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Mohammadi, Banafsheh. "Of Architecture and Hope". Journal of the Society of Architectural Historians 81, n.º 3 (1 de setembro de 2022): 357–71. http://dx.doi.org/10.1525/jsah.2022.81.3.357.
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Abstract Of Architecture and Hope: The Citadel Theatre of Edmonton and the Cruel Optimism of a Bygone Petroleum Age explores how one of the largest theaters built in North America in the twentieth century represents a form of petroleum-driven “cruel optimism,” a concept introduced by Lauren Berlant. Drawing upon a wide range of primary sources from the City of Edmonton Archives, the Provincial Archives of Alberta, the University of Alberta Archives, and the private archives of the family of theater cofounder Joe Shoctor, Banafsheh Mohammadi provides a detailed analysis of the design and materials of the Citadel Theatre as a means of examining how they exemplify a distinctive twentieth-century form of petroleum-based aesthetics.
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Lupu, Andreea Gabriela. "The Reconfiguration of the Theatre Space and the Relationship between Public and Private in the Case of Apartment Theatre". Romanian Journal of Communication and Public Relations 18, n.º 3 (25 de janeiro de 2017): 77. http://dx.doi.org/10.21018/rjcpr.2016.3.217.
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<p>This article tackles the means of theatre space reconfiguration in the apartment theater (<em>lorgean theater</em>), simultaneously analyzing the relation between public and private specific to this form of art. Structured around both a theoretical analysis and a qualitative empirical investigation, this paper emphasizes the traits of the theatre space as component of an artistic product received by the audience, and its value in the process of artistic production, within the theatre sector. The case study of <em>lorgean theater, </em>including a participant observation and an individual interview, enables the understanding of these two aspects of the spatial configuration, emphasizing its hybrid nature in terms of spatial configuration and the public-private relation as well as the act of reappropriation of the domestic space through an alternative practice of theatre consumption.</p>
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Gordeev, Petr N. "Ivan Vasilyevich Ekskuzovich — Architect and Theater Figure". Vestnik of Saint Petersburg University. Arts 14, n.º 1 (2024): 34–59. http://dx.doi.org/10.21638/spbu15.2024.103.
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For the first time the article gives a biographical study of the major theatrical figure and St Petersburg architect I. V. Ekskuzovich. Having graduated from the Institute of Civil Engineers in his youth, he has built several buildings in the capital of the Russian Empire, but his lifework was the management of academic theaters in Leningrad and Moscow. In this article there was first established the existence of the “Ekskuzovich coterie” in 1917, which also included V. E. Meyerhold, conductor N. A. Malko and a certain number of the artists of the Mariinsky Theatre; the role of the coterie in the nomination of Ekskuzovich to the post of the head of the theater department at the end of 1917. The article summarizes the extensive material related to his administrative activities in theaters: the role of Ekskuzovich in the creation of the association of academic theaters, his official and personal correspondence with artists and the People’s Commissar of Education A. V. Lunacharsky. Based on the reviews of memoirists, private correspondence of artists and a number of anniversary addresses, a conclusion is made about the significant popularity of Ekskuzovich in the artistic environment. It is emphasized that the resignation of Ekskuzovich in 1928 took place against the will of Lunacharsky, who lost by the end of the 1920s his real power in the People’s Commissariat for Education. The activity of Ekskuzovich as a theorist and practitioner in mechanization of the theater stage, as well as one of the leading engineers in the park management of Leningrad in the 1930s, is also traced. The monograph “The Theater Stage in the Past and Present” published by him in 1930, Ekskuzovich’s work on the continuation of this research, as well as his work on equipping the stages of Soviet theaters, including the work on the theatrical part of the Palace of Soviets, are considered. The article is based mainly on archival data; materials used 13 archives and manuscript departments of museums and libraries.
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Belov, Alexey V. "Serf Theater of the Demidovs ‘Sloboda Palace’ in German Quarter: Organization, Creativity and Decline of the Noble Home Theaters Tradition in Moscow at the Turn of 19th Century". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 119–31. http://dx.doi.org/10.37816/2073-9567-2023-69-119-131.
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Serf theaters played an important role in the development of the European theatrical tradition in Russia. For the most part they were nonprofessional and private. Both public and professional serf collectives were rather rare. The paper analyzed the history of the home serf theater, created by Russian nobles and industrialists N. A. and N. N. Demidov. It functioned in their Moscow house “Sloboda Palace”, located within the German Quarter — an elite suburb which contributed to the spread of theatrical culture here. The Demidov Theater was related to a small group of serf theaters that stood between small amateur theaters and large professional ones. Therefore, they were called “midsized” theater. However, they brought up future Russian actors and future Russian spectators in Russia, thanks to which theatrical art began to develop and enjoy great interest in the country. The paper on the basis of archival documents shows the life and structure of the Demidov Theater. Much attention is paid to the appearance and internal structure of the Demidov Theater building. The author highlights different forms of stage art that were available here. The study also dwells upon the musicians and singers who played a large role in the cultural life of the Demidov Palace and Theater, namely the family of the serf actor Mochalov, who belonged to Demidov and whose son came to be a great national Russian actor. The paper examines the causes and conditions of fading of the manor theater culture in Moscow, including the Demidov Manor Theater.
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Bly, Mary. "Playing the Tourist in Early Modern London: Selling the Liberties Onstage". PMLA/Publications of the Modern Language Association of America 122, n.º 1 (janeiro de 2007): 61–71. http://dx.doi.org/10.1632/pmla.2007.122.1.61.
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This article attempts to reconstruct a mental cartography of early modern London, the ensemble of material, social, and symbolic codes that made up the social architecture of the city. The article extends Steven Mullaney's work by giving scholars a more accurate understanding of the geography of London and its liberties, especially those that housed private theaters, such as Shakespeare's Blackfriars. I look in particular at the liberty of the Whitefriars, arguing that between 1600 and 1615, two theaters used the liberty's reputation to draw visitors to both the theater and the neighborhood in an early modern version of cultural tourism. The theater thrived on a symbolic economy, a commodification of local color that drew people to the district, from in and outside London. I bring theories of space and tourism into play when considering the complexities of how a theater commodifies its neighborhood in this manner.
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Tsishkovskaya, M. S. "Theater without Borders: To Raise the Question of Blurring the Line between Professional and Amateur Creativity". Voprosy kul'turologii (Issues of Cultural Studies), n.º 10 (1 de outubro de 2021): 877–81. http://dx.doi.org/10.33920/nik-01-2110-02.
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Recently, the amateur theater movement, which seemed to have lost its significance three decades ago, is reviving and, moreover, transforming, now qualitatively different from the socio-cultural phenomenon that it was in the past. This paper examines the development of amateur creativity at the present stage. We will talk about private commercial theaters, amateur studios and laboratories, which over the past decade have not only gained wide popularity, but also, in the context of postmodern transformations, have become direct competitors to professional art, thereby blurring the boundaries between professional and amateur creativity. The functions of professional theaters, the tasks and problems that arise before them, have also affected the amateur art to the same extent. The author comes to the conclusion that the boundaries between professional and amateur theater are gradually blurring, which, in the near future, may lead to new global transformations in the field of theater culture.
