Gotowe bibliografie tematyczne / Theatre Directors

Gotowa bibliografia na temat „Theatre Directors”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 19 lutego 2022

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Artykuły w czasopismach na temat "Theatre Directors"

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Mark Gasper, Tekena. "Approaches to Play Directing in Contemporary Nigerian Theatre: A Study of Segun Adefila and Bolanle Austen-Peters". Journal of Contemporary Drama in English 7, nr 2 (7.11.2019): 314–32. http://dx.doi.org/10.1515/jcde-2019-0022.

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Abstract Documentation remains one of the major challenges of the Nigerian theatre; as a result many theatrical performances have gone into oblivion. Studies have been conducted that have given birth to the many approaches to play production and theories of directing in the Nigerian theatre. However, most of these studies focused on directors in educational theatres, as many directors outside the academia seem not to have attracted much scholarly interest in terms of documentation. This research documents the directorial approaches of two Nigerian directors – Segun Adefila and Bolanle Austen-Peters – using four productions and will be of benefit to theatre scholarship and the industry. The study employs a qualitative method of research, and the findings reveal Segun Adefila as an anti-realistic director and Bolanle Austen-Peters as a realistic director. Also, both directors use film to support live drama in their productions. This study therefore recommends that directors embrace the use of film in live theatre, in line with technological trends around the world.
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Cornford, Tom. "Reconstructing Theatre: the Globe under Dominic Dromgoole". New Theatre Quarterly 26, nr 4 (listopad 2010): 319–28. http://dx.doi.org/10.1017/s0266464x1000062x.

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In this article Tom Cornford examines the policy of extending and adapting the permanent stage of Shakespeare's Globe for each new production, as pursued by Dominic Dromgoole since the beginning of his tenure as Artistic Director in 2006. The article responds initially to John Russell Brown's equation in NTQ 102 of a particular kind of ‘intimate’ acting with ‘small theatres’. Cornford resists this conflation of acting and building, seeing in it a tendency to obscure both the role of reconstructed theatres to challenge contemporary notions of the ‘rightness’ of theatre spaces and the role of directors and actors to convert their apparent problems into opportunities. He explores the transformation of the Globe since 2006, using interviews given by Dromgoole and the directors working with the Globe's research team to critique the theory underpinning the ‘permanently temporary’ alterations to the theatre, and takes the evidence of performances to examine their use of the space in practice. Cornford offers a selection of staging solutions to the apparent ‘problems’ identified by Dromgoole and his team, and proposes an alternative model of reconstruction: not the rebuilding of the theatre, but the constant reviewing of theatre practice, including training. Tom Cornford is a freelance director and teacher of acting for the Guthrie Theater/University of Minnesota BFA Program, the Actors' Centre in London, and Globe Education at Shakespeare's Globe. He was, until recently, Artist in Residence at the CAPITAL Centre in the University of Warwick, where he is undertaking PhD research.
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Kruger, Loren, David Bradby i David Williams. "Directors' Theatre". Theatre Journal 41, nr 3 (październik 1989): 414. http://dx.doi.org/10.2307/3208197.

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Mojžišová, Michaela. "Contribution of Slovak Directors to the Profile of the Czech Opera Theatre After 1993". Slovenske divadlo /The Slovak Theatre 66, nr 4 (1.12.2018): 380–97. http://dx.doi.org/10.2478/sd-2018-0023.

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Abstract The ambition of the survey study, which maps the work of Slovak directors in Czech opera theatres after 1993, is to identify the number of Slovak creators in the opera-theatre discourse of the very closely connected countries in terms of culture and history while at the same time adding the professional biographies of Slovak artists – who are little known and reflected upon in their homeland – and parts of their works. The author concludes that the split of the Czechoslovak Republic and the subsequent creation of separate Czech and Slovak Republics did not have an adverse effect on the mutual contacts of our opera cultures. At present, we even enjoy intensified co-operation in both directions. The nonjudgmental attitude of Czech theatres towards the influence of Slovak film directors in the Czech Republic is clear: not only credible creators (Marián Chudovský), but also representatives of the younger generation of opera directors (Andrea Hlinková) and renowned drama directors with previous opera experience (Martin Huba, Roman Polák), as well as creators who had not yet worked on the opera scene at home (Martin Čičvák, Sláva Daubnerová) were presented with an opportunity to contribute. Despite the fact that their works represented the enrichment of the Czech opera-theatre, the Slovak director with the most significant contribution to the Czech opera theatre remains Jozef Bednárik, even two decades later.
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Hildebrand, Wil. "The Dramatic Theatre in The Netherlands". Theatre Research International 27, nr 2 (18.06.2002): 192–200. http://dx.doi.org/10.1017/s0307883302000263.

