Bibliografie tematiche / Theatere

Letteratura scientifica selezionata sul tema "Theatere"

Autore: Grafiati
Pubblicato: 26 luglio 2024

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Articoli di riviste sul tema "Theatere"

1

Morozova, Irina Pavlovna. "Theatre activity in the southern Urals at the initial period of the thaw". Samara Journal of Science 6, n. 4 (1 dicembre 2017): 169–73. http://dx.doi.org/10.17816/snv201764211.

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Abstract (sommario):
The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examines the creative activity of theatres in the southern Urals, Orenburg Region and Bashkortostan, reveals specific features and problems in the functioning of the studied institutions in the era of the thaw, studies repertoire policy of theaters. The repertoire updated and new theaters opened. Actors and directors found new forms of art self-expression. Drama art stops being the weapon of the political propaganda. The author has no opportunity to carry out a comparative analysis of this research with other researches as the subject has not been investigated by anybody yet.
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2

Samitov, Dmitry G. "THE FIRST REGIONAL THEATRES OF THE UNITED STATES AS AN ALTERNATIVE TO BROADWAY COMMERCIALISM". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, n. 40 (2020): 190–96. http://dx.doi.org/10.17223/22220836/40/16.

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Abstract (sommario):
The article aims to draw attention to the problem of the emergence and development of creative troupes of a new type. Non-profit theatres became noticeable to the public after a ten-year dominance of Broadway productions played on stages of American the ater. Contrary to Broadway and its commercialism non-profit theatres turned to art, becoming its alternative. The venues mostly performed musicals, uncomplicated comedies, musical shows. Huge halls, high ticket prices led to the fact that the theatre turned to a major business. The desire of theatrical figures to realize their creative powers in the art theatre led many of them to the idea of creating their own companies in opposition to the Broadway theatre in many regions of the United States. It was the nascence of the movement of non-profit theatres that became an alternate to Broadway commercialism, attracted all the new creative forces of the American theatre. Analyzing the activities of number of non-profit theatres such as Cleveland Playhouse, Arena Stage, Alley Theater, the conclusion was made that they all played an important role in the development of the movement of the regional theatres of the United States. The famous “Arena Stage” Theatre, like other regional theaters, developed traditions of non-profit theatres of the USA, including the ideas of “little” and “arti” theatres. The study of non-commercial drama theatres in the United States is relevant for modern Russia. Exploring the process of evolution of noncommercial companies the author concluded that the theatre is primarily a creative, artistic institution, that is to be valued precisely for its contribution and influence on the spiritual life of the audience.
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3

van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin". Theatre Research International 16, n. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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Abstract (sommario):
In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.
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4

Gordeev, Petr N. "“We Are All Flying into the Abyss”: Correspondence of F. D. Batyushkov, L. V. Sobinov, and A. I. Sumbatov-Yuzhin in November – December 1917". Herald of an archivist, n. 1 (2023): 86–99. http://dx.doi.org/10.28995/2073-0101-2023-1-86-99.

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Abstract (sommario):
In the fonds of the Russian State Archive of Literature and Art and in the Manuscript Department of the Institute of Russian Literature of the Russian Academy of Sciences there is stored correspondence of F. D. Batyushkov (who on the days of the revolution held the position of the chief commissioner for state theaters) with commissioners for the Moscow Bolshoi and Maly Theaters L. V. Sobinov and A. I. Sumbatov-Yuzhin over November and December 1917. These letters, most of which haven’t been published previously or introduced into scientific use, show the attitude of the leaders of the Department of Theatres to the Bolsheviks coming to power and to the prospect of cooperation with them. All three correspondents assessed the October Revolution negatively and spoke of their possible resignation (Batyushkov most definitely, Sobinov and Yuzhin with some reservations), but later serious discrepancies emerged in their personal strategies. Batyushkov was an implacable opponent of the Soviet government, rejecting all cooperation with the “terrorists” Bolsheviks and their representative, People's Commissar of Education A. V. Lunacharsky. On these grounds, he wanted to rally the Department of Theatres, at the head of which he stood. Positions of Yuzhin and Sobinov were more complicated. Yuzhin, who headed the Maly Theatre, shared Batyushkov's critical view of the “dominant party,” moreover, he was outraged and shocked by the pogrom of the Maly Theater by the Red Guards during street fighting in Moscow. However, his whole life was dedicated to the Maly Theater and he doubted whether he had the moral right to leave his position at such a crucial moment. Sobinov, on the other hand, was never able to overcome his personal dislike for Batyushkov (formed long before the October Revolution in disputes over the “autonomous” rights of Moscow theaters and their heads). In the emergency of November – December 1917, when the Bolsheviks established their control over banks and money transfers were extremely difficult, Sobinov did not want to put himself in the chief commissioner’s shoes and blamed him for the lack of money for the Bolshoi Theater. In December 1917, when A. V. Lunacharsky began a direct attack on Batyushkov's position in the Department of Theatres, the Petrograd state theaters expressed their support to Batyushkov. In Moscow, the situation was different: because of Sobinov's grievance with the chief commissioner and Yuzhin's attempts to coordinate his position with Sobinov, the Bolshoi and Maly Theaters did not unequivocally declare their confidence in Batyushkov, weakening the latter’s position in his conflict with Lunacharsky. The correspondence of Batyushkov, Sobinov, and Yuzhin over November – December 1917 is an important source on history of the Russian theater, as well as for studying the period of the so-called “sabotage” of civil servants after the October Revolution.
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5