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Nelson, John. "Opposing Official Nationality". Experiment 25, n.º 1 (30 de setembro de 2019): 115–29. http://dx.doi.org/10.1163/2211730x-12341333.
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Abstract It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened his Private Opera in 1885 at Abramtsevo and in 1895 in Moscow. His aim was to demonstrate that a private opera house could compete with the Imperial theaters, in addition to giving Moscow the opportunity to see Russian-themed operas. It was Mamontov’s new approach to stage direction, including the incorporation of fine artists in the creative process, that attracted the composer. Harassment by the Tsar, the bureaucracy of the Imperial theaters, and the western-orientated repertoire committee, had all alienated the composer. Mamontov’s dedication to filling a gap in the Russian music world, as well as his challenge to the Imperial theaters, caught Rimsky-Korsakov’s attention. Through their collaboration they questioned the bureaucracy and publicly registered their protest against Nicholas II. Together, they challenged the foundations of the “Official Nationality” doctrine propounded by the tsars since the rule of Nicholas I, which in a changing Russian society had acquired a new meaning.
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Jiang, Hao, e Si Jia Jiang. "Zoning and the Special Theater District in New York". Applied Mechanics and Materials 174-177 (maio de 2012): 2472–80. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.2472.
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This paper evaluates the effectiveness of New York City’s attempts to promote its theater industry through zoning tools, which sheds light on balancing historic preservation and sustainable development. Using the original zoning resolutions and secondary data, this paper will analyze the changing problems, solutions, costs and benefits of setting up a Special Theater (Sub)District in order to protect a socially-desirable use and to recapture the value of private development at the same time. It will conclude that landmarking the theaters to be preserved provided them with legal protection and substantial funds created by the transfers of development rights (TDRs), while controls on Floor Area Ratio (FAR), usage and contextual requirements effectively shaped the area’s three dimensional form; the Special Theater Subdistrict has been highly successful.
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Thorpe, Richard G. "The Academic Theaters and the Fate of Soviet Artistic Pluralism, 1919-1928". Slavic Review 51, n.º 3 (1992): 389–410. http://dx.doi.org/10.2307/2500051.
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While many studies of the early Soviet theater have focused upon its proletarian or revolutionary stages, in the polemics of that era a central topic of dispute was the so-called academic stage. The academic theaters of Moscow and Petrograd, which included the former imperial theaters as well as select representatives of the pre-revolutionary private stage, most notably the Arts and Kamernyi theaters, had no lack of critics or enemies in the years after October. The former court theaters were attacked as politically dangerous relics of the old regime, their artists were envied for their material privileges and status, their large budgets were coveted by less generously funded workers' and avant-garde stages, their art was condemned as conservative and out of harmony with the revolution and socialism. For Commissar of Education Anatolii Lunacharskii, however, these theaters were academies which would both preserve the best of the pre-revolutionary cultural heritage and provide standards of technical excellence against which more innovative theaters could be measured.
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Karzhaubayeva, Sangul, e Ainur Kopbasarova. "Innovative Strategies of the Turkestan Music and Drama Theater". Central Asian Journal of Art Studies 6, n.º 4 (20 de dezembro de 2021): 148–58. http://dx.doi.org/10.47940/cajas.v6i4.510.
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The general theme of the international round table “Innovative and multimedia research in modern theater art”, organized by the departments of theater studies and scenography of T. K. Zhurgenov Kazakh National Academy of Arts, the main topic of which was the resonant premiere of the play Borte by Dulat Issabekov, which raised a wide range of ideas and topical issues. The purpose of this event was to comprehend the problems of innovations in the Kazakh theater in the era of digital technologies. The discussion was attended by a director of the Turkestan Music and Drama Theater Ainur Kopbassarova, a stage director Carlo Shakkaluga, prominent theatrical figures of the republic, directors, heads of regional theaters, actors, set designers, teachers, students of the academy and the capital's university of arts. The methodology basis in the discussion of innovative events taking place in the Kazakh theater were empirical, general scientific and private scientific methods of understanding new approaches in work on a production of a play, on the example of the performance of “Borte”. The study underwent cardinal changes in the theater's performance and production policy, starting with selection of actors who were invited from different theaters of Kazakhstan, to introduction of expensive innovative technical stage equipment. As a result of discussing the problems of introducing innovations in the Kazakh theater, a number of objective constraining factors were identified, such as obsolete technical equipment and stage machinery, etc. Particular attention was paid to the issues of profitability of theatrical production, adaptation methods and operation of specialized technical devices, fundamentally new approaches in selection of actors for the role. During the discussion of the principles of organizing work on the release of a new performance, it was noted that leadership of the Turkestan Theater had successfully introduced new generation technologies in the shortest possible time. Moreover, a fundamentally new algorithm for operation of the stage part of the theater was developed, an extraordinary model for managing production workshops of the theater, technical and technological spectrum of combining innovative methods and techniques in the space of one performance has been expanded.
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Bednarz, James P. "Jonson, Marston, Shakespeare and the Rhetoric of Topicality". Ben Jonson Journal 27, n.º 2 (novembro de 2020): 155–76. http://dx.doi.org/10.3366/bjj.2020.0282.
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The revival of commercial “private” theater by the Children of Paul's in 1599 and the Children of the Chapel in 1600 transformed the culture of playgoing in London at the end of the sixteenth century. It was during this period that John Marston at Paul's and Ben Jonson at Blackfriars attracted attention at these theaters by ridiculing each other personally and denigrating each other's work. In doing so they converted these playhouses into forums for staging ideologically opposed interpretations of drama. Rather than aligning themselves with each other against the “public” theater, as Alfred Harbage had assumed in his influential chapter on “The Rival Repertories” in Shakespeare and the Rival Traditions, Jonson and Marston's satire of each other's work used Paul's and Blackfriars to debate the question of the legitimacy of the drama they staged and the status of the writers who composed it. Their debate on what drama should and should not be constitutes one of the most significant critical controversies in early modern English theater. It constitutes part of the first significant criticism of contemporary drama in English. The point of this essay is to account for how, when Jonson began writing for the Children of the Chapel at Blackfriars in 1600, Marston at Paul's became one of his principal targets through personal invective framed as a series of generalized strictures excoriating the obscenity and plagiarism of contemporary private theater.
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Slater, W. J. "Pantomime Riots". Classical Antiquity 13, n.º 1 (1 de abril de 1994): 120–44. http://dx.doi.org/10.2307/25011007.