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An analysis of the main companies, groups and practitioners producing text-based theatre in the Netherlands in the last few years provides a backdrop for a more detailed examination of the work of writer/director Gerardjan Rijnders. Further, special focus is given to the work of the greatest theatre innovator of the last two decades, Jan Joris Lamers, and two young theatre collectives are presented as representative of a broader movement of playwrights, actors and directors, who perform in smaller black-box theatres.
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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)". Observatory of Culture 17, nr 5 (12.11.2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.

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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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Lybo, O. L. "Characteristics of Kharkiv theatre development in1840–1860’s (on the materials of State Archive of the Kharkiv Region)". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, nr 51 (3.10.2018): 126–41. http://dx.doi.org/10.34064/khnum1-51.07.

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Problem statement. In this study, attention is focused on the Kharkiv theatre development in the 1940–1960’s, the activities of the theatrical entrepreneur Liudvih Mlotkovskyi and the directors of the Kharkov Theatre: Hendrikov, Alferaki, Petrovskyi, Lvov and Shcherbyna. The theatre directors served as intermediaries between the entrepreneur and the Provincial Offices authorities, while addressing issues of organization and contract negotiation with actors, maintenance of theatre premises. They played an important role on repertoire policies controlled with the censorship committee of the Tsar Russia. Research and publications. The subject of Kharkiv theatre as a part of Ukrainian theatre history development in noted period was highlighted in XIX century by the famous writer, literary critic, culture and public activist Hrigoriy Kvitka-Osnovianenko and by Mykola Cherniaiev – a journalist, literary and theatre critic, reviewer of the newspaper “Yuzhnyi krai” (one of the largest provincial newspapers of the XIX century), where his articles about history of theatre organization in Kharkiv was published. In the XX century this period is covered by famous theatre critics: Alexander Klinchin (in the monographs about the Ukrainian theatre prominent figures Mykhailo Shchepkin, Mykola Rybakov, Liubov Mlotkovska), Arkadii Pletniov (in the study “At the origin of the Kharkiv theatre”), Rostyslav Pylypchuk (in “Materials about the Ukrainian theatre history. From the foundation to the beginning of the twentieth century”), Yu. Polyakova (in numerous publications and the preface to M. Cherniaiev’s book “From Kharkiv’s theatrical antiquity”); ethnographers Andrii Paramonov, Volodymyr Titar (in “The materials for the Kharkiv Theatre history of 1780–1934”). The objective of this study is to attempt to supplement the scientific research of famous theatrical scholars (primarily A. Pletnov and M. Cherniaiev) with materials that were found in the Kharkiv region State Archives. The main material. Entrepreneur Liudvig Mlotkovskyi, who headed the Kharkiv theatre from the autumn of 1834 to the spring of 1843, played a significant role in the theatre history of above mentioned period. In 1839 Mlotkovskyi was allocated a piece of land in Kharkiv free of charge to build a theatre. The first stone building of the theater for 1020 seats was opened in 1841. Furthermore, the land was allocated to Mlotkovskyi’s ownership, he was obliged to comply with some terms among which was compulsory that the theatre director was appointed by the governor. As the first director of the new theatre the Count Hendrikov Oleksandr Ivanovych (1806–1881) was