Chekan, Yurii. "Teatro San Cassiano in Opera History". Art Research of Ukraine, n. 23 (28 novembre 2023): 162–69. http://dx.doi.org/10.31500/2309-8155.23.2023.297536.

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Abstract (sommario):
The study is devoted to the first publicly accessible opera house Teatro San Cassiano (Venice, 1637), the establishment of which became a cardinal factor in the transformation of opera from aristocratic court entertainment to creative industry. The author considers the issues related to the history of the theater’s construction and the actions of its owners, the Venetian nobles, the Tron brothers, aimed at turning opera into a profitable business. The article reveals possible prototypes and reasons for the constructive solutions in the theater, in particular the boxes and the U-shaped audience hall. The author gives the parametric characteristics of the components of the Teatro San Cassiano building — the stage, the audience hall, and the boxes. It is noted that the tiered Theatro San Cassiano became a prototype for other theatres not only in Venice, but also in other cities of Italy and Europe. Thus, among the Venetian theaters of the 17th century, the public theaters, such as SS Giovanni e Paolo (1638), Novissimo (1640), San Moise (1640), and San Giovanni Crisostomo (1678), were inspired by San Cassiano; outside Venice there were Teatro Falcone (Genoa, 1652) and Teatro Tordinona (Rome, 1671). The article emphasizes market competition that was one of the key factors in the dynamic spread of opera and the formation of opera infrastructure in Europe. After the establishment of San Cassiano, the development of opera acquired a clearly defined vector: from elitist entertainment to creative industry.
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6

Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)". Observatory of Culture 17, n. 5 (12 novembre 2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.

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Abstract (sommario):
Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.
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7

Yakovenko, Mariia. "Organization of Theatrical Activity Within the Non-Governmental Sector of Culture". Socio-Cultural Management Journal 5, n. 2 (22 novembre 2022): 159–74. http://dx.doi.org/10.31866/2709-846x.2.2022.267547.

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Abstract (sommario):
Introduction. The importance of studying independent theatre initiatives in the Ukrainian context is not only theoretical but also practical because it is not just a comparison of different models but also the formulation of recommendations for theatre reform in Ukraine. The emergence of independent theater organizations gave rise to independent artistic practice, which dramatically increased competition among theaters in the struggle for the audience. As a result, the ability to use management and marketing technologies as a tool for market promotion began to play a leading role for such institutions. Purpose and methods. The purpose of the article is to develop theoretical foundations and practical recommendations for improving the organization of theatrical activities within the non-governmental sector of culture. The work was based on dialectical, empirical, and systematic approaches, which allowed us to summarize the theoretical and practical achievements accumulated by the community in the context of organizing the activities of modern theaters. Results. The essence, role, and significance of the activities of independent theater organizations are revealed. The problems of the existence of independent theaters are determined. Methods for improving the work of theatrical organizations in the independent sector of culture and theatrical reform have been formulated. Peculiarities of management of the subjects of the independent sector of culture have been revealed. Conclusions. The scientific novelty of the obtained results lies in the deepening of the theoretical foundations of the organization of independent theaters based on generalization of the best world experience in this culture segment. The significance of the study is manifested in the expansion of knowledge in the field of organization of independent theaters and the possibility of their use in the process of reforming the theatrical sphere of Ukraine.
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8

Ahmadova, Gulkhara. "WORLDLY SIGNIFICANCE OF THEATERS: IREVAN STATE AZERBAIJAN DRAMA THEATER". Scientific Journal of Polonia University 58, n. 3 (1 settembre 2023): 10–14. http://dx.doi.org/10.23856/5801.

