagé drama theorists Jaye Darby, Courtney Mohler, and Christy Stanlake’s Critical Companion to Native American and First Nations Theatre and Performance (2020). Relevant theories of transformations of chronotope, fourth wall, and third skin in performance within the Zoom environment are considered.
2
Sidoní López e Hanane Belali. "Native American Theater: A Concise History". Miscelánea: A Journal of English and American Studies 54 (15 dicembre 2016): 93–111. http://dx.doi.org/10.26754/ojs_misc/mj.20166882.
Testo completoAbstract (sommario):
This paper provides a concise and brief history of Native American theater from its beginnings in indigenous oral traditions to its consolidation in the 21st century. To start with, the essay will deal with the origins of American Indian theater in Native oral traditions through storytelling and its performance. The paper will then explore the dark period of Native American drama during the emergence of Native American writing in the 18th and 19th centuries. In like manner, the essay will deal with the emergence of contemporary Native American theater as a genre during the second part of the 20th century through the numerous and multiple Native theater companies and plays. Finally, the paper will conclude with the path towards the consolidation of contemporary indigenous theater during the new millennium and will attempt to shed light on the collections and anthologies of Native American plays, a considerable body of scholarship which has just started to gain momentum, and the promotion of the genre through different institutions, companies and festivals across the country. As will be demonstrated, although Native drama is a relatively new phenomenon in the American literary landscape, the history of its development is long, complex and still developing.
3
Zehra, Shamail, Kiran Karamat e Niza Qureshi. "THEATRE IN THE DIGITAL AGE: CHALLENGES AND AUDIENCE VIEWING EXPERIENCES". Pakistan Journal of Social Research 05, n. 01 (4 marzo 2023): 609–16. http://dx.doi.org/10.52567/pjsr.v5i01.1384.
Testo completoAbstract (sommario):
A digital native audience may find it more difficult to be captivated by a theatrical performance in the age of technology, yet theater has evolved and survived every technological advancement. The popularity of the plays in Shakespeare's day appears to have been largely dependent on audience behavior, much as it was in the times of Aristophanes and Plautus. In our local Pakistani context, the study investigates whether theater can survive in the present digital media landscape and addresses the key elements that can affect a viewer's decision to see theater in a live setting. A good play, production, and performance are evaluated by audiences who are highly "theatre-literate. Despite the latest developments in technology, there are audiences who are essentially motivated by human interaction and insight, who yearn for the live experience, who appreciate being live in the room with the entertainer and that audience is the reason for the survival of theatre in a digital age. A survey method is utilized to collect data from 200 theater-savvy audiences in order to glean the most pertinent information and enhance the analysis of the information gathered. The results will demonstrate that regular theatergoers choose to attend theater live rather than for free online in order to experience a sense of relationship with the performers and other audience members. The majority of theatergoers said that attending live theater in an era of digital technology was still very much worthwhile. Because theater is a global cultural phenomenon that exists in all societies, the study is important on both a national and international level. Keywords: Theatre, Digital culture, Technology, Audience, Liveness, Brecht Theatre.
4
Gilula, Leah. "No Sabras in the Fields?" Israel Studies Review 36, n. 1 (1 marzo 2021): 128–43. http://dx.doi.org/10.3167/isr.2021.360109.
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The Cameri Theatre of Tel Aviv has always presented itself as the first repertory theater in the Yishuv that represented the sabras, creating the impression that its actors and artists were themselves mainly sabras and Hebrew their native language. However, this image, based chiefly on the successful performance of the play He Walked through the Fields, does not reflect reality. The article questions the myth by exploring the actual number of sabra theater artists and actors in the troupe, their place and measure of influence. Exposing this image sheds light on The Cameri Theatre at its beginning as well as on the creation of the image of the sabra, as presented by the character of Uri, and embraced by Hebrew culture.
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Shevchenko, Elena N. "YOUNG DIRECTING ON THE KAZAN STAGE". Челябинский гуманитарий 66, n. 1 (3 maggio 2024): 77–84. http://dx.doi.org/10.47475/1999-5407-2024-66-1-77-84.
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The article is devoted to the young generation of directors working on the Kazan stage. These are those who have entered the profession over the past ten years. Among them there are already established masters such as Ilgiz Zainiev, Aidar Zabbarov, Timur Kulov, Ilsur Kazakbayev, a director from Bashkiria who is actively working in Tatarstan. There are also those who are at the very beginning of their career, but have already attracted attention with interesting productions and projects – Lilia Akhmetzyanova, Bulat Gataullin, Bulat Minkin and others. These young artists are successfully implemented in the multicultural environment of Tatarstan. Ilgiz Zainiev heads the Tatar Puppet Theater “Ekiyat”, working with both its Tatar and Russian troupes. His portfolio includes numerous productions in the Tatar drama theaters of Kazan and other cities of the republic: Almetyevsk, Atnya, Menzelinsk, Naberezhnye Chelny, performances in the Kazan Russian Youth Theater and the Naberezhnye Chelny Puppet Theater. Aidar Zabbarov is a director in demand by Russian theaters. In his native republic, he works mainly in the Tatar theaters of Kazan, Almetyevsk, Atnya, while simultaneously being the author of productions at several Russian theater venues. Timur Kulov also successfully cooperates with both Tatar and Russian theaters of the republic. Ilsur Kazakbayev works mainly in national theaters – Bashkir and Tatar. Lilia Akhmetzyanova is the director of the Kazan Russian Youth Theater and at the same time the author of productions at the Kazan Tatar Youth Theater named after G.Kariev and at the venues of the Living City Foundation for the Support of Contemporary Art. These and other directors largely determine the appearance of today’s theatrical Kazan. The purpose of this article is to identify the features of the author’s style of young directors who have especially vividly declared themselves on the Kazan stage, and through the individual try to consider something in common – the qualities inherent in the new generation of directing as such.
6
López Pérez, Sidoní. "Confrontation and reconcilement in contemporary native american theater". HUMAN REVIEW. International Humanities Review / Revista Internacional de Humanidades 11, Monográfico (27 dicembre 2022): 1–10. http://dx.doi.org/10.37467/revhuman.v11.4344.
Testo completoAbstract (sommario):
Contemporary Native American theater consists of a long list of plays which normally include indigenous and mixed-blood characters who often find themselves living between two worlds, that is, Native culture and white American society. Therefore, it is common to find a significant confrontation and conflict between the two cultures, which is usually solved at the end of the plays with the characters’ reconcilement or synthesis between their Native heritage and the white domineering society. In this way, Native Americans can ensure their Native cultural existence and survival whilst simultaneously adapting to the changes and customs required by white American society.
7
Brask, Per, William Morgan e Robert Appleford. "Aboriginal Voices: Amerindian, Inuit, and Sami Theater". Canadian Theatre Review 78 (marzo 1994): 66. http://dx.doi.org/10.3138/ctr.78.016.
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Apart from a few scattered articles, the area of contemporary Native theatre appears virtually untouched by substantial scholarly investigation. This is why Aboriginal Voices, the only (to my knowledge) full-length anthology devoted entirely to First Nations drama and performance, is so exciting. It indicates not only the great range of Native theatre (focusing on the far north but with additional material relating to other Native groups), but also of the problems encountered by those wishing to understand it and help foster it.
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Jones, Daystar/Rosalie M. "José Limón: Mentor to Native Youth". Congress on Research in Dance Conference Proceedings 39, S1 (2007): 113–20. http://dx.doi.org/10.1017/s2049125500000200.
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This paper presents a description of the work of José Limón with American Indian students at Flandreau Indian School in 1970. This historic event grew out of the collaboration of Juilliard's Martha Hill with Mrs. Stewart (Lee) Udall and her organization the Center for Arts of Indian America, which was dedicated to enabling native youth to enter the fields of dance and theater.
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Karelina, Yekaterina. "Tuvan Composer Ayana Oyun (Creative Portrait)". International peer-reviewed journal 11, n. 4 (1 dicembre 2023): 68–77. http://dx.doi.org/10.59850/saryn.4.11.2023.30.