elected and approved. Unfortunately, no materials or documents about Hendrikov’s activity in the theatre were found. However, it is known that during the time of his directorship, due to difficulties and debts, the entrepreneur Mlotkovskyi left Kharkiv. The theatre’s premises were first leased to touring troupes (companies), and in 1853, Mlotkovsky donated it to his daughter, the dramatic actress Vera Liudvygovna Mlotkovska-Diukova. Thus, further theatrical activities in Kharkiv were connected with the Diukov’s entrepreneurial family and the managers of the theatre: Alferaki, Petrovskyi, Lviv and Shcherbyna. They faced the difficult task of theatre revival and getting back its fame. Mykola Dmytrovych Alferaki (1815–1860), Collegia Advisor, a nobleman, held the post from 1845 to 1849. As the director, he paid the debts and additionally invested his own money for the theatre development and improvement. From 1849 to 1856 Engineer-Lieutenant Colonel Petrovskyi was the director of the theater. Archival materials describing Petrovskyi’s directorship were located. He tried to save the situation by means of more democratic drama repertoire that was interesting for general public. Mykhailo PavlovychLvov (1819–1867) was the next theatre director appointed. He was an architect, the member of St. Petersburg Academy of Arts, the professor of Kharkiv University. Lvov purchased costumes, scenery, and library; he spent some money to restore the theatre premises. In addition to being in charge of the Kharkiv Theatre, Lvov rented Poltava Theatre and the railway station for 8 years. What his administration was like is not definitely known, but he served as the director to 1857. At the end of 1850’s and beginning of 1860’s the post of the theatre director was taken up by an experienced entrepreneur Ivan Oleksandrovych Shcherbyna (1821–1869). He had the theatre boxes reconstructed, started a permanent ballet company that worked in the theater for 3 years, alternating ballet performances with spectacles of touring companies and the permanent drama troupe stage enters. The time of Shcherbyna directorship at the Kharkiv Drama Theatre appeared to be the most favourable for the Ukrainian repertoire, when along with Russian drama products the plays by Ukrainian authors were staged, such as I. P. Kotliarevskyi, H. F. Kvitka-Osnovianenko, D. Dmytrenko etc. Conclusions. Basing on previously published studies of famous theatre critics and ethnographers and attempting to combine the results of their research with the materials found in Kharkiv State regional archive we conclude: Kharkiv was one of the provincial theatre art centers in the XIX century. Not only theatrical entrepreneurs, but also provincial authorities took part in theatre formation and development. The latters tried to control the repertoire policy through the theatre directors appointed by them. Despite the discouraging conditions connected with the difficulties and censorship oppression some progressive theatre directors, such as Petrovskyi and Shcherbyna, ignored the bans and staged prohibited by censorship dramas. It happened not only for the sake of commercial benefits, but also because the banned drama pieces were the most interesting for the general population, it were modern, democratic and satisfied the needs of the audience. This study does not claim to be complete. Its objectives are to combine some historical finds with modern researches about Kharkiv theatre development, and partly fill in the gaps relating to the activity of the entrepreneurs and directors who headed the Kharkiv theatre in 1840–1860s; the work in this direction will continued.
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Posner, Dassia N. "PERFORMANCE AS POLEMIC: TAIROV'S 1920PRINCESS BRAMBILLAAT THE MOSCOW KAMERNY THEATRE". Theatre Survey 51, nr 1 (26.04.2010): 33–64. http://dx.doi.org/10.1017/s0040557410000219.