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Historically and even now, the literary and cultural environment of Azerbaijan is known both in the East and in the West. As a result of the severe tragedies, deportations, and genocides inflicted on the people of Azerbaijan, scientific and educational institutions, state institutions, museums, natural monuments, and cultural centers created in our country have suffered as much as our people. Theaters were also forced to live the fate of refugees. Today Shusha Musical Drama Theater, Aghdam State Drama Theater, Fuzili State Drama Theater continue their activities in the field of refugees. All three theaters, which have a great tradition of Armenian influence, have undoubtedly struck a blow. The annals of the Theater, which went through a tumultuous journey and was repeatedly subjected to Armenian vandalism, is a part of the historical destiny of our compatriots in the ancient lands of Azerbaijan. The article discussed the history, activity, and post-deportation activities of the Yerevan State Azerbaijan Drama Theater in exchange for all these processes. At the same time, attention was drawn here to the current situation of the Iravan State Azerbaijan Drama Theater and the works in the theater's repertoire. It was emphasized that the theater, which went through a difficult and turbulent path, goes on tours today, stages new plays, and gives successful performances. The article is dedicated to the ongoing processes related to the Yerevan State Azerbaijan Drama Theater.
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9

Khubulova, Svetlana. "FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK". History, Archeology and Ethnography of the Caucasus 15, n. 1 (19 marzo 2019): 22–27. http://dx.doi.org/10.32653/ch15122-27.

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Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.
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Magidovich, Marina Leоnidovna. "The Potential of Ballet Performances in the Development of Situational Cultural Tourism, Based on the Study of the Audience of the St. Petersburg state Academic Boris Eifman Ballet Theater in St. Petersburg". Теория и практика общественного развития, n. 11 (6 novembre 2020): 20–26. http://dx.doi.org/10.24158/tipor.2020.11.2.

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The paper presents data on the results of the re-search on the potential of performances of the St. Petersburg state Academic Boris Eifman ballet thea-ter (Boris Eifman Theater) as a tourist destination, using the example of studying the cultural prefer-ences and practices of visitors to this theater. The main data on the theater audience was obtained during a visit to the performances of the Boris Eif-man Theater in St. Petersburg, in March – April 2019. We can note the significant specifics of the audience of a particular theater, which is due to both the crea-tive method of the theater's artistic Director B. E. Eifman, and the organization of the theater's theatri-cal, stage and tour process. The identified character-istics of the theater audience, as well as the study of the tourist market of St. Petersburg, allowed us to conclude that it is possible to develop a certain segment of situational cultural tourism in St. Peters-burg, both for domestic and outbound tourism.
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Tesi sul tema "Theatere"

1

Rutherford, Cassandra. "Building theatres/theatre buildings : reinventing Mull Theatre". Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5254/.

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Mull Theatre is a professional touring theatre company based on a small island off the west coast of Scotland. In 2008 the company relocated from a small converted cow byre which seated 42 people to a new purpose-built venue –Druimfin - on a different part of the island. The move was made possible through a grant from the Scottish Arts Council in 2006, which was awarded on the expectation that the new building would be a ‘production centre’ as opposed to a theatre. That is to say the emphasis in the design of the new space was to be placed on the production rather than the reception of the theatrical event. This stands in contrast to the expectation of many theatre attendees that the new space would continue as it had been – as a place to go and see a theatre production - but that it would do so out of a much larger, more comfortable and better equipped venue. Building Theatres/Theatre Buildings stems from a three year Collaborative Doctoral Award between Mull Theatre and the University of Glasgow, which was funded by the Arts and Humanities Research Council (AHRC). Using the partnership that emerged from this award, the thesis explores what was potentially lost and gained in the move in order to draw conclusions about the wider relationship between spaces of performance and the creation of theatrical meaning in relation to small and medium scale touring theatre. It also uses the company’s dual identity as a touring company with its own permanent building to extend the discussion and to examine the wide range of venues which currently form the rural touring circuit in Scotland. By bringing together primary fieldwork from a pivotal moment in the company’s identity alongside current dialogues regarding theatre space and touring theatre, this research provides new knowledge about this often overlooked theatre company, its buildings and its role within contemporary Scottish theatre and small scale rural touring.
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2

Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914". Thesis, The University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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Abstract (sommario):
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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3

Fantasia, Josephine Vita. "Entrepreneurs, empires and pantomimes : J. C. Williamson's pantomime productions as a site to review the cultural construction of an Australian theatre industry, 1882 to 1914". University of Sydney, 1996. http://hdl.handle.net/2123/1617.