Testo completoAbstract (sommario):
Among the modern composers of Tuva, the personality and work of Ayana Oyun are covered little of musicology. The main stages of the composer’s creative biography are noted related to studying at Republican School of Arts and Kyzyl College of Arts, receiving a specialized education at Krasnoyarsk State Academy of Music and Theater, Mikhail Glinka Novosibirsk State Conservatory, as well as additional education at St. Petersburg Theatre Arts Academy. The composer’s creative portfolio is surveyed, providing an analysis of one of the illustrative works — the Piano Quintet. The periodization of creativity works correlates with her education in different universities in Russia and with a change in genre preferences. Thus, during the years of study at Krasnoyarsk Academy of Music and Theater (2001–2007), works of chamber genres were predominated, including the being analyzed Piano Quintet. The return to her native Tyva is marked by the formation of an original author’s style. During these years, interest in theatrical music was shown, and a number of performances with music by Ayana Oyun were staged. During the years of study in St. Petersburg (2013–2018), several musical fairy tales were created and staged: Don’t Fly Away!, Mary Poppins and Her Friends, Khorloo (Wheel). Music appeared for a number of performances at the National Theatre as well. The composer’s contribution to the development of musical theater in Tuva and the revival of the first national opera, Chechen and Belekmaa, by Rostislav Kendenbil are noted. Ayana Oyun is a rare case of a successful combination of a composer and a theater director in one person; her personality is distinguished by deep reverence and adherence to the traditions and practices of Buddhist teaching, striving for constant self-improvement, expansion of professional and spiritual horizons.
10
Damrhung, Pornrat. "Cultivating the Garden of Theater Culture: A New Perspective on Traditional Theater in Thailand". MANUSYA 2, n. 2 (1999): 29–60. http://dx.doi.org/10.1163/26659077-00202003.
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After questioning the conventional distinction between traditional and modem theater in Asia, this essay suggests that it may be more fruitful to view today’s live theater traditions as part of a garden of theater culture that includes both native and imported elements and both deep-rooted and recently transplanted traditions. The remainder of the essay amplifies this perspective using examples from Thailand’s theater traditions during the last century and a half. This prepares the way to consider the strengths and weaknesses of traditional theater staged in Thailand during the last decade or so, whether centered on juxtaposing various artistic forms onstage or performing artistic reinterpretations of traditional stories. In seeking to strengthen these approaches for future performances, the author suggests the need for pooling the discipline and creativity performers have in order to fashion patterns of artistic expression that convey significance both among artists and to their audiences.
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Rabillard, Sheila. "Keepers of the Morning Star: An Anthology of Native Women's Theater". Ecumenica 1, n. 1 (1 gennaio 2008): 89–90. http://dx.doi.org/10.5325/ecumenica.1.1.0089.
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Tiffany Noell. "Performing Worlds into Being: Native American Women’s Theater (review)". American Indian Quarterly 34, n. 2 (2010): 269–71. http://dx.doi.org/10.1353/aiq.0.0108.
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Mankov, Andrei V. "ABOUT THE MIDDLE VOLGA PERIOD IN THE LIFE OF AN OUTSTANDING BIBLIOGRAPHER AND WRITER A.S. POLYAKOV". Historical Search 2, n. 4 (20 dicembre 2021): 45–54. http://dx.doi.org/10.47026/2712-9454-2021-2-4-45-54.
Testo completoAbstract (sommario):
In August 2021, the cultural community of St. Petersburg celebrated the 265th anniversary of St. Petersburg State Theater Library, which is known worldwide as the richest repository of materials about the theater and for the theater. It has been collecting its unique fund, including a number of rare and valuable collections, since the XVIII century. The author’s research attention is focused on the facts of the Middle Volga period in A.S. Polyakov’s biography – the legend of one of the country’s oldest libraries. After the Bolsheviks came to power in Russia in 1918–1923, Alexander Sergeevich Polyakov, working as the head of this book depository, largely determined its modern multifunctional appearance. During this difficult period in the life of the state and the society, with great enthusiasm the talented writer edited several different print media, the most famous of which was one of the first theatrical magazines of the Soviet Russia, “The Biryuch of Petrograd State Theaters”. Alexander Polyakov was not a native of St. Petersburg. His small homeland is the Middle Volga region. The author explores the childhood and youth years of the future bibliophile and writer, which he spent in Simbirsk and Kazan governorates. The researcher tells that Alexander was not only born and brought up in the Volga region, but also studied at Simbirsk Classical Gymnasium and the Imperial Kazan University. The article gives some facts about an active participation of this native of Simbirsk in the socio-political life of the Middle Volga region which deserve special attention. For example, in 1901–1904 A.S. Polyakov played a major role in the creation of Kazan and Simbirsk organizations of the Party of Socialist Revolutionaries (SRs). In 1905, he was one of the most famous participants of the First Russian Revolution in the region. So, being under the tacit supervision of the police, Polyakov at that time constantly spoke at meetings and rallies in the town of Simbirsk and some uyezds of Simbirsk province, actively participated in agitation events of social revolutionaries of various kinds. In 1906, a young native of the Volga region moved to an illegal position, and then secretly left the Volga region. In 1907, the future outstanding bibliographer was detained by the police in St. Petersburg and sent into administrative exile. The article also provides previously little-known facts of his personal life. At this, the author tells about Polyakov’s parents and other family members. The specialist paid special attention to his wife, Elizaveta Polyakova (Dubova), a native of the Middle Volga region, who was a St. Petersburg student and a member of the Socialist Revolutionary Party. The young revolutionary was repeatedly brought to administrative responsibility and after the defeat of the revolution of 1905–1907 was exiled to the Eastern Siberia.
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Shibanov, Victor. "THE IMAGE OF THE THEATER IN IGNATIY GAVRILOV’S TRILOGY “IN NATIVE LANDS”". Финно-угроведение, n. 1 (2022): 116–23. http://dx.doi.org/10.51254/2312-0312_2022_63_12.
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Khabarova, Iuliia. "Anton Chekhov Theater in the perception of Harbin Russians". Человек и культура, n. 5 (maggio 2021): 13–21. http://dx.doi.org/10.25136/2409-8744.2021.5.36494.
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This article examines the criticism and publicistic writing about A. P. Chekhov’s dramaturgy and theatre conducted by the Harbin Russians in the early XX century. Russian immigrants of that time did not break ties with the native culture seeing it as a source of spiritual revival and hopes for returning to Russia. Chekhov was an integral part of their intellectual and cultural life. The ideological and aesthetic views of Harbin Russians resonated with the views of Western immigrants, although indicating certain differences. The publications of Eastern immigrants rarely contain skeptical arguments about Chekhov's role in the hierarchy of classics; for Harbin Russians, Chekhov resembles the pride of the Russian literature. The author analyzes the most characteristic articles, considering the fact that they were published in newspapers “on the occasion”. The conclusion is made that the topic of “Eastern Immigration and the Chekhov” is poorly studied, which defines its scientific relevance, contributes to more extensive coverage of literary heritage of the white émigré, and enriches the knowledge on personality of the writer, his prose, and theater.
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Khabarova, Iuliia. "Anton Chekhov Theater in the perception of Harbin Russians". Человек и культура, n. 5 (maggio 2021): 13–21. http://dx.doi.org/10.25136/2409-8744.2021.5.36494.
Testo completoAbstract (sommario):
This article examines the criticism and publicistic writing about A. P. Chekhov’s dramaturgy and theatre conducted by the Harbin Russians in the early XX century. Russian immigrants of that time did not break ties with the native culture seeing it as a source of spiritual revival and hopes for returning to Russia. Chekhov was an integral part of their intellectual and cultural life. The ideological and aesthetic views of Harbin Russians resonated with the views of Western immigrants, although indicating certain differences. The publications of Eastern immigrants rarely contain skeptical arguments about Chekhov's role in the hierarchy of classics; for Harbin Russians, Chekhov resembles the pride of the Russian literature. The author analyzes the most characteristic articles, considering the fact that they were published in newspapers “on the occasion”. The conclusion is made that the topic of “Eastern Immigration and the Chekhov” is poorly studied, which defines its scientific relevance, contributes to more extensive coverage of literary heritage of the white émigré, and enriches the knowledge on personality of the writer, his prose, and theater.