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Aside from hinting at the rift between the two directors that had become evident after their failed 1918 collaboration on Claudel'sThe Exchange, Tairov's criticism of Meyerhold'sThe Dawnreveals a widening gap in the two directors’ fundamental conceptions of the purpose of theatre in the wake of the Revolution. Meyerhold famously declared “October in the theatre” after becoming head of the Theatre Department of Narkompros (the Commissariat of Enlightenment) in the fall of 1920; he attempted to liquidate the Moscow state academic theatres, of which the Kamerny was one, and to require that all theatres stage revolutionary works using the radical methods of “cubism, futurism and suprematism.” Although Tairov had experimented with cubist designs, he had spent his immediate post-Revolutionary years defending theatre as an autonomous art form that should express universal truths rather than being a vehicle for topical content, declaring, “A propagandist theatre after a revolution is like mustard after a meal.”
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KOZODAYEV, Pavel Igorevich. "FORMATION OF EPISODIC THINKING SKILLS AMONG STUDENTS – FUTURE DIRECTORS OF AMATEUR THEATRES". Tambov University Review. Series: Humanities, nr 174 (2018): 128–34. http://dx.doi.org/10.20310/1810-0201-2018-23-174-128-134.

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We consider the process of formation of episodic thinking skills among students of “Amateur Theatre Management” Specialty. We regard episodic thinking as one of the most important quality characteristic of director profession. Hence we give the general definition of this notion and its constituent terms “thinking” and “episode” on the grounds of analysis of the attitude towards episodic thinking of famous theorist and experts of theatrical art. The process of training future directors of amateur theatres is presented in the context of gradual comprehension of episodic thinking bases: from elementary training exercises and sketches to individual director’s fragments. We also emphasize pedagogical techniques, definite criteria of student’s training activity assessment which are directed upon effective formation of episodic thinking skills through mastering episodic line and constructing episodic structure of dramatic composition. We give examples and describe potential results of intrapersonal change of students due to relevant pedagogical accentuation on the process of formation of episodic thinking skills among students – future directors of amateur theatres.
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Shevtsova, Maria. "The Valery Fokin Festival at the Aleksandrinsky Theatre, St Petersburg". New Theatre Quarterly 25, nr 1 (luty 2009): 44–51. http://dx.doi.org/10.1017/s0266464x09000049.

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One of Russia's foremost theatre directors, Valery Fokin graduated from the Shchukin School at the Vakhtangov theatre in Moscow. At the Sovremennik and Yermolova theatres, of which he was the artistic director, he staged a wide repertoire that included contemporary writers (Mikhail Roshchin, Aleksandr Vampilov, Viktor Rozov), Soviet classics (Gorky), Russian classics (Gogol, Dostoevsky), and, from the international arena, Nabokov and Albee. He taught at the renowned school GITIS from 1975 to 1979 and in Krakow and Tokyo in 1993 and 1994. He has increasingly directed abroad, including Poland, Hungary, France, Germany, Japan, and Korea. In this article Maria Shevtsova focuses on his most recent productions at the Aleksandrinsky Theatre, where he has become a St Petersburg director while maintaining his professional links at the Meyerhold Centre in Moscow, which he founded in 1991 – aptly, since it is with Meyerhold that Fokin's name is most closely connected. Maria Shevtsova is co-editor of New Theatre Quarterly and author of Dodin and the Maly Drama Theatre: Process to Performance (Routledge, 2004).
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Rozprawy doktorskie na temat "Theatre Directors"

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Ferguson, Sarah Alexandra. "Canadian feminist women directors : using the canon for social change". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/541.

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This thesis explores how five Canadian women directors who define themselves as feminists have engaged with work from the traditional Western theatre canon. However, that world actually is created by the social expectations, cultural mores, and theatrical conventions of its time. Audiences have been indoctrinated to accept unquestioningly the value of these texts while the plays’ valorized status masks social constructs that are continually reinforced and surreptitiously naturalized through their repetition. At the crux of this thesis is the notion that while repetition is used as a tool for social instruction, it can also be used as a tool for social change. Therefore, I explore how the Canadian feminist women directors whom I have interviewed use the uniqueness of performance in different ways to challenge social structures within canonical texts. In the individual chapters, each director first shares her education, training, experience, and influences; then she articulates her own feminist perspective and discusses its impact on her career and work process; and finally she reflects on how she directed a text from the Western theatre canon and used the liminal space of performance to challenge the text’s embedded gender constructs. At the end of each chapter, I present the critical response I found for each production, including reviews, individual statements, and academic investigations, and assess the extent to which the director’s intent was understood by her audience and reviewers. In the final chapters, I examine each individual director’s interview responses in the context of the others’ and situate them within the spectrum of feminisms. In general, the directors used liminal space to expose gender as a construction and destabilize social expectations based on gender. However, what also emerged from these interviews is that while there is no broad consensus of what constitutes ‘feminist’ work, each director must temper her feminist perspectives if she wants access to the upper echelons of directing in Canada and the benefits that it entails.
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Maresh, Karin Ann. "Struggles for recognition : the women artistic directors of Ireland's Abbey Theatre /". The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402544588655.

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Drobnik-Rogers, Justyna. "Krzysztof Warlikowski's theatre and the possibility of encounter". Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/krzysztof-warlikowskis-theatre-and-the-possibility-of-encounter(1b01746f-bcc5-4e70-b4fc-5b5a7081a4a1).html.