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Abstract (sommario):
Doctor of Philosophy
'Entrepreneurs, Empires and Pantomimes' examines how Williamson influenced the form and content of one theatrical genre within his theatrical empire between 1882 and 1914. As the frontispiece signals in spectacular fashion, the pantomime was a vitally popular dramatic form. I believe that my findings have serious implcations for the formation of an Australian theatre industry with regard to the 'development'of Australian drama. Ironically, as J.W. Gough points out in 'The Rise of the Entrepreneur' (1969), the word 'entrepreneur' first appeared in the 'Oxford English Dictionary' in 1897 as referring to "the director or manager of a public musical institution: one who 'gets up' entertainments, especially musical performances."
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4

Shelton, Rebecca S. "Paint manager for 2008-2009 academic year and paint charge for three sisters and twelfth night". [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1241724077.

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5

Gallagher, Kelsey B. "So Much Better: A Lighting Design Approach for a Production of Legally Blonde: The Musical". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555414324698267.

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Recklies, Donald F. "Spectacle and illusion : the mechanics of the horse race on the theatrical stage, 1883-1923 /". The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487259580263868.

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7

Harris, John Rogers Sr. "The performance of black masculinity in contemporary black drama". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054742668.

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8

Crouch, Kristin A. "Shared Experience Theatre exploring the boundaries of performance /". Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054738772.

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Abstract (sommario):
Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains xi, 365 p.; also includes graphics. Includes abstract and vita. Advisor: Lesley K. Ferris, Dept. of Theatre. Includes bibliographical references (p. 353-365).
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Metzger, Stephanie. "Theater und Fiktion : Spielräume des Fiktiven in Inszenierungen der Gegenwart /". Bielefeld : Transcript, 2010. http://deposit.d-nb.de/cgi-bin/dokserv?id=3391365&prov=M&dok_var=1&dok_ext=htm.

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Przytulski, Gerhard. ""Die wahre Wiege unseres modernen Theaters" religiöse Elemente im Theater Max Reinhardts /". Trier : WVT, Wissenschaftlicher Verlag Trier, 2004. http://catalogue.bnf.fr/ark:/12148/cb39946364h.

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Libri sul tema "Theatere"

1

Breton, Gaelle. Theatres =: Theaters. Paris: Editions du Moniteur, 1989.

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2

Hertzberger, Herman. Chassé Theater Breda =: Theatre Breda. Rotterdam: Uitgeverij 010 Publishers, 1995.

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3

Georges, Aperghis, a cura di. Theater und Musik =: Theatre and music. Brussel: Kaaitheater, 1995.

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4

Wit, eloquence and commerce: A history of Auckland's Mercury theatre. Auckland, N.Z: Connacht Books, 2007.

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5

Theatermedien: Theater als Medium - Medien des Theaters. Bern: Haupt Verlag, 2010.

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6

Girshausen, Theo. Ursprungszeiten des Theaters: Das Theater der Antike. Berlin: Vorwerk 8, 1999.

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7

Brisbane, Katharine. Not wrong just different: Observations on the rise of contemporary Australian theatre. Sydney: Currency Press, 2005.

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8

Nicholas, Grene, Lonergan Patrick e Chambers Lilian, a cura di. Interactions: Dublin Theatre Festival, 1957-2007. Dublin: Carysfort Press, 2008.

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9

Gillespie, C. Richard. The James Adams Floating Theatre. Centreville, Md: Tidewater Publishers, 1991.

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10

Full circle: The history of the St James Theatre. Wellington, N.Z.]: Phantom House, 1998.

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Capitoli di libri sul tema "Theatere"

1

Burghardt, Charlotte. "Stadt- und Staatstheater in Bewegung? Zur Rolle von öffentlich subventionierten Theatern in der Stadtgesellschaft und den veränderten Erwartungen des Publikums". In Cultural Governance, 261–77. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-32159-8_19.