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It is argued that there is no simple or single reason for the riots caused by pantomimes in early imperial Rome, and especially in 14 and 15 A.D. Theatrical passion has been suggested as the main cause, but other factors must be considered: the meaning of the theater as a symbol of order, the peculiar importance of the equestrian order in the architecture of the theater; the position of the main Roman theaters in their relation to the exercise grounds of the iuvenes; the complex relationships of the equestrian iuvenes with the pantomime artists. It is pointed out that it is not always easy to define a pantomime, or to know the nature of the program; but competition was certainly involved. It is argued that the policies of Tiberius toward the theater and the iuvenes were particularly productive of discontent, which led to repeated legislation to control it. The role of Drusus is probably crucial. A central role is also played by the theater claques, and the acclamations of the equestrians, the theater being their principal venue. Various connections between the equestrian iuvenes and the theater are considered. One key is the physical training of Roman youth, which had become affected by Greek concepts of gymnasium dancing, perhaps under the influence of rhetoric. This in turn made it possible for young Romans to develop quasi-pantomime skills, which they could demonstrate in their iuvenalia. Second, it is suggested that the Baths of Agrippa and their decoration can be seen as an indication of such a change in official policy, and their position next to the theaters is stressed. Third, the personal relations between pantomimes and the nobility is documented, and the importance of the private stage in Rome. Finally, the legislation of the Tabula Larinas is considered, as it affected nobles on the stage or in the arena, and other legal implications of this conflict between the senate and the youth are sketched.
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Choi, Semi, e Yoonkyung Min. "A Narrative Study on the Performance Activity Experience of Daehak-ro Theater Artist by Generation". Korean Arts Association of Arts Management 64 (30 de novembro de 2022): 59–92. http://dx.doi.org/10.52564/jamp.2022.64.59.
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Since the establishment of ‘Arko Arts Theater’ by the ARTS COUNCIL KOREA in 1981, the area around Dongsung-dong and Hyehwa-dong in Jongno-gu has been called ‘Daehak-ro’ and has become the center of the performing arts. However, there were not many studies that analyzed how Daehang-ro Theater Artist experienced and understood the policies implemented to revitalize the region and the changes in the commercial environment. With this awareness of the problem, this study tried to discuss the experience of theater activities of the Theater Artist staying in Daehang-ro while engaging in the theater culture of Daehang-ro as a narrative research methodology.
As a result, first of all, the opportunity to enter and settle in Daehak-ro has changed over time from informal and unsystematic inflow through private networks to visible and systematic entry through official recruitment and platforms. Second, unlike the past when certain economic achievements followed the experience of revitalizing Daehak-ro, the current there is only the satisfaction of self-realization of Theater Artist, so the economic requirements as a job are ambiguous. Third, gentrification in cultural and commercial districts is a chronic phenomenon that has continued since the 1980s, and all research participants felt the problem of gentrification. Lastly, the factors of change in Daehak-ro could be summarized as migration through ‘leaving Daehak-ro’, securing a stage through the expansion of public theaters, and political rights as workers.
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Balaban, O. I., O. M. Venher e O. B. Opanasyk. "Market fundamentals of organization of work in the field of stage and audio-visual arts and production". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, n.º 53 (20 de novembro de 2019): 200–214. http://dx.doi.org/10.34064/khnum1-53.12.
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Background. Survival and further development is an acute problem for any modern Ukrainian repertory theater. According to the Law (which is only a framework, since it does not answer all the questions that arise), repertory theaters are non-profit organizations and exist for budget funds. The latter are steadily declining and depreciating in the conditions of market relations exist in modern Ukraine. The purpose of the article is to consider and propose methodological approaches to the development and implementation of innovations in the organization of cultural institutions in the field of cultural industries, theater, film and television. Presentation of the main material. The modern development of society is extraordinary – it is filled with changes and transformations caused by the influence of such phenomena as globalization, cheap labor, a large number of competitors. The spread of information and nanotechnology, computer networks is causing changes in the structure of organizations and cultural institutions, in particular, a reduction in their size, which, in turn, predetermines innovation as a result of a creative search for original, non-standard solutions to various problems. Globalization today is not only fierce competition. It also affects the human capital of enterprises, in particular, transforms the concept of a permanent place of work. Technogenic civilization and the rapid change of information technology make cultural institutions need to work extraordinary in such relevant areas as technology, personnel and organizational aspects of business. The most important qualities of the modern cultural space, concerning cultural and educational institutions, creative industries, are openness of thoughts and the possibility to avoid stereotypes. As a result of the development of market relations in Ukraine, cultural institutions have economic freedom, respectively, freedom in choosing directions and guidelines for development, as well as of markets for activities, determining directions for using and attracting own funds, creating a competitive policy, etc. In the same time, the following threats were identified that are relevant for any modern Ukrainian repertory theater, namely: 1) the growth of the budget deficit of the country and the region, which can suspend the budget maintenance of theaters; 2) an increase in inflation; 3) economic instability; 4) political instability; 5) the growth of tax rates; 6) a decrease in the solvency of the audience; 7) low demand from the audience for theatrical services; 8) significant variability in the needs of the audience; 9) a high level of competitiveness of other theaters and cultural institutions; 10) changes in public values; 11) low social consciousness of the population. Due to these conditions, the solution of the problem of survival and development requires the search for new strategic approaches to the organization of activities and management of these theaters, which seems quite relevant. The possibilities are contained in the Law itself, which allows theaters to earn money through various types of commercial activities. Strategically, the most promising is production, which is used by almost all foreign non-commercial theaters. The opportunities provided by “The Law on Public-Private Partnership”, 2010, in the fields of tourism, re-creation, culture and sports can be included in support of such activities. The effectiveness and profitability of cultural institutions depends on the quality of management, as well as monitoring the implementation and quality of services. The high potential of cultural institutions with an underestimation of activity and inefficient management leads to insufficient funding for the development of cultural institutions, a lack of working capital, and low material interest of workers. This situation makes it necessary to constantly increase the budget line for the maintenance of institutions. But to increase the budget revenues of cultural institutions, it is possible to use crisis management technologies. The development of crisis management methods by the management company (with an emphasis on theatrical activities) will be aimed at: protecting intellectual property and patenting by type of activity, developing and applying franchising schemes in theatrical activities; constant monitoring of the theater audience in order to identify trends in the development of culture and demand from the audience; collecting and summarizing the practice of successful European theater projects and managerial decisions to create a system of training the managerial staff of cultural institutions; collecting and analyzing information about the interaction of theaters with the external environment, tracking new trends and market contradictions; creating the basis for adjusting the regulatory framework; increasing the profitability of theaters; development of areas related to the core business; attraction and use of various types of financing (budget, grants, commercial, credit, investment funds); reduction of the budget load and the transition from current financing schemes to the financing of theater projects and programs; the creation of new financial instruments for the development of the theater, including depreciation and accumulation of income; the search for opportunities for the management company to implement external financial management and carry out financial planning, control over improving the effectiveness of theater management; creation of systems of motivation and interest of the creative team of theaters; creative audit of theatrical productions and repertoire policy, assessment of the positioning of theaters and theatrical productions. Summing up the above, we can reach the statements: 1) the rapid reduction of budget support for modern Ukrainian repertory theaters may end with a complete rejection of it; 2) under such conditions, it will be appropriate to study the experience of organizing the activities of foreign non-profit theaters that successfully survive in market conditions; 3) this becomes possible through the use of a rather specific activity called “producing”; 4) modern Ukrainian repertory theaters will have to master it; 5) for this purpose, it seems appropriate to create a "production center" in the theater, which can be started as a startup; 6) this creates a new creative and production system that becomes productive.