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This thesis discusses the work of theatre director Krzysztof Warlikowski, which holds an important place within Polish and world theatre, although it remains little known in the UK. It argues that that existing approaches to Warlikowski’s theatre are inadequate as they focus too much on the perspective of an interpreter of productions who decodes the meaning of the performance. Instead Warlikowki’s work should be approached from the perspective of an observer of the complex creative processes that lead to performance and determine its relationship with the audience. The connection between actors and spectators takes the form of an ‘encounter’ that offers a particular experience of theatregoing. It aims to challenge the existing customs of spectatorship and is based on destabilising and violating the sense of safety of both actors and spectators while expanding their experience of performance beyond the ‘here and now’.This thesis asks questions about the distinctive conditions that make possible the type of encounter that lies at the heart of Warlikowski’s oeuvre and distinguishes it from Polish repertory theatre. The theoretical framework of ‘intertheatricality’ facilitates identification of the matrix of elements that inform this encounter. These elements are constituted by: 1.The strategies that have led Warlikowski to become a successful director and enabled him to create a new way of theatre-making and communication with audience; 2. The complex processes of the creation of his ensemble of actors; 3. The family-like setting and the collaborative nature of rehearsals; 4. The status of actors who become the co-authors of performance and their idiosyncratic involvement in the creation of shows that cross the borders between work and life; and finally, 5. The role of the audience that becomes an integral element of the performance making process. Seeing Warlikowski’s work from the perspective of performance as event shows it not as a static and completed artefact, but as a fleeting, transient process that is open to changes and resonates with the outside world. Through its focus on creative processes, this approach sheds new light on the theatre of Warlikowski. It shows how he integrates the actors and audience into his performance making process, and also helps to demonstrate his impact on the status of audience within Polish mainstream theatre post-1989.
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Foster, Michael E., i n/a. "The Praxis of Theatre Directing: An Investigation of the Relationship Between Directorial Paradigms and Radical Group Theatre in Australia Since 1975". Griffith University. School of Arts, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040810.091417.

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The thesis investigates the field of Theatre practice variously referred to as alternative, non-mainstream, avant-garde, community or fringe theatre. I have suggested the term 'Radical Group Theatre' - a term which, I believe, best encompasses the sector formerly represented by this diverse body of theatre practice. I focus on the relationship between theoretical and practical paradigms, and debates surrounding them; theatre making processes; and directorial practice in a theatre form which has emerged as a distinctive set of characteristics, ideological frameworks and practices in the Australian context. The work is strongly informed by the perspectives and practices of a range of major contributors to the field. It notes the inadequacy of conventional analytics and established understandings of the theory/practice nexus for exploring Radical Group Theatre, and establishes an alternate set of frameworks. These enable fresh engagement with the development and current praxis of an important theatre form which has not previously been considered as a whole field yet has taken particularly exciting directions in Australia over the past three decades. Methodology and objectives: An important aspect of the study is the way in which the research methodology parallels the practice under investigation. That is, the practice of Radical Group Theatre in Australia mirrors the 'Reflective Reflexive Loop' which I propose as the pre-eminent principle of the praxis. The methodology has developed out of my Masters degree research which was an interrogation of my directorial practice in the field of Youth/Community theatre, 1976-1989. I was further interested to analyse the field of group theatre to determine whether common key principles identified as characteristics of the form in the earlier study constituted the basis for an analytical model of Radical Group Theatre praxis. The investigation for this thesis began with a project designed to synthesise the essential qualities of directorial practice: the qualities of the good director, the major influences on practice, and the expectations participants have regarding the function of the director. The preliminary findings formed the basis for a comparative study which sought answers to the key questions as they apply to a pre-professional radical theatre setting - university student theatre. This project gave birth to the focus questions of the study which established the theoretical and methodological frames for the thesis.
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Jordan, Noel. "'Controversial art' : investigating the work of director Rosemary Myers". Connect to thesis, 2001. http://repository.unimelb.edu.au/10187/1160.

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Arena Theatre Company’s Eat Your Young is examined as an intrinsic case study. The aim is to investigate the role of a director in the creation of an original multi-media theatre production designed for young people. The study explores the current social, political and cultural position of young people and argues that they are viewed and portrayed as a marginalised “other”. The history of Arena Theatre Company is documented in relation to the development of Theatre in Education from its British roots to the Company’s current emphasis on contemporary artists exploring the possibilities of multi-art form technology. The development of multi-media usage in theatre over the past century is outlined in order to gain an understanding of Arena’s place within this technological experimentation. Utilising ethnographic methodology, including participant observation, “unstructured” interactive interviews and the construction of participant monologues, the creative rehearsal and planning process of Eat Your Young is chartered over a five month period. The outcomes of the study confirm the literature relating to the qualities of a good director: they are leadership, vision and the ability to collaborate. The metaphor chief architect is coined to describe the central figure of the director, Rosemary Myers. The case study discusses the development of a Company culture where artists work in an intensive social and interactive environment and it identifies the unique pressures and individual responsibility of the role of director.
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VANNUCCI, ALESSANDRA. "LA QUINTA COLONNA: THE GENERATION OF ITALIANS DIRECTORS IN THE RENOVATION OF BRAZILIAN THEATRE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5660@1.