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LAVRENTII, Roman. "ETHNOGRAPHIC DRAMAS AND PLAYS OF MANNERS AT THE UKRAINIAN THEATERS IN HALYCHYNA IN THE 1920s–1930s AS IN INSTRUMENT OF NATIONAL SELF-PRESERVATION". Bulletin of the Lviv University. Series of Arts Studies 280, n. 20 (2019): 158–72. http://dx.doi.org/10.30970/vas.20.2019.10620.
Testo completoAbstract (sommario):
The issue of preserving the national identity in the conditions of statelesshood is still relevant. Artistic forms of national representation and the preservation of the national ethos, as well as various attempts to foreground it deserve close attention on the part of researchers. This article studies the stage practices of the touring theater companies in Western Ukraine that considered ethnographic dramas and plays of manners as an essential part of their repertoire. It traces the ways those plays were staged by the companies that seemed to pursue the repertoire policy which excluded plays of manners. The article focuses on the attempt of V. Blavatskyi, experimental artist and theater director, to modernize a play of manners as was in the case of the play “Oi, ne khody, Hrytsiu” (Don’t Go to Parties, Hryts) by M. Starytskyi (1934, staged at the Ukrainian young theater “Zahrava”). The article aims to determine the major forms of ethnographic dramas and plays of manners staged by the Ukrainian theaters in Halychyna in the 1920s–1930s, and to highlight the mechanisms of their social impact ranging from mere entertainment and a form of self-abandonment and up to functioning as an instrument of national self-preservation. The following tasks have been accomplished: 1) the historical circumstances in which Ukrainians found themselves in Western Ukrainian lands during the times of the Second Polish-Lithuanian Commonwealth were analyzed; 2) the principles underlying the everyday practices of touring Ukrainian theaters, in particular, in the territory of Halychyna, were outlined; 3) theatrical bills were reviewed to select ethnographic dramas and plays of manners, and the range of themes and issues addressed was determined; 4) the forms of foregrounding and modernization of theatrical national mythic imagery were identified; 5) a conclusion was made whether the Ukrainian society is ready to perceive the existing traditional or modernized vision of the national identity. This study relies on theoretical scientific research methods, such as: content analysis (critical discourse in the press regarding the future of ethnographic drama and plays of manners; thematic and ideological spectrum of the repertoire); synthetic method (presenting the activities of different theater companies as a unity), generalization (outlining common trends in the repertoire policy). Given their marginalized status in the interwar Poland, the Ukrainian citizens had to get their act together to counter the governmental policy of Polonization and to wage the “war of cultures”. Theater turned into a major force in the process of formation of the modern national consciousness. It transformed public consciousness “from defeatist to heroic” and created an attractive image of the native land (historical territory), populating this symbolic space with national heroes and providing consistent narratives (common myths and historical memory). It also gave a boost to a powerful layer of common public culture that supported the phenomenon of “nation as a project”.
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Markowitz, Harvey, Craig Howe, Dean Rader e LeAnne Howe. "An Ensemble Performance of Indians in the Act: Native Theater Past and Present". Studies in American Indian Literatures 16, n. 1 (2004): 32–61. http://dx.doi.org/10.1353/ail.2004.0010.
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Chechyk, V. "Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre". Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, n. 3 (dicembre 2020): 82–93. http://dx.doi.org/10.33625/visnik2020.03.082.
Testo completoAbstract (sommario):
This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.
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Sawicz, Agnieszka. "Polski Teatr Ludowy we Lwowie – fenomen radzieckich czasów". UR Journal of Humanities and Social Sciences 26, n. 1 (marzo 2023): 116–35. http://dx.doi.org/10.15584/johass.2023.1.6.
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The Polish People's Theater in Lviv is an extraordinary stage in many respects. It was founded in the Ukrainian Soviet Socialist Republic in 1958 by a retired Polish language teacher, Piotr Hausvater. He gathered around him a group of enthusiasts, amateurs who over the years managed to create a team that played not only in the Soviet Union, but also outside its borders. There were no professionals among the actors, but the Theater reached a fully professional level and won numerous awards, presenting plays in Polish in the difficult conditions of a totalitarian state. Pupils, students, workers, engineers, teachers and intellectuals - all devoted their private time to create art for charity. The effect of their work was for many Poles in the USSR the only contact with their native language. It was also a way to become acquainted with the cultural heritage of the country with which they still felt a bond. Interestingly, the band was made up not only of people with Polish roots, but also Ukrainians and Russians. It was the Russian artist Valery Bortyakov who managed the Theater after its director, Zbigniew Chrzanowski, had to leave the Soviet Union due to repressions for laying flowers at the monument to Adam Mickiewicz in Lviv. The theater managed to survive the communist repressions and successfully operates to this day, in free Ukraine.
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Evans, Katherine Young. "Performing Worlds into Being: Native American Women's Theater, and: Native American Drama: A Critical Perspective (review)". Studies in American Indian Literatures 23, n. 1 (2011): 136–39. http://dx.doi.org/10.1353/ail.2011.0010.
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Lorkowski, Jacek, Izabella Maciejowska-Wilcock e Mieczysław Pokorski. "Surgical Safety Checklist". Scientia Medica 33, n. 1 (27 febbraio 2023): e43223. http://dx.doi.org/10.15448/1980-6108.2023.1.43223.
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Objectives: the surgical safety checklist (SSC) is a document that is intended to increase patient safety in the operating theater by eliminating avoidable errors. The original document has been published in English by the WHO which recommends its obligatory use. The document’s name is often distorted when translated into European languages, for instance into the “surgical control list”. This article aims to assess the consequences of the distortion of the originally intended meaning for the completion of SSC in the operating theater. Methods: we compared the exactness of the meaning of translation in 29 European languages based on Google translator. Particular attention was paid to the presence of essential words such as “checklist” and “safety” in the translation.Results: we found that in 15 out of the 29 languages, the translation of these two words was incorrect, particularly in Slavic languages. The most often mistranslation was the “control card” or “control list”, which was a misnomer.Conclusions: the translation of the SSC name into native languages is inadequate in about one-half of the cases, which may jeopardize its proper use by team members of the operating theater, and thus the patient perioperative safety.
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Shcherbinina, Olga I. "LILLIAN HELLMAN AND THE SOVIET THEATER". Вестник Пермского университета. Российская и зарубежная филология 13, n. 2 (2021): 132–41. http://dx.doi.org/10.17072/2073-6681-2021-2-132-141.
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The article examines the contacts of the American playwright Lillian Hellman with the Soviet theatrical world. It focuses on Soviet productions of her plays, recollections of actors involved in those productions, critics’ reviews of the premieres. Hellman’s more than 20-year career in the USSR helps to trace back the changes of Soviet cultural and ideological agenda. Acting as a cultural emissary during the Second World War, Hellman visited Moscow where she was greeted as a dear guest, and her plays were staged by two largest Moscow theaters. With the beginning of the Cold War, her dramas The Little Foxes and Watch on the Rhine disappeared from the repertoire. Surprisingly, Hellman’s play with a conspicuously Western title Ladies and Gentlemen circumvented theatrical censorship amid an anti-American propaganda campaign, although the production received negative reviews from magazine critics. In the 1960s Hellman returns to Moscow again, where she meets Raisa Orlova and Lev Kopelev. Cultural and political landscape of that period was deeply influenced by struggles of the dissident movement, which Hellman deeply sympathized with. She considered Kopelev and Orlova to be people of remarkable courage and integrity since they refused to leave their native Russia despite the risk of being imprisoned and persecuted. That is why the case of Anatoly Kuznetsov who fled to the UK from the USSR infuriated Hellman who publicly disapproved his decision to flee. Hellman wrote and spoke about dissidents back at home in the United States, and she continued to correspond with Orlova almost until her death in 1984. Thus, Hellman’s creative biography represents the trajectory of defecting from the ranks of Soviet sympathizers: starting her career as a pro-Stalinist, she subsequently refused to support Soviet socialism.
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Waegner, Cathy C. "Performing Justice in Recent Native American Women’s Theater: Mary Kathryn Nagle’s Sovereignty and Manahatta". Studies in American Indian Literatures 34, n. 3-4 (settembre 2022): 124–52. http://dx.doi.org/10.1353/ail.2022.0022.