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Grün, Lili. "To the Theatre!" Scenario: A Journal of Performative Teaching, Learning, Research X, n.º 2 (1 de julho de 2016): 1–7. http://dx.doi.org/10.33178/scenario.10.2.1.
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The rubric Texts around Theatre features historical and contemporary cross-cultural and culture-specific perspectives on theatre – unexpectedly funky, unusually enthralling, disturbingly fascinating. https://www.aviva-verlag.de/autor-innen-co/lili-gr%C3%BCn/ Young Loni Holl, the protagonist in Lili Grün’s autobiographical novel, desires to become an actress. Only the theatre gives Loni the feeling of escape from her boring day to day life. She pursues her goal with determination, and a theatre engagement in the province seems to be the long-awaited chance for her debut. She straddles rehearsals, performances and private life; learning her lines, paying her rent, and allaying her hunger. The following excerpt from Grün’s novel , first published in 1935, traces Loni’s first steps on the stage that means the world to her. Apart from Zum Theater, Lili Grün also wrote the cabaret novel Herz über Bord (now in a new edition as Alles ist Jazz) in 1993. Mädchenhimmel, a collection of poems and stories was first published in 2014. Her novel Junge Bürokraft übernimmt auch andere Arbeit ..., first published 1936/37 in the newspaper “Der Wiener Tag”, was issued in book format in 2016 (all edited by Anke Heimberg). As a Jewish author, Lili Grün was not allowed to publish after 1938. In 1942, she ...
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Gupta, Shakti Kumar, IB Singh, Parmeshwar Kumar e Aarti Vij. "A Comparative Study of Hand Hygiene Practices in Operation Theaters in Tertiary Level Hospitals in Delhi, India". International Journal of Research Foundation of Hospital and Healthcare Administration 2, n.º 2 (2014): 87–93. http://dx.doi.org/10.5005/jp-journals-10035-1021.
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ABSTRACT Background Healthcare associated infections (HCAIs) are directly related to the hand hygiene practices. Differences in implementation of practices may exist among hospitals despite standard guidelines. Objective To compare the hand hygiene practices in the operation theaters of tertiary care hospitals in Delhi. Design and setting: A 6-months descriptive and cross-sectional study conducted in operation theaters of tertiary level, referral public and private sector hospitals in Delhi. Design and setting A 6-months descriptive and cross-sectional study conducted in operation theaters of tertiary level, referral public and private sector hospitals in Delhi. Materials and methods Six leading multispecialty hospitals, three each from the private and public sectors were selected through purposive sampling. The sample comprised of cases from one major operation theater (OT) from each hospital conducting general surgery cases (10% of all cases). A performa with 24 parameters was designed using the Center for Disease Control Guidelines for hand hygiene. Hospitals were analysed in categories and also independently. Results One thousand nine hundred and twenty observations were analyzed from six hospitals. The level of compliance was higher among the private sector and the autonomous hospital. Statistically significant differences were observed with groups of hand hygiene parameters namely hand washing, selection of hand hygiene agent, skin care, and educational programs and surgical scrub, but not regarding hand hygiene policy or technique. Comparison of five hand hygiene practices strongly recommended by CDC practices revealed significant differences. Adherence to hand washing practices was 76%, surgical scrub practice was 85% and overall compliance of hand hygiene practice was 80.5%. Conclusion The study revealed gaps in implementation of hand hygiene practices despite standard guidelines. In future, post interventional studies may reflect the extent of improvement of these practices through reduction in HCAIs. How to cite this article Kumar P, Gupta SK, Kapil A, Vij A, Singh IB. A Comparative Study of Hand Hygiene Practices in Operation Theaters in Tertiary Level Hospitals in Delhi, India. Int J Res Foundation Hosp Healthc Adm 2014;2(2):87-93.
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Ovcharenko, T., O. Shchekina, N. Dobroier e V. Shchekina. "THE VARIANTS OF COMMUNICATION MODEL "MAN-PAPPET" EXISTENCE IN THEATRE AND MUSEUM CULTURAL PRACTICES". Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, n.º 24 (2022): 66–79. http://dx.doi.org/10.34079/2226-2849-2022-12-24-66-79.
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Relevance of the study. The museum is the place where information turns into a system of codes, signs and symbols, and any thing, getting in our hands, enters into dialogue with us. Main objectives of the study: to trace the dynamics and transformation of the communication model "Man-doll" in the museum space. Methodology: observation, comparative, analytical, structural-functional, hermeneutic. Results: This article is the result of the author's research in the field of theatrical art, collecting theatrical objects (theatrical doll). As a result of our research, we came to the following conclusion: a doll is a universal cultural artifact that exists in different cultural practices: play, therapeutic classes, collections of private and public collections, and of course in the space of the theater. A museum is the place where information turns into a system of codes, signs and symbols, and any thing that falls into the hands enters into a dialogue with us. Scientific novelty: the study was tested in the international project GameHub, the purpose of which was to create interactive dolls, computer heroes and, subsequently, the development of a game scenario to solve conflict situations in the educational process, to improve the quality of education. Analysis of scientific sources. We managed to reveal all aspects of this: Semiotics questions (Lotman); problems of cooperation and communication (J.Habermas); the nature of the doll as an artifact and the possibilities of its use in different cultural spaces -cinema, theater (Vasilkova A);); discussion of the doll as things (Miroslav Petrzhichek, Jan Pyatochka, E. Husserl); and also, looked at such authorities as therapeutic, psychological, Educational. Practical sig:nificance the main provisions and conclusions of the article can be used in scientific and pedagogical work, will be of interest to scientists, researchers from different fields of humanitarian science. This article is a result of the author's research in the sphere of theatre, collecting theatrical items (theatre puppet), that passed a test of the international project GameHub, which purpose was to create interactive puppets, computer heroes and, including the development of a game script for solving conflict situations in the educational process, for improving the quality of education. Conclusion: a pappet is a universal cultural artifact existing in various cultural practices: game, therapeutic activities, private and public collections, and of course in the theater space. Keywords: communication "man-pappet", a theatrical pappet as a text of culture, artifact, a thing in collections, cultural practices.
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Корсунова, Т. Н. "THEATER AND DRAMATIZATION IN THE NATIONAL SCHOOL 1917–1931". Вестник Тверского государственного университета. Серия: Педагогика и психология, n.º 2(63) (3 de julho de 2023): 168–80. http://dx.doi.org/10.26456/vtpsyped/2023.2.168.