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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
A presença de diretores teatrais italianos (Adolfo Celi, Ruggero Jacobbi, Luciano Salce, Flaminio Bollini, Gianni Ratto, Alberto d`Aversa) na renovação do teatro brasileiro (década de 1950) remete ao campo teórico de representação dos processos de modernização da cultura, entre anseio de globalização (alcançar o padrão internacional) e preservação do local (atingir o Brasil autêntico). A polêmica entre esteticismo cosmopolita e brasileirismo permea o debate renovador desde a sua implantação. Motivada pela missão pioneira de instalação da cena dirigida, a transculturação de pessoas e idéias que ocorre com a interferência da geração dos diretores italianos no processo de denvolvimento da cena brasileira oferece recorte temático privilegiado para narrar os fatos da modernização da arte no Brasil. Suas intuições, heranças, oportunidades e invenções perdidas, investigadas em amplo acervo de documentos inéditos, sugerem um quadro de realização somente parcial do sonho moderno.
The presence of italian directors (Adolfo Celi, Ruggero Jacobbi, Luciano Salce, Flaminio Bollini, Gianni Ratto, Alberto d`Aversa) in the renewal of Brazilian theatre in the 50`s refers to studies in the field of culture modernization processes. The polemics between cosmopolitan estheticism and brasility has, since the beginning, pervaded the debate about cultural renovation. Motivaded by the pioneering mission of implementing the directed scene, the transit of people and ideas wich take place under the interference of that generation of Italian directors in the process of development in the Brazilian theatre, give us a special perspective when narrating facts about the modernization of art in Brazil. Its intuitions, its legacy, oportunities and lost inventions, investigated in a large collection of undisclosed documents, suggest only a parcial view of the modern dream.
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Vandivere, Allen H. "An investigation of the nonverbal communication behaviors and role perceptions of pre-service band teachers who participated in theatre seminars". connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9019.

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Hillier, Fleur Jane School of Public Health &amp community medicine Centre for Clinical Governance Research in Health UNSW. "Managing creative and health production processes : issues, similarities and differences". Awarded by:University of New South Wales. School of Public Health and community medicine. Centre for Clinical Governance Research in Health, 2005. http://handle.unsw.edu.au/1959.4/22281.

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In this thesis I am concerned to examine the management behaviours and predilections of managers across the two settings of health and theatre considered to be divergent. To do this I explore and map methods, similarities and differences managers employ to ???manage??? workers across the industries. I also deconstruct creativity and its manifestations in both managerial behaviours and environmental contexts and map the complexity issues that managers face in different settings. Further, I explore the extent to which management activity is contextual to the identity of participant organisational aims and processes and examine the level of calculated chaos experienced by managers across the settings. Central to this approach is the utilisation of multi-method design incorporating interview, micro-ethnography, auto-ethnography and a RAND expert panel to assist with interpretation of the results. Core findings include high degrees of similarity in the roles and functions and support systems utilised by managers across the settings despite substantial differences in environmental contexts and organisational aims and processes. Differences were identified in the areas of: levels of chaos, interactions, purposes, and environmental characteristics. To account for these differences I apprehended seven metafactors grounded in the data sets. These seven metafactors can be found in each setting but emerge in different ways. The metafactors that I apprehend are order versus disorder; creativity; experimentation and change; risk; reflection; trust and respect; and time and pressure. While I discuss these seven metafactors as separate factors in reality they are fundamentally inter-related. Suggestions for future research are included.
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Vandivere, Allen Hale. "An Investigation of the Nonverbal Communication Behaviors and Role Perceptions of Pre-Service Band Teachers who Participated in Theatre Seminars". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9019/.