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Supriyadi, Moh. "تدريس مهارة الكلام بوسائل مسرح العرائس للمرحلة الإبتدائية بمعهد دار اللغة والدراسات الإسلامية سنينان أكور بالنجاءان باميكاسان". Al-Irfan : Journal of Arabic Literature and Islamic Studies 3, n. 2 (30 settembre 2020): 143–60. http://dx.doi.org/10.36835/al-irfan.v3i2.4015.
Testo completoAbstract (sommario):
In Darul Lughah wad dirasatil islamiyah, it is one of the concentrated institutes that teach Arabic to non-native speakers. All students speak Arabic and it is forbidden to speak anything else. There is no exaggeration in it that teaches the Arabic language, communication on the four language skills, and it also teaches vocabulary, conversation, reading, writing, listening, speaking, grammar, and so on. Teachers used several methods of teaching language skills, including using puppet theater, which is achieved in teaching the skill of speech.
The objectives of the research are: (1) Teaching the skill of speech by means of puppet theater for the elementary stage at the Darul Lughah wad dirasatil islamiyah (2) The influencing factors in teaching the skill of speech by means of puppet theater for the primary stage at the Darul Lughah wad dirasatil islamiyah
The researcher uses the curriculum with qualitative and genre input in the field, and data sources in this research study this teaching, and students who participate in this teaching, then the director of the Darul Lughah wad dirasatil islamiyah. The method used to collect the data is the standardized interview, observation, history and documents. The method used in data analysis is the descriptive analytical study method.
The result of this research is the use of puppet theater in teaching the skill of speech for the elementary stage at the Darul Lughah wad dirasatil islamiyah that includes objectives, steps, methods, evaluation, and material. The factors affecting this teaching consist of two parts, including: linguistic and non-linguistic.
KEYWORDS: Learning, Speaking, Drama
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Dewantara, Billy Julian, e Aman Aman. "Implementation of nationalism value in Ubrug based learning". Jurnal Civics: Media Kajian Kewarganegaraan 20, n. 2 (31 ottobre 2023): 292–301. http://dx.doi.org/10.21831/jc.v20i2.63887.
Testo completoAbstract (sommario):
This research aims to describe the instillation of nationalism values in ubrug-based learning. The research approach used is descriptive qualitative research. The research results indicate that the ubrug method or role-playing in instilling nationalism can enhance the students' nationalist attitudes. Students not only portray characters in the story being presented but also can extract the values contained in the performing arts, especially those related to nationalism, which is the goal of the learning process using the ubrug method or role-playing. Furthermore, the use of the Sundanese and Javanese Serang local languages continues to endure with the preservation of local wisdom, including folk theater like ubrug. However, the use of the local language also faces obstacles in the staging of ubrug within the school environment because there are students who are not native to Banten. Hence, they need to learn and adapt to the local language used in the ubrug theater performance.
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Minier, Márta. "Translating Welsh Drama Into Hungarian Through English: A Contextual Introduction to Sêra Moore Williams’ Crash in Hungarian Translation". Hungarian Cultural Studies 6 (12 gennaio 2014): 176–86. http://dx.doi.org/10.5195/ahea.2013.120.
Testo completoAbstract (sommario):
This article offers a predominantly contextual introduction to my translation of a contemporary Welsh play by Sêra Moore Williams, Crash (2004), into Hungarian. Williams' three-person drama for young people was written originally in the author's native language, Welsh, and translated into English by the playwright herself. In my translation process of the play from English to Hungarian the intermediary role played by English raises ethical concerns from a postcolonial perspective, while in a pragmatic sense it is almost a necessity to rely on it when communicating Welsh-language cultural production to the broader international public, including to other minor languages. The article will place the drama in its generic context, introducing the play as a Theater in Education piece, as Williams' work has been inspirational in the development of tantermi színház [classroom theater] in Hungary since the early 2000s. As a specific case study within the case study, the additional discussion of the translation of Williams' polysemic title will provide an insight into the role such a significant paratext plays in uprooting a dramatic text from one culture to another.
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Riccio, Thomas. "Shadows in the Sun: Context, Process, and Performance in Ethiopia". New Theatre Quarterly 28, n. 3 (agosto 2012): 272–95. http://dx.doi.org/10.1017/s0266464x12000450.
Testo completoAbstract (sommario):
Andegna (The First) was developed and performed during the fall and winter of 2009–10 in Addis Ababa, Ethiopia. This article examines the complex social, political, and cultural contexts that informed the training, workshops, and process of creating an ensemble and performance in a time of national transformation. Urbanization and the crossing currents of Africa, Islam, Christian Orthodoxy, capitalism, the West, and technology prompted the re-conceptualization of performance, its function, and expression. In this article Thomas Riccio highlights the methodologies of reinventing an indigenous performance that is respectful of local traditions yet contemporary and accessible. He discusses how performance provides a forum for revealing social, political, and cultural trauma, and itself becomes an act of affirmation – an assertion of protest and healing that makes visible, immediate, and tactile the histories and unresolved issues haunting modern Ethiopia. Thomas Riccio, is Professor of Performance and Aesthetic Studies at the University of Texas at Dallas, having previously been Professor of Theatre at the University of Alaska Fairbanks, Artistic Director of Chicago's Organic Theater Company, Resident Director and Dramaturg, the Cleveland Play House, Assistant Literary Director at the American Repertory Theatre, Visiting Professor at the University of Dar es Salaam and the Korean National University for the Arts, and Artistic Director of Tuma Theatre, an Alaska Native performance group. He has worked extensively in the area of indigenous performance, ritual, and shamanism, conducting workshops, research, and devising numerous performances in Africa, Russia, Siberia, Korea, China, Vietnam, and Alaska. He was declared a ‘Cultural Hero’ of the Sakha Republic in central Siberia.
29
G. Yadagiri. "ISSUES OF GENDER BAISED, CASTE, HEREDITY, RELIGION AND SEX IN THE PLAYS OF GIRISH KARNAD: A CRITICAL ANALYSIS". Journal of English Language and Literature 10, n. 02 (2023): 61–64. http://dx.doi.org/10.54513/joell.2023.10206.
Testo completoAbstract (sommario):
Girish Karnad was one of the most prominent and celebrated figures in Indian drama. He was an actor, playwright, and director, whose contribution to Indian theatre was immense. Karnad's plays were deeply rooted in Indian history and mythology, and dealt with issues such as identity, language, and cultural conflict. His works were widely performed and admired not only in India, but also internationally. Karnad's contribution to Indian drama can be seen in his numerous awards and accolades throughout his career, including the Padma Shri, Padma Bhushan, and Jnanpith Award, considered the highest literary honour in India. His plays, such as Yayati, Tughlaq, and Hayavadana, are regarded as modern classics of Indian theatre. Girish Karnad, the renowned Indian playwright, has addressed various social, cultural, and political issues in his works. While caste, heredity, religion, and sex are themes that occasionally appear in his plays, it is important to note that Karnad’s works are not limited to these topics. He explores a wide range of subjects and uses them as a means to reflect upon the complexities of Indian society and human nature. Here are some instances where these themes are present in Karnad’s plays. Karnad excelled in multiple fields, including theater, cinema, and literature. He was an accomplished playwright, having written numerous plays in Kannada, his native language, as well as in English. Some of his notable plays include Tughlaq, Hayavadana, and Nagamandala. He also acted in films and directed critically acclaimed movies like Vamsha Vriksha and Utsav.
30
Сологян, А. А., e В. Г. Касарова. "Advanced aspirations of the Russian intelligentsia on the eve of the 1905 revolution". Historical bulletin 7, n. 3 (6 maggio 2024): 15–21. http://dx.doi.org/10.58224/2658-5685-2024-7-3-15-21.