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В статье в связи с решением современной общенациональной воспитательной задачи «Детский театр – каждой школе» актуализируется историко-педагогический опыт включения драматизации как метода обучения в образовательный процесс единой трудовой школы 1917–1931 годов, анализируется деятельность школьных театров этого периода. Приводятся примеры частного опыта школ, рассматриваются особенности реализации задач, поставленных Наркомпросом, выделяются проблемы и задачи, с которыми сталкивались образовательные учреждения в процессе организации театральной работы. Результаты исследования могут быть применены при организации работы современных школьных театров, при конкретизации воспитательных и образовательных возможностей школьных театров, при прогнозировании практических проблем и выработке путей их решения. In this article, in connection with the solution of the modern national educational task «Children's Theater for Every School», the historical and pedagogical experience of including dramatization as a teaching method in the educational process of the unified labor school of 1917–1931 is updated, and the activities of school theaters of this period are analyzed. Examples of the private experience of schools are given, the features of the implementation of the tasks set by the People's Commissariat for Education are considered, the problems and tasks that educational institutions faced in the process of organizing theatrical work are highlighted. The results of the study can be applied in organizing the work of modern school theaters, in concretizing the educational and educational opportunities of school theaters, in predicting practical problems and developing ways to solve them.
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Astwood, Laura. "The Private Becoming Public". Canadian Theatre Review 104 (setembro de 2000): 29–32. http://dx.doi.org/10.3138/ctr.104.005.
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A Woman I Know … (Una Donna Che Conosco …) is a two-hander written and performed by Alessandra di Castri, an Italian from Naples, and Laura Astwood, a Canadian from Toronto. The piece is bilingual in Italian and English, directed by Richard Fowler. Astwood, di Castri and Fowler met in the context of Primus Theatre; Fowler was the artistic director of Primus throughout its existence from 1989 to 1998, and di Castri and Astwood joined the company as apprentices in 1995. Una Donna was begun in Winnipeg and completed in Nocelle, Italy. It has been performed in Nocelle, in Naples as part of the Marzo Donna Festival and in Positano and Torella dei Lombardi in association with the Scuola di Memoria delle Donne. It will be performed in August 2000 in Highland Lake, NY, at the First Ever Catskills Experimental Theatre Festival, hosted by the North American Cultural Laboratory, and subsequently on tour across Canada, at Simon Fraser University in Vancouver, Prairie Theatre Exchange in Winnipeg, Theatre PEI in Charlottetown and various points in between.
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Solomon-Godeau, Abigail. "Masterpiece theater redux". Rundbrief Fotografie 29, n.º 1 (1 de abril de 2022): 47–53. http://dx.doi.org/10.1515/rbf-2022-1006.
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Abstract The recent exhibition at the Musée Jeu de Paume in Paris, entitled „Chefs-d’œuvre photographiques du MoMA: la collection Thomas Walther“, the first presented under the new directorship of Quentin Bajac, was well received. A closer examination of the exhibition and its premises, however, beginning with the title’s grandiose term “masterpieces”, raises a number of issues when a private collector’s sales to a major museum are presented in ways that occult the commercial underpinnings of the purchase and sale of private collections. We may also ask if a collector’s personal selection of photographs from a specific time period -- here, 1900 to 1940 – operates to replace history with connoisseurship. Last, such an exhibition seems to suggest a different direction for the museum which under the previous directorship of Marta Gili strove for gender equity in its exhibitions, and a distinctly ecumenical approach to the medium.
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Bousquet, Marc. "Intersubjective Epistemologies: Private Theater and Henry James". Arizona Quarterly: A Journal of American Literature, Culture, and Theory 53, n.º 4 (1997): 83–114. http://dx.doi.org/10.1353/arq.1997.0012.
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Presas Villalba, Adela. "El tratamiento de la mitología en los dramas con música realizados para ámbitos privados en la primera mitad del siglo XVIII". Cuadernos de Estudios del Siglo XVIII, n.º 28 (7 de dezembro de 2018): 157. http://dx.doi.org/10.17811/cesxviii.28.2018.157-189.
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RESUMENAparte de las funciones teatrales y cortesanas, de gran aparato escénico, existió durante el siglo XVIII la costumbre de representar zarzuelas, y otros tipos de obras dramáticas con música, tanto en casas particulares como en ámbitos privados, escolares o culturales. Es además constatable que estas obras estuvieron siempre basadas en la mitología, y aunque este es un rasgo común en el teatro músico del siglo XVII y de la primera mitad del XVIII en España, es interesante observar si recibe, en este caso, un tratamiento diferenciado. En el presente artículo se plantea la interacción que se produce entre el elemento musical (formato y contenido textual) y la temática mitológica en estas obras dedicadas a un público diferente al de los teatros, ya sean cortesanos o populares, y para un entorno privado que contaba, además, con unas limitaciones evidentes tanto en el aspecto escenográfico como, especialmente, en el musical.PALABRAS CLAVEZarzuela, mitología, teatro musical español, siglo XVIII, funciones privadas. TITLEThe treatment of mythology in dramas with music made for private circles in the fi rst half of the 18th centuryABSTRACTApart from the theatrical and court performances, of great scenic apparatus, there was during the eighteenth century the custom of representing zarzuelas, and other types of dramatic works with music, both in homes as well as in private school and cultural areas. It is also verifiable that these works were always based on mythology, and although this is a common feature in the music theatre of the seventeenth century and first half of the eighteenth century in Spain, it is interesting to note whether it receives, in this case, a differentiated treatment. This article puts forward the interaction between the musical element (format and textual content) and the mythological subject in these works devoted to a different audience than that of the theatres, either court or popular, and for a private milieu which had, in addition, obvious limitations both in the scenography and, especially, in the musical features.KEY WORDSZarzuela, mythology, Spanish musical theatre, eighteenth century, private performance.
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Ganelin, Aleksandr E. "Early 20th Century Studio and Theatre Innovations of Vs. E. Meyerhold and S. E. Radlov". Vestnik of Saint Petersburg University. Arts 11, n.º 3 (2021): 393–409. http://dx.doi.org/10.21638/spbu15.2021.303.
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The experience of the pedagogical work of the Studio Vsevolod Meyerhold on Borodinskaya Street (1914–1917) to a large extent can be considered one of the important sources of the methodological and pedagogical model inherent in the modern Leningrad — Petersburg theatre school. The education principles of the synthetic actor and director, developed within the studio, combined innovations in the work of teachers and their students both at individual stages of the pedagogical process and on the path to creating a “new” theatre, in a broad understanding of this phenomenon of cultural life at the beginning of the XX century. The unique theatre school-studio became an autonomous art structure, independent of the staffing and financial demands of repertoire and private theatres that studios during this period experienced. For Meyerhold and other teachers of the Studio, particularly, Vladimir Solov’ev, a top priority was reviving the stage technique commedia dell’arte. The student plays of the studio fully reflected the undoubted successes and, naturally, the vulnerabilities inherent in such innovative searches. The article analyzes the detailed list of stylistic, mise-en-scenic and decoration production solutions proposed by Meyerhold and Yuri Bondi, the opportunity to improvise in a pre-prepared directorial plan. Sergei Radlov, a participant in the Studio at Borodinskaya, continued his creative search in the approach proposed by Meyerhold for the development of an improvisational synthetic theatre. Radlov’s directorial and pedagogical work in the studios of Kurmascep, “Popular comedy” (Narodnaya Comediya), etc., at the Institute (later Technical School) of stage arts deserves additional consideration in terms of the scientific analysis of the evolution of his innovative views at the beginning of the century and their interconnection with traditional approaches to theater education and stage practice of those years.