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ZusammenfassungAngesichts einer vielfältiger werdenden Gesellschaft und gleichzeitig stetig rückläufiger Besuchszahlen stellt sich die Frage, welche Bedeutung Theater in der Stadtgesellschaft haben. Wer ist der Motor für mögliche Veränderungen in den Häusern und welche Erwartungen und Wünsche richtet das Publikum an seine Theater? Anhand von qualitativen Interviews mit Mitarbeitenden aus denStädtischen Theatern Chemnitz,demTheater für Niedersachsenin Hildesheim und demMaxim Gorki Theaterin Berlin und unterstützt durch eine Spielzeitanalyse, beleuchtet dieser Beitrag die Binnenperspektive der Theater.
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2

Sood, Sara Owsley, e Athanasios V. Vasilakos. "Digital Theater: Dynamic Theatre Spaces". In Handbook of Multimedia for Digital Entertainment and Arts, 423–45. Boston, MA: Springer US, 2009. http://dx.doi.org/10.1007/978-0-387-89024-1_19.

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3

Purkis, Charlotte. "The Other Gates: Anglo-American Influences on and from Dublin". In Cultural Convergence, 107–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_5.

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Abstract An important influence on the foundation of the Dublin Gate Theatre in 1928 was the London Gate Theatre Studio. This chapter offers a historiographical survey concerning how the range of connections between these theatres have been treated by theatre commentators up to the present. Alongside this re-examination is a discussion of two other theatres that were also inspired by the London Gate, but established independently by the two London co-directors, Peter Godfrey and Velona Pilcher. Godfrey revived the early programming from London in 1943 at his ‘transplanted’ theatre in Hollywood, which also connected Los Angeles emigré culture back to Ireland. In London, Pilcher worked with a group of women associates to found a ‘new Gate’, the Watergate Theatre Club in 1949, which, with its avant-garde artistic ethos, had a cultural impact on the post-war London scene similar to the achievements of the earlier Gate theatres.
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Hufschmid, Thomas. "Die Hauptzugänge zur orchestra (aditus maximi) in den römischen Theatern der Schweiz". In Les théâtres antiques et leurs entrées, 329–51. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qrz.

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Aus dem Gebiet der heutigen Schweiz sind vier antike Bühnentheater bekannt, die allesamt einem regionalen Bautyp zugewiesen werden können, der gemeinhin als «gallo-römisches Theater» bezeichnet wird. Beim Theater von Lenzburg und demjenigen von Lausanne handelt es sich um verhältnismässig kleine Bauwerke, die keine direkten, parallel zur Fassade verlaufenden Zugänge aufgewiesen haben. Einzig die beiden monumentalen Theater von Augst und Avenches besassen breite überwölbte Zugänge, die von beiden Seiten her zur orchestra führten und somit als aditus maximi bezeichnet werden können. Grundsätzlich fällt auf, dass die Anordnung von Eingangshallen/basilicae, Bühne/Bühnenhaus und aditus maximi beim mediterranen und beim «gallo-römischen» Theater unterschiedlich war. Während der Bühnenbereich mit seiner mehrstöckigen Fassade beim mediterranen Theater ein sehr dominantes Element darstellte, war dieser beim «gallo-römischen» Theater stark reduziert oder fehlte sogar vollständig. Die unterschiedliche Art der Erschliessung legt zusammen mit den stark reduzierten Bühnendispositiven den Rückschluss nahe, dass sich in der römischen Kaiserzeit die Veranstaltungen in den «gallo-römischen» Theatern von den in den mediterranen Theatern veranstalteten Aufführungen zumindest teilweise unterschieden.
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Leach, Robert. "Theatre when the theatres were closed". In An Illustrated History of British Theatre and Performance, 285–95. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019–: Routledge, 2018. http://dx.doi.org/10.4324/9780429463686-39.

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White, Lydia J. "Der Abbau des Theaters/das Theater des Abbaus". In Theater des Exils: Bertolt Brechts „Der Messingkauf“, 199–220. Stuttgart: J.B. Metzler, 2019. http://dx.doi.org/10.1007/978-3-476-04989-6_7.

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Meyer, Rainer-Peter, e Bruno Brantschen. "„Operating theatre“ – Das „Theater“ rund um den Operationssaal". In 50 Jahre Orthopädisch-Traumatologische Chirurgie, 61–79. Berlin, Heidelberg: Springer Berlin Heidelberg, 2018. http://dx.doi.org/10.1007/978-3-662-57735-6_5.

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zum Eschenhoff, Silke. "Versprechen auf die Zukunft – Der Zusammenhang zwischen Förderung, Produktionsbedingungen und Theaterästhetik am Beispiel der Freien Szene in Niedersachsen". In Cultural Governance, 101–18. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-32159-8_8.