Testo completoAbstract (sommario):
данная статья посвящена исследованию процесса зарождения и становления Московского Художественного Театра – первого, общедоступного, разумного, нравственного, с высокой просветительской миссией. История государства Российского, накануне первой русской революции 1905 года, предстаёт как единый процесс, в котором, наряду с социальными, экономическими, политическими преобразованиями, просматриваются вопросы связанные с развитием культуры Российской Империи данного периода. В работе анализируется участие театрально-прогрессивной интеллигенции на фоне внутренних проблем страны в конце XlX – начала XX века. Особое внимание сконцентрировано на постановке исторической пьесы А.К. Толстого "Царь Фёдор Иоаннович". В условиях реакционной политики царизма театр становится единственным средством общения передовой мыслящей интеллигенции и народных масс. В постреформенный период, в начале XX века начинают доминировать исконно российская драматургия и литература. Вся напряжённая идейно-политическая, нравственная, идеологическая борьба театральной интеллигенции освещается в объективных исторических позициях в преддверии величайшего революционного переворота. В конце XIX начала XX создаются театры различных художественных направлений, но именно Московский Художественный становится творческим организмом и определяет вектор направления искусства в Российской Империи. this article is devoted to the study of the process of origin and formation of the Moscow Art Theater – the first, publicly accessible, reasonable, moral, with a high educational mission. The history of the Russian state, on the eve of the first Russian revolution of 1905, appears as a single process in which, along with social, economic, and political transformations, issues related to the development of the culture of the Russian Empire of this period are visible. The work analyzes the participation of the theatrical-progressive intelligentsia against the backdrop of the country's internal problems at the end of the 19th century and the beginning of the 20th century. Particular attention is focused on the production of the historical play by A.K. Tolstoy "Tsar Fyodor Ioannovich". Under the conditions of the reactionary policies of tsarism, theater becomes the only means of communication between the advanced thinking intelligentsia and the masses. In the post-reform period, at the beginning of the 20th century, native Russian drama and literature began to dominate. All the intense ideological, political, moral, ideological struggle of the theatrical intelligentsia is illuminated in objective historical positions on the eve of the greatest revolutionary coup. At the end of the 19th and beginning of the 20th, theaters of various artistic directions were created, but it was the Moscow Art Theater that became a creative organism and determined the vector of the direction of art in the Russian Empire.
31
Sirazhudinov, R. M. "Characteristics of Phraseological Units with the Meaning "Person" in the Avar Language". Язык и текст 7, n. 4 (2020): 122–31. http://dx.doi.org/10.17759/langt.2020070410.
Testo completoAbstract (sommario):
At present, new phraseological phrases constantly arise in speech and, being actively used, are included in the phraseological composition of the language, enrich it with new expressive means. From the pages of newspapers and magazines, from radio and television programs, from the theater and variety stages, more and more figurative verbal complexes sound and enter the speech of native speakers. The avalanche of the process of phrase formation requires comprehensive observation, inventory and study on the part of language researchers, since this process is associated with issues of speech culture, problems of language teaching and mastering the rules of behavior, general problems of speech communication.
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De Costa, Elena M. "From Medieval Religious Pageantry to Contemporary Social Messaging: The Medieval Cycle Plays in Honduras’ Teatro La Fragua". Religions 15, n. 7 (29 giugno 2024): 792. http://dx.doi.org/10.3390/rel15070792.
Testo completoAbstract (sommario):
Using medieval religious drama as a model, Honduras’ Teatro La Fragua has developed a Gospel dramatization program that both reflects the practices of medieval theater in style and expresses the issues of a modern-day world in message. Their vernacular cycle plays are performed in public spaces by local people, written by and for the community, and staged in the streets and public spaces for ordinary people in both urban and remote rural areas. Medieval vernacular drama thus maintains an enduring stylistic presence in a modern-day counterpart as it underscores the Gospel’s message of inclusion, equity, and diversity while incorporating elements of agency and native culture.
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Castor, Richard G. "Kami Kadto: Retelling Oral Narratives towards Sustaining Philippine Heritage". International Journal of Research and Innovation in Social Science VIII, n. III (2024): 1994–2001. http://dx.doi.org/10.47772/ijriss.2024.803138.
Testo completoAbstract (sommario):
The practice of retelling oral narratives holds a vital role in shaping and strengthening families and communities across diverse cultures. These narratives, often transmitted across generations, serve as vital tools for passing down values, traditions, and shared history—thus, Philippine heritage. This research paper attempts to provide additional empirical evidence from qualitative inquiry and asks about the retelling process of oral narratives on norms and customs in building families and communities in the Philippines. After exploring the retelling process situated in the context of Calabanga, the researcher examined the possibility of transforming the literary piece from text to theater, adhering to theater-in-education principles. The script’s content was based on interviews with selected native senior citizens of the town, who shared the traditional practices and beliefs they followed before entering married life. The story “Kami Kadto” (literally meaning, us before) was written to focus on the traditional course of building a family. It was based on the true-to-life love story of a senior citizen, who revealed the “process” of her love story from courtship to marriage. It also highlighted other significant old beliefs and practices followed in the town. The current investigation not only adheres to the ideals of heritage preservation but also wishes to contribute and bring about novel ways of documenting and transforming oral narratives to suit the varying viewer’s palate for heritage appreciation and education. The need to revive old practices in order to preserve, protect and promote local heritage is encapsulated in the retelling and transformational processes from oral narratives, to written text as script for theater productions and potentially as movies that shall entice young generations of audiences. Overall, the retelling of the script and incorporation of original songs significantly contribute to preserving and celebrating Calabanga’s cultural heritage. This initiative offers opportunities and inspiration for sustained literary tradition, theater practice, and education, highlighting the rich history, culture, and values of the town and the Bikol region.
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Odesskaya, Margarita M. "“THE ABYSS” BY A.N. OSTROVSKY. REFLECTION ON MELODRAMA AND THEATER". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n. 3 (2023): 160–70. http://dx.doi.org/10.28995/2686-7249-2023-3-160-170.
Testo completoAbstract (sommario):
Ostrovsky’s “The Abyss” play (1865) is a response to the French melodrama popular in the 1830s “Thirty years, or Life of a Gambler” by V. Ducange and M. Dinaux, that traces the story of the moral decay of Goige de Germanie, the aristocrat dragged into the abyss of vice. The paper treats the play by A.N. Ostrovsky as a meta-drama where characters discuss the “Life of a Gambler” theatrical performance. The Russian playwriter polemizes with the stereotype of French melodrama with its inherent accumulation of passions and crimes far from real life, as well as with the morality straightforwardly expressed at the end of the play. Feeding on the melodrama by Ducange and Dinaux, the playwriter transfers the action to his native soil and constructs his own meta-plot, while staying, paradoxical as it may sound, within the melodramatic discourse. In his play, character types, who are known from previous plays, act, and the abyss of the “realm of darkness” of the Moscow merchants gulps the “weak heart”. In the Ostrovsky’s drama, the story of an ordinary person defeated by life unfolds in time. Afterwards, this theme will be the leading one in Chekhov’s works. It is significant that director Sergei Zhenovach perceived the Ostrovsky’s play as a meta-drama: he combined works of Russian and French playwriters in one performance, which was staged in 1993 at the Theater on Malaya Bronnaya. Ostrovsky’s “The Abyss” is unique in form and content: it expresses the playwriter reflection on melodrama and theater.
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Katherine Evans. "Native North American Theater in a Global Age: Sites of Identity Construction and Transdifference (review)". Studies in American Indian Literatures 20, n. 4 (2008): 98–101. http://dx.doi.org/10.1353/ail.0.0053.
Testo completo
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Castells, Ricardo. "From Caliban to Lucifer: Native Resistance and the Religious Colonization of the Indies in Baroque Spanish Theater". Hispanófila 182, n. 1 (2018): 41–54. http://dx.doi.org/10.1353/hsf.2018.0002.
Testo completo
37
Sick, David H. "Ummidia Quadratilla: Cagey Businesswoman or Lazy Pantomime Watcher?" Classical Antiquity 18, n. 2 (1 ottobre 1999): 330–48. http://dx.doi.org/10.2307/25011104.