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Patureau, Mirella. "La culture pour tous, théâtre public, théâtre privé, les règles françaises du jeu". Studia Universitatis Babeş-Bolyai Dramatica 67, n.º 1 (30 de março de 2022): 99–117. http://dx.doi.org/10.24193/subbdrama.2022.1.05.
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"The theater has always been a privileged partner of the political Power, to be protected and/or monitored, depending on each type of society. In France, the idea of having the arts and culture supported by the State had already germinated at the dawn of the French Revolution, but it was necessary to wait until the end of the 19th century to witness a real awareness and a new distribution of “roles” between institutionalization and democratization. After a quick historical review, following in the footsteps of André Malraux, Jean Vilar or Jack Lang, until today, we can identify the principles of a cultural policy, shared between the State and the local authorities. An important particularity of this system is that this policy integrates, to different degrees, the public and private sectors. More concretely, we define what the French theatrical system is made of both public and private, and in the latter, which is more fragile and relatively uncontrollable, we recall the situation of the so-called “intermittents du spectacle” and their permanent struggle to consolidate or wrest their rights. A representative case is thus the confrontation between the two branches of the Festival d'Avignon, the IN and the OFF, at the turn of the health crisis, from which the theater has managed to emerge alive. Keywords: public theater, popular theater, private theater, subsidized theater, intermittents du spectacle, cultural policy, Festival d'Avignon IN, Festival d'Avignon OFF "
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Bozkurt Jobanputra, Seyhan, e Mehmet Zeki Giritli. "Ideology and Theatre Translation in Contemporary Turkish Theatre". Vertimo studijos 16 (11 de outubro de 2023): 10–28. http://dx.doi.org/10.15388/vertstud.2023.1.
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This paper aims to explore the relationship between drama translation and ideology in contemporary Turkish theatre. After delineating the distinction between state/city theatres and independent (private/alternative) theatres, it will then focus on the 2000s with a special emphasis on the translation activities of independent (private/alternative) theatres. In particular, it shall draw attention to how actor/director translators working with or for these theatres have become significant cultural agents and have challenged the status quo by either choosing to translate plays with provocative content or by retranslating plays that were forced to undergo (self-)censorship. The paper will also challenge the general impression in the Turkish context that the reason for retranslating classical plays into Turkish is merely a need to follow and reflect contemporary changes in the language.
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Gajdó, Tamás. "Vígszínházi történetek – újraírva : Heltai Gyöngyi: Pesti magánszínházak a két világháború között. Transzatlanti hatások, lokális érdekvédelem. Budapest: L’Harmattan Kiadó, 2021." Theatron 16, n.º 1 (2022): 140–44. http://dx.doi.org/10.55502/the.2022.1.140.
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The archives of the Víg Theatre survived the siege of Budapest unscathed in the Second World War, which Gyöngyi Heltai has been researching for a few years with passion and tirelessness. By raising new questions, she analyzes the sources of the most successful private theatre from a completely new perspective. In her latest book, Private Theatres in Pest Between the World Wars, she identified completely new aspects for the study of the Víg Theatre and the private theatres in the Hungarian capital. The book is indispensable, not only for those who want to examine the world of private theatres in Pest between the two world wars, but with its fresh approach and sure methodological foundations, one of the most significant works of recent years can be of interest to all those dealing with theatre.
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Ramteke, Amol. "A Comparative Study to Assess the Level of Stress among Nursing Staff of Private Hospital's Operation Theatre and Government Hospital Operation Theatre in Aurangabad". International Journal of Science and Research (IJSR) 13, n.º 4 (5 de abril de 2024): 1003–5. http://dx.doi.org/10.21275/sr24402205133.
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Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, n.º 57 (10 de março de 2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.
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Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
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Poliakova, Yu Yu. "Researches of Kharkiv’s Theater Culture of the 19th and the first half of the 20th cc.: Problems of Historiography". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, n.º 51 (3 de outubro de 2018): 142–63. http://dx.doi.org/10.34064/khnum1-51.08.
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Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources, which contain the data on the history of theater in Kharkiv; to characterize their authors; to define the degree of their mastering of accessible information while writing books and articles on various periods in the development of theater culture in this city in the 19th c.; to establish the main challenges to researchers they have to face under modern conditions. In this study, the author has chosen to apply the traditional cultural-historic method of research. It generally consists of collecting primary information on a certain phenomenon or a prominent figure, working it out, finding its correlation with appropriate historic events, and then making an attempt to substantiate the meaning and importance of the phenomenon / figure studied, in the context of the development of arts in the region. The article based on memoirs, archive materials, periodic publications (containing articles on the activities of theater companies, theatrical managers, actors etc.) and literature on the history of drama as well as general publications, which include items on the theater life in the city. Due to the lack of an entire elaborated bibliographic system, researchers have to engage themselves in painstaking browsing through the entire corpus of periodicals. In Kharkiv, the main sources of relevant information are such periodicals as the “Ukrainskiy vestnik” magazine (1816–1819) and some newspapers: “Kharkovskie gubernskie vedomosti” (1838–1915), “Yuzhnyy kray” (1880–1919), “Utro” (1906–1916), Kharkov (1877–1880), Kharkovskiy listok (1898–1905) and more. Results. The former newspaper “Kharkovskie gubernskie vedomosti” published, in 1841, the essay “Theater in Kharkov” by dramatist and a prominent public figure Hryhoriy Kvitka-Osnov’yanenko (1778–1843), who described the very first period in the history of theater in Kharkiv (1780–1816). In the 1870s, the “Kharkovskie gubernskie vedomosti” started to publish regularly analytical and summarizing articles, which were an attempt at creating theater’s history of a certain period. There was, for one, an article “The Kharkov Drama Theater in Recent Ten Years” by Ivan Ustinov, published in 1877 and dedicated to the 10th anniversary of the Diukovs’ private theater company. I. Ustinov not only gave a brief analysis of the theater’s repertoire between 1867 and 1877, but also included biographies and short characteristics of the actors, which were playing then on Kharkiv stage. Ustinov also is famous as the compiler of the bibliographic index “The Books on Kharkov Governorate” (1886), with certain information on the history of theater in this city. In the 1880s, Konstantin Schelkov, a graduate of the Kharkiv University’s Law School, wrote his articles on the theater in the “Kharkovskie gubernskie vedomosti”. The newspaper published, among others, his article “Materials for the History of Theater in Kharkiv” (1881), in which he described the activities of the theater’s management headed by N. D. Alferaki in 1845–1848. In the early 1880s, another big newspaper, the “Yuzhnyy kray”, was started. Its columnist Nikolay Chernyaev took a great interest in the history of theater in Kharkiv. Mr. Chernyaev’s works include a systematic review of theater culture in Kharkiv from Catherine II epoch until 1843 as well as a number of essays on the development of theater in Kharkiv up to 1880. The author collected wide documentary material dedicated to specific periods of history as well as to certain artistic figures. Chernyaev studied many various sources: dailies and magazines, published in the capital cities and in provinces, many collections of documents, memoirs and so on. Chernyaev’s works proved to be useful to historians D. I. Bagalei and D. P. Miller who covered the history of theater in their famous book “The History of the City of Kharkov during 250 Years of its Existence.” In the first half of the 20th c., there were no integral and systematic researches on the history of the city of the previous century, so the monograph “The Beginnings of the Theater in Kharkov” by Arkadiy Pletniov, published in 1960, one can consider as summarizing. The author based much of his study on the works of N. I. Chernyaev. He also widely used the materials resting in the A. A. Bakhrushin Museum of Theater, Moscow, and in many archives. In his monograph, Dr. Pletniov did not limit himself with listing the events of theatrical life, but thoroughly analyzed the activities of the Board of Trustees and such managers as I. Shtein and L. Mlotkovskiy. In several supplements, one can find lists of main roles played on Kharkiv stage by its prominent actors (N. Rybakov, L. Mlotkovskiy, K. Solenik). Pletniov’s work, enriched by references and commentaries, played an important part in creating the complex picture of Kharkov’s theatrical life. Due to abundance of the facts and clear style, Dr. Pletniov’s book stays up to now a valuable source on the subject. Conclusions. The analysis of historiography concerning the theater in Kharkiv of the 19th and early 20th cc. enables the author to come to conclusion that the main challenges a modern researcher has to face are as follows: the absence of system in bibliographic manuals; lacunas in the funds of periodicals of most libraries; the absence of important documents in archives. Theater life in Kharkiv has been studied far from satisfactory level yet. The following problems of history especially need thorough research work from historical point of view: theater critique; drama art; architecture of theater buildings in Kharkiv; amateur theater companies; charity for theaters; and some other points. The task of modern researchers, as we see it, lies in gradual filling the gaps mentioned above.