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ZusammenfassungAusgehend von der spezifischen Förderung Freien Theaters in Niedersachsen, identifiziert der Beitrag Verknüpfungen zwischen Förderung, Produktions- und Arbeitsbedingungen sowie der Ästhetik anhand der beiden Fallbeispiele „Theater an der Glocksee“ und „Markus&Markus“. In diesem Spannungsfeld kristallisiert sich in der Freien Theaterszene eine besondere Marktökonomie heraus, in der Künstler*innen, Häuser und Förderer*innen mit unterschiedlichen Strategien ihre Zielsetzungen legitimieren.
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Maliekel, Lindsey Buller, Courtney J. Boddie, Dennie Palmer Wolf e Steven Holochwost. "Theaters for Learning: The NEW VICTORY THEATER SPARK Program". In Education and Theatres, 195–207. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22223-9_13.

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"theatre | theater, n." In Oxford English Dictionary. 3a ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/1553299259.

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Atti di convegni sul tema "Theatere"

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Oosthuizen, Patrick H. "A Numerical Study of the Effect of Inlet Vent Position and Size on the Velocity and Temperature Distributions in a Smaller Naturally Ventilated Theater in Canada". In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-36781.

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Many smaller churches and similar buildings in Canada have been converted into small theaters. Such theatres are often not fitted with an air-conditioning system. For performances in the fall these theaters sometimes rely on buoyancy driven natural ventilation to moderate the indoor air temperature. Such ventilation systems usually involve near floor inlet vents and a roof level air discharge system. A preliminary numerical study of the effect of inlet vent position and size on the performance of such a system has been undertaken. A simple model of a typical theater building of the type considered has been used. The heat generated by the audience has been represented by a uniform heat flux distributed over the audience area. Inlet vents have been assumed to be located low on the side walls of the theater and the air-flow leaving the theatre has been assumed to be through vents at the top of a chimney system. The flow has been assumed to be steady and symmetrical about the vertical center-line through the building. The Boussinesq approach has been adopted. The standard k-epsilon turbulence model has been used. The solution has been obtained using the commercial CFD solver ANSYS FLUENT©.
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Koroliova, Elfrida. "The book on theater – an element of cultural heritage". In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.07.

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The article “The book on theater – an element of cultural heritage” includes publications on Moldovan Drama Theater, from the late 60s of the XX century to the 20s of the XXI century. Books signed by D. Prilepov, L. Cemortan, E. Coroliova, N. Bătrânu, V. Tăzlăuanu, N. Rojkovskaia, B. Zavatin, P. Proca, P. Pelin, A. Manoil, A. Ghilaș, A. Roșca, I. Nechit, L. Ungureanu, V. Fedorenco, T. Kotovici and others analyze the evolution processes of the Moldovan theater during the decades, of personalities – directors, actors, who worked in the theaters of the republic “Mihai Eminescu” National Theater, “Luceafărul” Theater, “B. P. Hasdeu” Musical-Dramatic Theater in Cahul, “Vasile Alecsandri” National Theater from Bălți, etc.
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Bannò, Mariasole, e Giorgia Maria D'Allura. "Art-based methods: Theatre Teaches and Business Theatre". In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9249.

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The paper aims to investigate the use of arts in teaching, specifically the art of theater, to provide the new skills searched from the job market. Our work compares the two experiences of the Theatre Teaches performed at University of Brescia and of Business Theatre at University of Catania. The idea of the paper is based on the scientific collaboration among the two co-authors involved, during the last 10 years, on the development of innovative method of teaching focused on non- technical skills. After depicting the incumbent needs of non-technical skills searched from the job market, the comparison on the use of theatre in the two Universities highlighted how both methods support the development of relational, cognitive and managerial soft skills, even if in a different way: when using Theatre Teaches the major skills concern the cognitive ones, while when using Business Theatre the major skills concern the relational ones. Furthermore, it emerges that Theatre Teaches is more effective with cognitive engagement while Business Theatre with emotional engagement. Both are effective in the behavioral engagement (i.e. physical participation in an activity), which emerges as the distinctive characteristic of theatre art-based method.
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Semenov, Igor Vitalievich. "Saratov - theater city". In V International Research-to-practice conference for pupils, Chair Vera Alekseevna Pishkova. TSNS Interaktiv Plus, 2019. http://dx.doi.org/10.21661/r-486321.