Testo completoAbstract (sommario):
In letter 7.24 Pliny provides his readers with a character sketch of the elderly matriarch of a distinguished and wealthy Italian family-Ummidia Quadratilla. Ummidia passed her later years as a fan of the theater; specifically, "she had pantomimes." Pliny disapproves of the shows presented by these performers, and he chastises Ummidia for her interest in pantomime. In fact he views her conduct as symptomatic of a vice among women in general: "I have heard that she herself used to relax her mind with checkers or watch her pantomimes, as women do in the idleness of their sex." We should not be surprised by these comments; there was a tradition of ambivalence among the Romans toward the professions of the theater, and when women became involved with these professions, the ambivalence could turn to contempt. Given the general disposition of Roman males toward pantomime and women, modern readers should not so readily accept Pliny's assessment. By training her slaves as pantomimes, Ummidia was greatly increasing their value. From numerous ancient sources we know that the monetary value of slaves trained in the theatrical professions was among the highest accorded any slave. Moreover, because of Ummidia's endowment of a theater in her native Casinum and the performance of Ummidia's pantomimes in public games, we might say that she was the manager of a small "theatrical empire." Finally, because of the great interest in pantomime on the part of the masses and the desire of the upper classes, including members of various imperial families, to soothe these masses with games, control of popular pantomimes might have given Ummidia access to limited political power.
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Сорокина, Светлана Павловна. "The “Yuletide Theater” of Voronezh Village, Chernigov Province". ТРАДИЦИОННАЯ КУЛЬТУРА, n. 2 (14 agosto 2021): 163–72. http://dx.doi.org/10.26158/tk.2021.22.2.014.
Testo completoAbstract (sommario):
Статья предваряет публикацию архивных материалов, посвященных традиционным святочным представлениям, исполнявшимся в селе Воронеже Черниговской губернии в конце XIX в. Записи принадлежат уроженцу села, собирателю и краеведу И. С. Абрамову. Абрамовым собран значительный материал по фольклору и этнографии Воронежа, большая часть которого до настоящего времени не опубликована и хранится в РГАЛИ. Среди записей собирателя материалы по фольклорному театру занимают немаловажное место. Им зафиксированы три варианта народной драмы «Царь Максимилиан». Публикуемые ниже материалы расширяют картину бытования произведений фольклорного театра в Воронеже и шире на Черниговщине. Они показывают, что в селе Воронеже на Святки исполнялся целый ряд в различной степени ритуализованных представлений (колядование, щедрование, засевание, хождение с козой и звездой, драма), которые в своей совокупности можно назвать «святочным театром». В плане распространения обрядово-игровых форм Воронеж не был исключением для восточной части Черниговской губернии, в частности, на рубеже XIX-XX вв. здесь было записано шесть вариантов драмы «Царь Максимилиан». В статье приводятся сведения об исполнителях, от которых сделаны записи, дается характеристика материалов. В период 1916-1937 гг., когда производились записи, представления с козой, звездой и народная драма «Царь Максимилиан» уже вышли из активного бытования, что свидетельствует об усилении процесса изменения традиции в первую треть XX в., в том числе и под влиянием таких социальных катаклизмов, как Первая мировая война и революция. Таким образом, публикуемые ниже записи отражают тот этап жизни одного из сегментов традиции, когда он становится частью народной памяти. This article precedes the publication of archival materials devoted to the traditional Christmas (Yuleytide) plays, performed in Voronezh Village, Chernigov Province, in the late nineteenth century. This material was gathered by a native of the village, the collector and ethnographer I. S. Abramov. Abramov assembled a significant amount of material on the folklore and ethnography of Voronezh, a large part of which, stored in the Russian State Archive of Literature and Art, has not yet been published. Materials on folk theater occupy an important place among Abramov’s records. For example, he recorded three versions of the folk drama “Tsar Maximilian.” The materials published in this article expand our picture of folk theater in Voronezh and in the larger Chernigov Province. They show that in Voronezh a number of ritualized performances (including “kolyadovanie,” “shchedrovanie,” “zasevanie,” walking with a goat and a star, drama) were performed at Yuletide, which taken together may be called “Yuletide theater.” In terms of the distribution of ritual forms of play, Voronezh was no exception for the Eastern part of Chernigov Province. For example, at the turn of the nineteenth - twentieth century, six versions of “Tsar Maximilian” were recorded in the region. The article describes the records that have been preserved and information about the performers who left them. During the period 1916-1937, when these records were made, performances with goat, star and “Tsar Maximilian” had already become a thing of the past, reflecting the changes that came about due to the cataclysm of the First World War and Revolution. Thus, the records reflect the stage of life of one portion of the tradition when it was becoming part of the people’s memory
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Blondin, John. "Feeling as Opposed to Memorizing One’s Role". Canadian Theatre Review 73 (dicembre 1992): 7–9. http://dx.doi.org/10.3138/ctr.73.003.
Testo completoAbstract (sommario):
The Native Theatre Group of Yellow-knife was formed in January 1987 by interested natives wishing to see a native company depicting native issues, by native people, with native people and for native people. There was a lot of theatre happening in the North at that time; the problem was that very little of it, or practically none of it, had native content. This gathering of interested individuals made sure that the mandate of the new theatre company was clear: there had to be more native content in theatre put on by the natives themselves.
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Suntsova, Elena A. "Konstantin Korovin, an Emigrant: The Native Land in the Artist’s Memoirs". Вестник Пермского университета. Российская и зарубежная филология 15, n. 1 (2023): 139–46. http://dx.doi.org/10.17072/2073-6681-2023-1-139-146.
Testo completoAbstract (sommario):
Konstantin Korovin is a famous Russian artist, one of the first Russian impressionists, as well as a theater decorator. The artist was highly sensitive to the beauties of the nature of his native land, and his oeuvre consists mostly of landscapes. In 1922, being at his senior age, Korovinwas forced to move to one of the centers of Russian emigration –Paris. Life away from his motherland becomes one of the reasons for the painter’s artistic crisis. It was during these difficult years that Korovin began to engage in literary work. Korovin writes memoirs, significant part of which is memories of the abandoned but much beloved motherland.The article provides a comparative study of pictorial and verbal figurativeness in Korovin’s works. The cycle On the Huntincludes a short story Frost, where the landscape plays a key role in the plot. Ananalysis of the poetics of figurativeness in this story reveals the features of pictorial impressionism in the verbal images. The article analyzes the techniques that the memoirist employs to create the image of his motherland. The key words-leitmotifs, color palette, lighting effects, and other means of creating a lyrical landscape are also analyzed. There are found to be some parallels between Korovin’s literary descriptions of landscapes and his landscape paintings of winter forest. The paper draws a conclusion about the similarity of impressionistic techniques in paintings and the story by Korovin; the features specific to literary (verbal) fig-urativeness are noted, for example, folklore traditions and allusions to Russian poetic classics, the change in the narrator’s points of view, changes in emotional tonality, which forms the basis of the lyrical plot in the story Frost.The methodological framework of the study is based on comparative-typologicaland system-semantic principles of analysis, with elements of genre and style analysis.
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Hala Mohammed Ali Ashoor, Researcher, e Asst Prof Mayada Zuhair Alkhafaji. "Chinese Migration to Britain and the Impact of the Cultural identity on the British East Asian Theatr". لارك 1, n. 48 (31 dicembre 2022): 860–42. http://dx.doi.org/10.31185/lark.vol1.iss48.2758.
Testo completoAbstract (sommario):
Cultural identification has a long history that dates back to colonial times. As globalization increased the frequency of cross-national encounters during the 1950s, researchers became more concerned with the question of cultural identity. Globalization had a significant influence on third-world culture in the late 1990s, therefore most researchers paid increasing attention to the question of national culture and national identity. The topic of cultural identity first arose in Britain in the nineteenth century. As a colonist, Britain improved its native culture, while weakening its foreign culture. The emphasis on British national pride in education for all countries distinguishes between internal and exterior cultures. According to Liu (2021), the issue of accepting mainstream culture while rejecting alien culture has entered the ambit of British cultural identity inquiry due to the increase of Chinese immigration to Britain. The history of the Chinese in Britain, the waves of immigration, their identity transitions over time, and numerous related subjects, including the economic and social position of the Chinese in Britain, have affected the new Chinese identity as being exposed in the British East Asian Theatre (BEAs). The aim of this study is to link the development of the British East Asian Theatre with the impact of the changes that happened to the cultural identity of the Chinese migrants in Britain throughout history since the 1880s. The researchers conclude that the various generations of Chinese migration to Britain from the early nineteenth century to the present have gone through many cultural changes. These changes affected their Chinese identity and resulted in a cultural conflict in terms of acculturation and loss of heritage. This is what the British East Asian playwrights try to expose in their theater.