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Watson, Ian. "Practical Aesthetics and the Formation of the Atlantic Theater Company". New Theatre Quarterly 24, n.º 2 (maio de 2008): 189–200. http://dx.doi.org/10.1017/s0266464x08000158.
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The Atlantic Theater Company has been one of Off-Broadway's most successful theatre companies over the past twenty years, having won twelve Tony Awards, eight Lucille Lortel Awards, thirteen Obie Awards, and three Outer Critics Circle Awards. The company, originally founded in 1983 by the playwright David Mamet and the actor William H. Macy, has mounted over one hundred plays, many by new writers. Included among its successes are Martin McDonagh's The Lieutenant of Inishmore and The Beauty Queen of Leenane, Woody Allen's A Second Hand Memory and Writer's Block, the revival of David Mamet's American Buffalo, Celebration and The Room by Harold Pinter, Mojo and Night Heron by Jez Butterworth, and the new musical adaptation of Frank Wedekind's play Spring Awakening, which won the 2007 Tony for best new musical. But producing plays is only part of Atlantic's mission: it also runs the Atlantic Acting School, which operates both as a private conservatoire and an undergraduate training studio in conjunction with New York University. Its curriculum focuses on Practical Aesthetics, the acting technique developed by Mamet and Macy. Mary McCann, in conversation here with NTQ Contributing Editor Ian Watson, is a founding member of the Atlantic Theater Company and Director of the Atlantic Acting School, where she also teaches. She continues to act, having appeared in many of the company's productions, on Broadway, on television, and in several independent films. The conversation took place over two meetings at the Atlantic Acting School in New York City, on 25 April and 5 June 2007.
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Ijah, Rex Friday Ogoronte A., Solomon N. Elenwo, Joy O. Dayi e Alexander A. Dimoko. "Problems and impact of use of private owned theatre wears as seen by theatre users". International Surgery Journal 8, n.º 3 (25 de fevereiro de 2021): 915. http://dx.doi.org/10.18203/2349-2902.isj20210927.
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Background: The surgical theatre wear or attire include but are not limited to surgical caps, surgical scrubs, theatre aprons, and theatre foot wears. The basic principles in the care and maintenance of theatre wears are aimed at ensuring safety and infection prevention and control. Aim was to explore the problems associated with private owned theatre wears (scrubs, boots and aprons); and examined the impact of semi-closed mode of procurement and maintenance of theatre wears on theatre users in the tertiary healthcare setting.Methods: A cross-sectional descriptive study was done among theatre users in a tertiary healthcare center using self-administered semi-structured questionnaires. Data was analyzed using the Statistical Package for the Social Sciences (SPSS) version 20.0.Results: One hundred and twenty-nine (60.6%) respondents affirmed that the mode of care of theatre scrub was not standard. 133 (62.4%) of the respondents asserted that there were problems associated with the semi-close mode of care. Nearly half (42.3%) of the respondents stressed that bad smell and contamination were their worries, and most respondents call for a change in the model of procurement and care of theatre wears.Conclusions: There were problems associated with the semi-closed system as revealed in this study, which bothers on safety of the theatre staff. Most respondents were negatively impacted, rated the current practice below standard, and call for a change in policy.
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Morley, James. "Th e pRivate Theater : a Phenomenological Investigation of Daydreaming". Journal of Phenomenological Psychology 29, n.º 1 (1998): 116–34. http://dx.doi.org/10.1163/156916298x00049.
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AbstractThis is an empirical phenomenological inquiry into everyday experiences of daydreaming. The theoretical literature was found to be deficient in accounting for the ambiguity inherent to the phenomenon and lacking in concrete empirical descriptions. This study's phenomenological method was implemented in response to a body of natural scientific studies utilizing methods that were found to be inadequate to the task of comprehending and understanding the lived subjective experience of the phenomenon. From five subject interviews and their subsequent analysis via the phenomenological method, the researcher was able to derive a general structural description of the experience of daydreaming. It was found that daydreaming is essentially the representation/enactment of a mood, the understanding of which is inseparable from the situated biographical project of the individual. As an act of consciousness it was described as a passive movement into two, distinct subject-world relationships, sustained by a directing-spectator position that is both detached and interfused with these two world relations. Details of these findings and their implications are discussed.
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Senelick, Laurence. "Offenbach, Wagner, Nietzsche: the Polemics of Opera". New Theatre Quarterly 32, n.º 1 (7 de janeiro de 2016): 3–18. http://dx.doi.org/10.1017/s0266464x15000822.
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By the early 1870s, the term ‘filth’ had become Wagner’s shorthand for Offenbach. He attacked his fellow composer both publicly and privately and sought to establish a polarity between the two, confining Offenbach to the realm of frivolous and materialistic popular folk culture while casting his own work as exemplary of the new German spirit. Laurence Senelick’s close analysis of Wagner’s writings, including his notorious 1869 essay ‘Jewishness in Music’, shows this critique to be fuelled by jealousy, cultural imperialism, and his growing anti-Semitism. Nietzsche is included here as a counterpoint, challenging his former mentor and celebrating Offenbach as the exemplar of Jewish genius. Laurence Senelick is Fletcher Professor of Drama and Oratory at Tufts University and Fellow of the American Academy of Arts and Sciences. His most recent books include Soviet Theater: A Documentary History (2014, with Sergei Ostrovsky) and the second, enlarged edition of A Historical Dictionary of Russian Theatre (2015). This article is taken from his forthcoming The Offenbach Century: His Influence on Modern Culture (Cambridge University Press).