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The article covers the history of the development of theatrical art in Saratov: from its origins to the present. The theaters of Saratov are listed, prominent theatrical figures are mentioned. Attention is drawn to the fact that the year 2019 is declared the Year of the Theater in Russia.
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Starciuc, Mariana. "Traditional theater versus documentary theater: theoretical references and conceptual boundaries". In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.15.

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The purpose of the author’s approach is to identify the characteristics of the documentary theater by referring to the traditional one. Reflecting on the concepts of theater theorists, we conclude that traditional theater is illusory, the receiver-spectator believes the fictional world produced by the theatrical performance as reality. Dramatic subjects have an integral and logical structure, with „beginning, middle and end”, the stage action succeeds in a canonical order. Unlike traditional theatre, documentary theater is anti-illusory, anti-fiction and stands out for its faithful, exact reproduction of the real, based on the investigation, research and reflection of archival documents, legislative acts, reports, court transcripts, minutes recorded at various actions, meetings, congresses, etc.; biographies; testimonies, interviews taken from the respondents-donors and transposed into an artistically unprocessed formula; cases, events that happened in an immediate reality, etc.
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Chen, Xilin, e Tao Xi. "Cross-Cultural Management of Chinese Traditional Theatre Industry Based on Broadway Operation Model". In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001860.

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Broadway, as one of the leading commercial show districts in the West, has a mature commercial experience and operation model. The theatre industry on Broadway is different from other places, and its production and marketing methods have also proven to be highly successful. This paper analyses the business model, artistic concept, communication strategy, and user research of Western theatre based on Broadway at the academic level. At the practical level, the paper investigates the cross-cultural management and communication model of the Chinese theatre industry. The Broadway theatre management that operates separately for theatres and productions, together with the art form that focuses on scenery, stage art, and sound effects, is applied to the management and communication of the traditional Chinese theatre industry. The paper aims at promoting traditional culture and making traditional theatre more suitable for modern aesthetic needs and market demands. The contribution of the paper is to improve traditional Chinese theatre into a creator-centered theatre performance consisting of music, song, dance, and dialogue in a cross-cultural context, based on the Broadway operation model. A modern marketing campaign is used to promote exposure and sustainability. As a result, a framework for Chinese traditional theatre products based on cross-culture is constructed.
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ROMAN, Diana. "The Actor, Between the Self from Theatre and the Other from Music". In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.

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The worlds of music and theatre have been brought together under the sign of scenic creation since the origins of the appearance of the theatre, the interdisciplinary artistic dialogue between the two arts sharing common aesthetic, psychological, psycho-social landmarks. The interactions between these worlds gave birth, finally, going through different forms and long searches, to the most original and popular theatre genre, the Musical. At the same time with technology and the digital revolution, live music, the orchestra, the musicians present on the stage of the theatre, were replaced with recordings, original stage music faces increasingly rare performance in theaters. The amazing intersection of theatre and music must be seen as a matter of course. My research will focus on the analysis of the fragile relationship between identity and alterity in the case of a few artists at the congruence between theatre and music (Ada Milea – A lost letter in concert, The Explorer, Chirița in concert, Răzvan Mazilu – Cabaret, Maria de Buenos Aires, Bobo Burlăcianu – Cats, The City, Metamorphosis, Alexander Hausvater – The Machine. Musical, Ada Lupu-Hausvater – Hamlet, Tibor Càri – The little prince). If a few years ago shows like Rocky Horror Show by Alexander Hausvater were considered original or controversial precisely because they skilfully crossed the boundaries between theatre and music, today we realize that the hybrid genre is also on an upward trend in terms of public taste (proof is The Young Actor`s Gala 2022 theme) and dramaturgy (Eugen Rotaru – Musical Theatre Plays), and of actors with professional training in both fields, tempted by the border between the arts. The cocreation experiences between the actor and the musician also bring with them important pedagogical aspects, resulting in an improvement of the work of each individual artist. The requirement to constantly search for new ways of artistic expression remains important, wich inevitably brings together artists from different art forms.
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Khaustova, Dariya. "THEATRE SOCIAL MEDIA MARKETING: THEATREGOERS ARE ALREADY ONLINE, WHILE THEATRES � NOT". In 8th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS Proceedings 2021. SGEM World Science, 2021. http://dx.doi.org/10.35603/sws.iscss.2021/s10.62.

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Constanceanu, Veronica-Alina. "The Dramaturgy of Some Prose Writers". In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.05.