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Labinska, Halyna. "Considering the changes in the linguistic structure of the population of Ukraine when teaching the courses «Toponymics of Ukraine» and «Ethnogeography of Ukraine with the basics of Ethnopedagogy» in higher education". Visnyk of Lviv University. Series Pedagogics, n. 38 (2023): 144–58. http://dx.doi.org/10.30970/vpe.2023.38.11860.
Testo completoAbstract (sommario):
The linguistic marker of ethnic identity has been taken into account in European countries since the nineteenth century. In Ukraine changes in the linguistic composition of its population fully reflect imperial influences: the highest rates of russification were recorded between the censuses of 1959 and 1989 and precisely in those areas where in 2022–2023 the theater of war is concentrated. The russian language still retains its communicative power in Ukrainian society due to the factor of vertical bilingualism, which can be traced through spatial differences in the country both in terms of native language and spoken language. The war exposed the need to maintain the national language and culture, to ensure their dominance in public life, education, management and the media, as is typical of many European countries, for example, Poland and Italy. It is necessary to reflect changes in the linguistic structure of the population of Ukraine and at the level of lecture material, within the framework of university training courses, stating the importance of the linguistic identity of Ukrainians in their country. It is also necessary to take into account current changes in the Ukrainian language. Keywords: linguistic structure of the population of Ukraine, native language, spoken language, markers of national identity.
43
Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky". Aspects of Historical Musicology 19, n. 19 (7 febbraio 2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.
Testo completoAbstract (sommario):
Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff. Perhaps, this is why M. Karminskyi chose the Library as the main curator of his archive. What is better than studying the artist’s personal archive to give an idea of his personality, creative methods and worldview? Even a cursory glance at the collection of documents classified on the shelves of the archive, illustrating particular biographical episodes, helps the researcher to form a holistic impression of the artist’s creative personality, as well as to orient, if necessary, for further more depth studying of his heritage. The purpose of this article is a brief review of the general content of the archival fund of M. V. Karminskyi, with the materials of which the author had the honor to conduct research and bibliographic work, as of a documentary sources base for future research of the composer’s work and the history of the musical culture of Kharkiv in 1950–2000 years. Statement of the main positions of the publication. The composer began to transfer his archive to the library during his lifetime: he arranged folders with manuscripts, gave explanations about the time of writing and purpose of individual works. It was this archive that was the first to get into the library as a full-fledged array of documents about the life of a creative person. The condition for its transfer was the possibility of unimpeded viewing of the archive and its copying for the purpose of training and concert performance of the composer’s works. The full description of M. Karminskyi’s archive was completed in 1996, but the fund was supplemented several times thanks to new materials that came to the archival collection after its formation. It contains a variety of documents, including musical manuscripts, newspaper clippings, photographic documents, sound recordings on various media, posters, booklets, programs, manuscripts by other authors related to the activities of the composer. Thus, for the theater – opera, drama – the composer has been actively working since a young age. He wrote music for performances of Kharkiv theaters – Puppet Theater, Young Audience Theater, Ukrainian Drama Theater named after Taras Shevchenko, Jewish Theater, even for student amateur theaters. Four operas by M. Karminskyi, among them – “Ten days that shook the world”, “Irkutsk story” – were successfully staged in many theaters in Ukraine, Russia, the Czech Republic and Germany. Particular attention was drawn to the opera “Ten Days That Shook the World” based on John Reed’s book about the events in Petrograd in 1917, which was published as the separate piano reduction and received a large number of reviews in periodicals. The typewritten copies of reviews by famous Ukrainian musicologists K. Heivandova and I. Zolotovytska have been preserved in the archive. The collection of the archive also includes the published piano score of the opera “Irkutsk story”, the known “Waltz” from which served as a call sign of the Kharkiv Regional Radio for many years. One of the most interesting manuscripts of the archive is the music for the unfinished ballet “Rembrandt” on the libretto by V. Dubrovskyi. The musical “Robin Hood”, which was performed not only in Kharkiv, but also in Moscow, brought the composer national fame. The sound recording of the Moscow play was distributed thanks to the release of gramophone records created with the participation of stars of Soviet stage – the singers Joseph Kobzon, Lev Leshchenko, Valentina Tolkunova and the famous actor Eugene Leonov. The popularity of this musical was phenomenal; excerpts from it were performed even in children’s music schools, as evidenced by the archival documents. During the composer’s life and after his death, his vocal and choral works, works for various instruments were mostly published. The array of these musical editions and manuscripts of M. Karminskyi is arranged in the archive by musical genres. These are piano pieces and other instrumental works, among them is one of the most popular opuses of the composer – “Jewish Prayer” for solo violin (the first performer – Honored Artist of Ukraine Hryhoriy Kuperman). Number a large of publications about the life and career of M. Karminskyi published in books and periodicals are collected, among them are K. Heivandova’s book (1981) “Mark Karminskyi”, the brief collection of memoirs about the composer (compiler – H. Hansburg, 2000) and the congregation of booklets of various festivals and competitions, for example, the booklets of the International Music Festival “Kharkiv Assemblies”, in which the composer has participated since the day of their founding. The booklet of the M. Karminskyi Choral Music Festival testifies to a unique phenomenon in the musical life of the city: never before or since has such a large-scale event dedicated to the work of a single person taken place attracting so many choirs from all Ukraine. A separate array of documents is the photo archive, which includes 136 portraits, photos from various events; 41 of them were donated by a famous Kharkiv photographer Yu. L. Shcherbinin. The audio-video archive of M. V. Karminskyi consists of records of his works, released by the company “Melody”: staging of performances “Robin Hood”, “There are musketeers!” (based on the play by M. Svetlov “20 years later”), various songs, video and tape cassettes with recordings of concerts. Other interesting documents have been preserved, for example, a typewritten script for the Kharkiv TV program about M. Karminskyi with his own participation or the library form, which can be used to trace his preferences as a reader. M. Karminskyi also compiled reviews of publications on the performance of his works and short bibliographic descriptions of their print editions. Conclusions. M. Karminskyi’s personal archive founded by him own in Kharkiv ‘K. S. Stanislavskyi’ Music and Theater Library has been functioning as an independent library fund since 1996 and today it is an unique comprehensive ordered collection, which is freely available and stores documents of various types: music publications and manuscripts, newspaper and magazine fragments, announces, photos, sound and video documents. M. Karminskyi’s archival fund is used as a documentary source for scientific researches (the Candidate’s dissertations of art critics Yu. Ivanova (2001) and E. Kushchova (2004) were defended using the materials of the archive) and as a basic congregation of works by the composer for their performance. The use of digital technologies is part of the necessary modern perspective of the fund’s development, the value of which as a primary source of historical and cultural information only grows over time.
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Shemyakina, Sophia. "History of One Portrait". Bulletin of Baikal State University 29, n. 1 (4 aprile 2019): 32–38. http://dx.doi.org/10.17150/2500-2759.2019.29(1).32-38.
Testo completoAbstract (sommario):
Irkutsk Regional Art Museum exhibition opened in September 2018 commemorated the 90th anniversary of the birth of Boris Timofeevich Bychkov, Russian folk artist, corresponding member of Russian Art Academy, member of Irkutsk Regional Union of Artists and master of decorative glass. He had lived and worked in Irkutsk since 1962. A native of Moscow he graduated from Mukhina Leningard Higher Arts and Crafts College. For many years, he was an art director of Gusev glass manufacturing plant in Gus-Khrustalny. In 1962, he moved to Irkutsk and dedicated his whole life to Siberia. These are some of his art works known to natives of Irkutsk: stained glass windows «Irkutsk» in the hotel «Inturist», «The Blue Bird» in Bratsk community center, chandeliers in Irkutsk Music Theater, «Vostoksibsantechmontazh» and «Agrodorspecstroy» companies, and ornamental designs «Frozen sounds» and «Victory» in Irkutsk Art Museum Collection. Most of his designs and artifacts are stored in warehouses and are on exhibit in Irkutsk Art Museum, and all of them were featured in an exhibition. Besides the artist’s works, there were two other art works on display — «Portrait of B.T. Bychkov. Mural» and «Portrait of B.T. Bychkov on the optical glass» by painter-jewelers Natali and Arkadyi Lodyanovyh. This article is about the creative works of the glassware art artist himself and the story behind his portrait.