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This qualitative study used a multiple case study methodology to explore the nonverbal communication behaviors and role perceptions of pre-service band teachers, and the extent to which these individuals found meaning and value in theatre seminars with respect to those factors. The informants participated in three theatre seminars taught by theatre faculty at the researcher's university. The researcher collected data in the form of videotaped theatre seminar observations, videotaped classroom teaching observations, videotaped informant reflections of teaching episodes, online peer discussions and journaling, and informant interviews. Data were analyzed, coded, and summarized to form case summaries. A cross-case analysis was performed to identify emergent themes. The broad themes identified were past experience, adaptation, realization, and being aware. The informants found that the theatre seminars increased their awareness of nonverbal communication behaviors in the classroom, and had the potential to be meaningful and valuable with respect to their perceptions of their roles as teachers.
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Dawood, Rasha Ahmed Khairy Hafez. "Critical discourse within European plays in the first half of the twentieth century and the manifestations of a similar phenomenon in modern Egyptian drama". Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15359.

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This thesis closely examines the utilisation of dramatic characters’ comments on matters of literary and theatrical criticism. This phenomenon shaped a trend in European theatre during the first half of the twentieth century, and Egyptian theatre in the second half of the century. My main hypotheses are, firstly, that dramatic characters’ comments on literary and theatrical matters of criticism respond to specific problems that challenge theatre practice. Thus, my reading of literary and theatrical criticism within the dramatic texts studied in my thesis focuses on this criticism’s reformative function to rectify the crisis that faces theatre practice in general, rather than playwrights’ individual motives, such as responding to their critics. Secondly, socio-political, economic, and cultural aspects shape historical circumstances, which influence the current state of the theatre industry. Therefore, although Egyptian plays are noticeably influenced by European metatheatre, Egyptian playwrights utilise these borrowed techniques to highlight specific problems of Egyptian theatre such as the corrupt administration of governmental theatre and censorship. Finally, while Egyptian plays exploit European metatheatrical techniques, Egyptian playwrights claimed their works as a revival of intrinsically anti-illusionist traditional forms of entertainment such as the shadow play and Karagöz. This claim reflected increasing calls for pure Egyptian theatre, as part of the anti-Western jingoistic discourse of the political regime of the 1950s. In order to examine these assumptions, my theoretical approach draws from the fields of metatheatrical studies; literary and performance studies of parody and intertextuality; the history of European and Egyptian theatre; sociological, political and cultural studies; theories of modern criticism, and critical reviews. My contribution to the field of metatheatrical studies is in highlighting the reformative function of literary and theatrical criticism, whether as a discourse or a metatheatrical device, within a group of European plays that belong to different movements of the avant-garde during the first half of the twentieth century. More significantly, my study investigates the same phenomenon in Egyptian plays that, since the 1980s, have gradually been marginalised as fringe theatre and neglected by academic studies.
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Książki na temat "Theatre Directors"

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Bradby, David. Directors' theatre. New York, NY: St. Martin's Press, 1988.

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Bradby, David, i David Williams. Directors’ Theatre. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19478-0.

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Contemporary European theatre directors. London: Routledge, 2010.

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Edited by Delgado, Maria M., i Dan Rebellato. Contemporary European Theatre Directors. Redaktorzy Maria M. Delgado i Dan Rebellato. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429400285.

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Theatre@risk. London: Methuen, 2000.

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Cook, Judith. Directors' theatre: Sixteen leading directors on the state of theatre in Britain today. London: Hodder and Stoughton, 1989.

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Cook, Judith. Directors' theatre: Sixteen leading directors on the state of theatre in Britain today. London: Hodder and Stoughton, 1989.

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Directing: A handbook for emerging theatre directors. London: Methuen Drama, 2011.

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Contemporary Korean theatre: Playwrights, directors, stage-designers. Seoul, Korea: Theatre and Man Press, 2000.

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Braun, Edward. Meyerhold: A revolution in theatre. Wyd. 2. London: Methuen, 1995.

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Części książek na temat "Theatre Directors"

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Bradby, David, i David Williams. "The Rise of the Director". W Directors’ Theatre, 1–23. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19478-0_1.

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Bradby, David, i David Williams. "Joan Littlewood". W Directors’ Theatre, 24–50. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19478-0_2.

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Bradby, David, i David Williams. "Roger Planchon". W Directors’ Theatre, 51–83. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19478-0_3.

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Bradby, David, i David Williams. "Ariane Mnouchkine". W Directors’ Theatre, 84–111. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19478-0_4.

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Bradby, David, i David Williams. "Jerzy Grotowski". W Directors’ Theatre, 112–44. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19478-0_5.