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The dramatic text is primarily written to be played, the relationship between the text and the possible reader being secondary. The relationship with the director and the viewer is important. Dissecting the dramatic text must take into account its particularities. In this article we will focus on the writings of two novelists who also wanted to be playwrights. Novelist and screenwriter, indisputable star of post-war Romanian literature, Titus Popovici was also present in theaters with only two plays. Ştefan Agopian’s connection with the theater is accidental, he dramatized one of his books, but the text was not never performed on a stage.
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Nilsson Tengelin, M., N. Mylly e P. O. Hedekvist. "ARE THE DEMANDS IN ENTERTAINMENT LIGHTING TOO HIGH FOR WHITE LIGHT EMITTING DIODES?" In CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po04.

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This paper reports the result of a survey on entertainment lighting distributed to 246 museums and 56 theatres in Sweden. The questions concerned the lighting technology used, experience from changing lighting systems, plans, problems, apprehensions and expectations. The replies showed that the transition to LED has been much faster in museums than in theaters and 35% of the theatres do not plan for a transition to LED. Reasons given are economy, light quality, and dimming functionality. Lighting professionals are generally sceptical in exchanging halogen lights. The artistic expression in lighting design goes beyond the specifications and what is promised in the data sheet. To facilitate a smoother transition to modern lighting technologies, the quality of the white light and proper function of the luminaires must be ensured and the communication between the manufacturers, retailers, lighting professionals and other artistic functions must be improved.
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Rapporti di organizzazioni sul tema "Theatere"

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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, aprile 2024. http://dx.doi.org/10.32370/ia_2024_03_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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Kolomiiets, Viacheslav. Ballet Art of Soviet Ukraine from the Late 1910s to the Early 1930s: Classical Performances, Modern Intentions, Socialist Realism Canon. Intellectual Archive, aprile 2024. http://dx.doi.org/10.32370/ia_2024_01_11.

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The article conceptualizes the development of ballet art in Soviet Ukraine from the late 1910s to the early 1930s. The active use of ballets of classical heritage (Corsair, Futile Warning, Swan Lake, etc.) in the repertoire of opera theaters of Kyiv, Kharkiv, Odesa and the penetration of modern features into the ballet stage (Flying Ballet) were demonstrated. It is noted that elements of modern dance were cultivated in the activities of private choreographic and theater studios. The collapse of modernism with the introduction of the method of socialist realism in art with a focus on ideology, nationalism, and partisanship is noted. It was concluded that the state of ballet art in Soviet Ukraine from the late 1910s to the early 1930s can be qualified as a transition from modernization intentions, which were not realized, to the gradual introduction of the socialist realist method of artistic creation as the only one officially recognized by the Soviet authorities.
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McIntyre, Phillip, Susan Kerrigan e Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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Newman, J. L. Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, maggio 1998. http://dx.doi.org/10.21236/ada351808.

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Medlock, Glenn, e Christopher M. Stacy. Pacific Theater Operations. Fort Belvoir, VA: Defense Technical Information Center, gennaio 2011. http://dx.doi.org/10.21236/ada559809.

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NICHOLS RESEARCH CORP HUNTSVILLE AL. Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, marzo 1990. http://dx.doi.org/10.21236/ada219432.

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Vishwanath, Arundathi. Theatre and Art in Education for Young Women with a Focus on Theatre of the Oppressed Techniques and Embodied Therapeutic Practices. Indian Institute for Human Settlements, 2023. http://dx.doi.org/10.24943/tesf0105.2023.

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This project unfolded in Nanahar village in the Kangra district of Himachal Pradesh. The main objectives of this project were to spark critical thought and action amongst the participants of the programme, facilitate a process to reclaim one’s agency, equip the participants with theatre facilitation skills and equip the organisation with a theatre and art in education curriculum. The project timeline was September 2021–October 2022. A pilot workshop was initially conducted with 24 women enrolled in a skill development course, and consequently a longer 16-week workshop series was conducted for a group of 33 women.
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Harmatz, Howard I. Joint Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, gennaio 1996. http://dx.doi.org/10.21236/ada309658.

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Meyer, S. Soviet Style Theater Assessments. Fort Belvoir, VA: Defense Technical Information Center, settembre 1989. http://dx.doi.org/10.21236/ada269791.

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Krahling, William M. Expeditionary Theater Opening Strategy. Fort Belvoir, VA: Defense Technical Information Center, marzo 2013. http://dx.doi.org/10.21236/ada589227.

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