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Gerland, Oliver. "Race and Power in Pullman Car Hiawatha". Thornton Wilder Journal 3, n. 1 (1 luglio 2022): 56–65. http://dx.doi.org/10.5325/thorntonwilderj.3.1.0056.
Testo completoAbstract (sommario):
Abstract This article describes a successful experience teaching Wilder’s Pullman Car Hiawatha to theater graduate students at the University of Colorado Boulder. Students read the play alongside Bertolt Brecht’s The Exception and the Rule and Langston Hughes’s Don’t You Want to be Free? They prepared a comparative analysis of the three plays, and then the author turned their attention to the character of Harrison, a Black man who serves as the Pullman car porter. The author outlined the major role that Pullman car porters played in civil rights struggles in the United States and observed that Wilder puts Harrison in charge of the stage near the end of the play. In discussion, students found other representations of race and power in the play; notably, these included Wilder’s allusion to histories of Native American displacement. They also explored perspectives drawn from ecocriticism, disability studies, and critiques of modernity.
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Balestrieri, Anna. "A „Polytropos" Zionist: The life and literary production of Zakharia Klyuchevich Mayani". Iudaica Russica, n. 2(9) (29 dicembre 2022): 1–43. http://dx.doi.org/10.31261/ir.2022.09.01.
Testo completoAbstract (sommario):
The kaleidoscope of pseudonyms behind which he hid himself on the pages of the Russian- Jewish weekly Rassvet is a reflection of the multifaceted personality of Zakharia Klyuchevich. Historian, archaeologist, linguist, teacher, political activist, journalist, caricaturist, painter, poet, screenwriter, biologist, it is difficult to find an area into which he did not venture. The spectrum of languages he mastered, or tried as an author, is equally colorful: from his native Russian to quasi-native French, through English, Hebrew, German, Yiddish, Polish, Ancient Greek, Turkish, up to Albanian and Etruscan, two languages he tried to link by identifying the latter as a protolanguage of the former. The amount of material left behind by this polyhedric author is voluminous. Correspondence in various languages (Italian, Russian, English, and French), diaries, theater screenplays (Hebrew, English), essays (French), poetry (French, Russian, and Hebrew), authored language textbooks (French-Hebrew, Russian-Hebrew), sketches, paintings, and newspaper clippings are preserved at the Jabotinsky Institute in Tel Aviv. Through a thorough analysis of this material, we will try to draw the portrait of this ish eshkolot, this Renaissance type of intellectual, who has been forgotten in their treatises by historians of literature, Zionism, art and archeology, perhaps precisely because of the difficulty in tracing his movements and activities, the excessive chameleon-like nature of his occupations and cryptonyms.
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Grenier-Winther, Joan. "Rocky Mountain Modern Language Association". PMLA/Publications of the Modern Language Association of America 114, n. 4 (settembre 1999): 912. http://dx.doi.org/10.1632/s0030812900154069.
Testo completoAbstract (sommario):
The fifty-third annual RMMLA convention will be held 14–16 October 1999 at the Courtyard Marriott Hotel in Santa Fe. Santa Fe Community College and Saint John's College of Santa Fe are the local hosts. Susana Hernandez-Araico (California State Polytechnic Univ.) will speak at the Friday evening banquet on the topic Colonial and Indigenous Theater in Spain's American Viceroyalties. Michael Pavel (Washington State Univ.), a member of the Spokane Indian Nation, will discuss developing outreach to Native American youth. A reading by local writers Miriam Sagan and Arthur Sze will take place at the SFCC Planetarium. Also scheduled are presentations by TIAA-CREF and the Fulbright Teacher Exchange Program, panels on grant writing and scholarly publishing, a preconvention workshop on educational technology, and a raffle of local goods and services benefiting the RMMLA Grant and Scholarship Fund. The schedule of sessions and abstracts of papers can be found on the RMMLA.
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Modenessi, Alfredo Michel. "An Outsider's Inside Notes on the New York Public Theater's Romeo Y Julieta". Shakespeare Bulletin 41, n. 4 (dicembre 2023): 555–78. http://dx.doi.org/10.1353/shb.2023.a920572.
Testo completoAbstract (sommario):
Abstract: Early in the COVID-19 lockdown, my 2017 translation of Romeo and Juliet was used by the New York Public Theater for a bilingual podcast called Romeo Y Julieta that made no linguistic or ethnic distinctions between the households. As a stage translator, my work is generally informed by the Mexican praxis of Spanish. However, providing the Spanish text for more diverse audiences made me both a distant and a close agent in projects approaching Shakespeare in unorthodox fashion within swiftly mutable identitarian contexts. Moreover, I was the only agent not working in/from the United States. This essay discusses the demands that this multicultural endeavor, its diverse performers, and its potential publics made on my craft, and addresses the outcome and its public reception in a context where my native and acquired tongues operate at once in loving sync and conflict—a world in which I do not belong, and yet I do.
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Ławski, Jarosław. "ZYGMUNT GLOGER’S IMAGINED EARTH". Polish Studies of Kyiv, n. 37 (2021): 64–85. http://dx.doi.org/10.17721/psk.2021.37.64-85.
Testo completoAbstract (sommario):
The article examines the meaning of the word “earth” in the journalism of Zygmunt Gloger (1845-1910). He was the Polish ethnologist, historian and archaeologist, whose collected writings have recently been published in the three-volume Miscellaneous Works (Białystok 2014-2016). Gloger is also the author of the four-volume The Illustrated Encyclopedia of Old Polish Culture (Warsaw 1900-1903). The publication does not explore the linguistic meanings of the lexeme “earth”, but interprets what the author himself calls the “imagined earth”. Gloger loved archeological expeditions and trekking through the river valleys, during which he tried to discover secrets of the earth. For him, the earth is rich in different meanings: it is the planet, the native land, the soli, the family land, and the depository of ancient secrets. In his writings and lectures, Gloger would sketch an imagined earthly theater, the spectacle of imagination that represents the prehistory of the “modern” 19th century Poles.
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Leite, Rodrigo Morais. "ORIGENS REMOTAS DE UMA PROTOCRÍTICA TEATRAL BRASILEIRA". Arteriais - Revista do Programa de Pós-Gradução em Artes 9, n. 15 (29 dicembre 2023): 14. http://dx.doi.org/10.18542/arteriais.v9i15.15703.
Testo completoAbstract (sommario):
ResumoO trabalho aqui apresentado se insere dentro de uma pesquisa maior, empreendida para a conclusão de um pós-doutorado, que pretende historiar parte da crítica teatral brasileira, de seus primórdios no século XVI à sua consolidação como uma atividade intelectual autônoma, algo que se sucedeu no decorrer do século XIX. Inicialmente atrelada a relatos de cunho histórico e à crônica de viagem, somente com o advento da imprensa ela se emanciparia de vez, adquirindo alguns aspectos que hoje a singularizam. O artigo que segue corresponde à primeira parcela da pesquisa, reservada à análise de uma espécie de protocrítica do teatro brasileiro, que vicejou no Brasil colonial pelas mãos de cronistas estrangeiros e nativos, perfazendo uma trajetória em que se percebe uma tênue, mas ainda assim relevante, linha de desenvolvimento.AbstractThe paper presented here is part of a larger research study, conducted for the conclusion of a postdoctoral degree, that proposes to tell part of the history of Brazilian theater criticism from its beginnings in the 16th century to its consolidation as an independent intellectual activity, which happened over the course of the 19th century. Initially associated with historical reports and travel chronicles, it was only with the advent of the press that it would emancipate itself once and for all and acquire some elements that make it unique today. The article that follows corresponds to the first part of this research, reserved for the analysis of a type of proto-criticism of Brazilian theater that flourished in colonial Brazil through the hands of foreign and native chroniclers, comprising a journey in which a tenuous, yet relevant, line of development is noticeable.