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Bradby, David, i David Williams. "Peter Brook". W Directors’ Theatre, 145–85. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19478-0_6.

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Bradby, David, i David Williams. "Peter Stein". W Directors’ Theatre, 186–223. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19478-0_7.

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Bradby, David, i David Williams. "Robert Wilson". W Directors’ Theatre, 224–61. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19478-0_8.

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Edwardes, Jane. "Directors: The New Generation". W Contemporary British Theatre, 205–22. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-25091-2_14.

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Edwardes, Jane. "Directors: The New Generation". W Contemporary British Theatre, 205–22. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-23078-5_14.

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Streszczenia konferencji na temat "Theatre Directors"

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Araki, Shigeru. "Mime and physical theatre workshop for CG animators and directors". W ACM SIGGRAPH ASIA 2009 Educators Program. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1666611.1666629.

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Ryöppy, Merja. "Negotiating Experiences and Design Directions through Object Theatre". W NordiCHI '20: Shaping Experiences, Shaping Society. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3419249.3420169.

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Chen, Sam. "Director's commentary for "Eternal Gaze"". W ACM SIGGRAPH 2003 video review on Electronic theater program. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/1006032.1006056.

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Alesenkova, Victoria. "Types of Transsemantic Constructions in the Russian Director’s Theatre of the 21st Century". W 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.012.

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Shekriladze, I. "DEVELOPED BOILING HEAT TRANSFER - FORTY YEARS OF THE MODEL OF "THE THEATRE OF DIRECTOR"". W Annals of the Assembly for International Heat Transfer Conference 13. Begell House Inc., 2006. http://dx.doi.org/10.1615/ihtc13.p28.370.

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Gagneré, Georges, Tom Mays i Anastasiia Ternova. "How a Hyper-actor directs Avatars in Virtual Shadow Theater". W MOCO '20: 7th International Conference on Movement and Computing. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3401956.3404234.

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Majdanova, M. N. "On the problem of the stage implementation of content in the Russian director's theater beginning of XX century". W Scientific Trends: Philology, Culturology, Art history. LJournal, 2019. http://dx.doi.org/10.18411/spc-26-03-2019-11.

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Shekriladze, Irakli G., Giorgi I. Gigineishvili, Jondo G. Rusishvili i David I. Shekriladze. "Investigation of Duration-Dependent Multifactoring During Boiling on Down-Facing Heating Surface". W 2010 14th International Heat Transfer Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/ihtc14-23386.

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A model of the “theatre of director” (MTD) links dependence of developed boiling HTC only on two external parameters (heat flux and average effective radius of active nucleation sites) to short duration of each action of cooling mechanisms. According multifactoring concept (MFC) significant prolongation of the actions of cooling mechanisms leads to transition to specific regimes with dependence on increased number of factors (duration-dependent multifactoring (DDM)). Splitting of developed boiling heat transfer curve into several curves, depending on sublooling of bulk liquid, direction of gravity field and thermal parameters of heating surface, has been fixed through experimental study of DDM of pool boiling heat transfer on downward-facing horizontal heating surface. Interpretation and qualitative analysis of received experimental data on HTC and video-films of characteristic boiling regimes allow to arriving at the conclusion about applicability of unified consistent research framework MTD-MFC in terms of description of diversity of boiling heat transfer curves.
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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849". W Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
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Shekriladze, I. G. "Boiling at Macro- and Microscale: Totally Neglected Universal Context". W ASME 2014 12th International Conference on Nanochannels, Microchannels, and Minichannels collocated with the ASME 2014 4th Joint US-European Fluids Engineering Division Summer Meeting. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/icnmm2014-21127.

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A paper discusses consequences of the neglect of universal features of macro- and microscale boiling uncovered by the basic model “theater of a director”, such as control of developed boiling heat transfer by nucleation at microscale, regardless of the inputs and composition of individual cooling mechanisms, pumping effect of growing bubble, micro-membrane pumping, and multi-factoring phenomenon. Average effective radius of nucleation sites, representing universal characteristic length of the process, irrespective to its scale, also remained outside the attention of boiling researchers. It is shown that neglect of above fundamentals and, especially, full misunderstanding with the characteristic length, turned the sphere of boiling at mini- and microscale into a purely experimental research. Even the attempts to classify boiling channels with respect to the transverse size are deprived of physical grounds. The ways to overcome the existing deadlock situation are also addressed.
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