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Skubnevsky, V. A. "Everyday Life of Barnaul during the Great Patriotic War". Bulletin of Irkutsk State University. Series History 44 (2023): 43–52. http://dx.doi.org/10.26516/2222-9124.2023.44.43.
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The article’s purpose is to analyze the everyday life of the administrative center of the Altai Territory Barnaul during the Great Patriotic War. The question is not yet explored in the literature. The city became one of the major centers for the location of evacuated industrial enterprises from Leningrad, Stalingrad, Kharkov, Lugansk and other cities of the European part of the USSR, as well as hospitals, cultural and educational institutions. On the arrived equipment basis, defense plants as Transmash, Machine-tool, Boiler, Mechanical presses and others were built and put into operation in a short time. The issues of the local authorities’ activities for the placement of new enterprises and institutions in the city, the solution of the housing problem, the formation of workers and employees collectives are considered. It is shown that the personnel were formed not only from the evacuated, but also the local urban and rural population. The changes in the higher and secondary special education spheres which were caused by the placement of evacuated educational institutions are concidered. Important changes have taken place in the culture, because of the location of two evacuated theaters (Moscow Chamber Theater and Dnepropetrovsk Drama Theater) and circus in Barnaul. Attention is drawn to the work of parks and cinemas in wartime conditions. Attention is drawn to the functioning of parks and cinemas in wartime conditions. The situation with the food supply of citizens and the role of subsistence farms is analyzed. The article uses archival and published sources, including ones of private origin. The author concluded that during the war years the city turned into a significant industrial, educational and cultural center of the south of Western Siberia.
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Tulyantsev, Andrey. "Harry Logwin as a symbol of the violin Dnepropetrovsk region". Музикознавча думка Дніпропетровщини, n.º 19 (30 de dezembro de 2020): 16–24. http://dx.doi.org/10.33287/222030.
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The purpose of the article is to study the creative person of Harry Logvin. He is the only Peopleʼs Artist of Ukraine, as a violinist, who lived and worked in our region. Garry Logvin was concertmaster of the Dnepropetrovsk Opera and Ballet Theater, teacher, co-founder of the private new chamber orchestra «Seasons». The scientific novelty of this article has the following vectors: approved the concept „accompanist of the orchestra of the Dnepropetrovsk Opera and Ballet Theater”, a study is being made of the relationship between internal and external form and how the master performed works for violin solo in the Dnepropetrovsk private chamber orchestra „Seasons”, in the vector about the pedagogical heritage of the teacher Garry Logvin, the structural periodization of the masterʼs performing heritage is being done, which is inseparably united with the evolution of the expressive means of the repertoire for orchestral works. To achieve the goal and solve the assigned tasks, the following research methods were used: historiographic – articles are analyzed where the facts of the violinistʼs creative biography are recorded; systemic – the author analyzes the art of violin in the Dnipropetrovsk region as a system of genres, which has a specific structure – an opera and ballet theater, violin pedagogy, a private chamber orchestra. Conclusions. The features of Harry Logvinʼs violin art are concentrated into amazing expression. They had their own specifics in multi-genre performances of the Dnepropetrovsk Opera and Ballet Theater, concerts of the private chamber orchestra „Seasons”. Sound is a means of expression, a part of the orchestral play being reproduced. The dramatic, technical, emotional, informational aspects of sounding had their own plots. The art of Harry Logvin is of great importance for the popularization of classical music in the Dnipropetrovsk region.
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Rojas, Yolanda Jurado. "Puppet Theater in Eighteenth-Century Mexico". Americas 67, n.º 3 (janeiro de 2011): 315–29. http://dx.doi.org/10.1017/s0003161500000043.
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Puppet theater was considered a marginal form of entertainment during Mexico's colonial era. People saw puppet plays on temporary stages outside of churches, at various fairs, and in private homes. The puppet groups were officially overshadowed by the theater performances, especially those at the Coliseum of Comedias, one of the financial channels for the Hospital Real de Naturales. Leasing the coliseum provided one of the major sources of income for this royal charity for indigenous health care. In order to maintain the Coliseum's profitability and the benefits derived from it, colonial authorities prohibited most theater groups from performing outside of the Coliseum. The lease owner often called for government assistance against puppet troupes, in particular when they threatened attendance at the theater. This resulted in the so-called “League Comedy” (Comedia de la legua), which was a performance given at least five leagues outside of the central theater district of Mexico City, Puebla, and Guadalajara.
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Mccallum, Heather, Ruth Pincoe e John Ball. "Directory of Canadian Theatre Archives". Canadian Theatre Review 77 (dezembro de 1993): 83–84. http://dx.doi.org/10.3138/ctr.77.015.
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The Directory is a guide to Canadian theatre materials held in over 300 collections and institutions. It revises and updates Heather McCallum’s Theatre Resources in Canadian Collections published in 1973 by the National Library of Canada. It covers federal, provincial and city archives, national and large public libraries, university libraries and drama departments, theatre companies, schools, associations, museum and private collections. The arrangement is geographical by province from the East coast to the West with additional entries for the Yukon Territory and private collections. Within each section, arrangement is alphabetical by city or town and then by institution or theatre. Each major entry is numbered and decimal numbers are used to subdivide such major collections as the National Archives, the University of Guelph Archives and the Metro Central Library collection. A detailed index includes references to individuals, theatres, theatre groups, organizations, authors and titles. There is also a selected eight-page bibliography of major monographs on Canadian theatre.
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du Quenoy, Paul. "Mamontov's Private Opera: The Search for Modernism in Russian Theater". Revolutionary Russia 25, n.º 1 (junho de 2012): 94–95. http://dx.doi.org/10.1080/09546545.2012.671455.
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Worthen, W. B. "Zoom; or, Obsolescence". TDR: The Drama Review 65, n.º 3 (setembro de 2021): 181–200. http://dx.doi.org/10.1017/s1054204321000460.
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The signal modality of theatrical production during the pandemic crisis of 2020–21 has been Zoom theatre. While Zoom theatre responds to public health concerns regarding virus transmission, it also articulates a vision of performance at the intersection of the public and the private, at the juncture between theatre and electronic media, and as a representation of theatre as a humanizing technology. Theatre has suggestively foregrounded new technologies under the sign of obsolescence, and in the affective register of nostalgia.
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Uberman, Iwona. "«Die Dämonen sind losgelassen»". Theater heute 64, n.º 7 (2023): 44–47. http://dx.doi.org/10.5771/0040-5507-2023-7-044.
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Ein Gespräch mit dem Regisseur Jan Klata über das Theater in Polen, eine zerfallende Zivilgesellschaft, den Rückzug ins Private, das nationale Programm, politische Zensur und weitere Paradoxa und Absurditäten
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Gharbieh, All’a Akram Ibrahim. "The Effectiveness of a Training Program based on Puppets Theater in developing some Social and Ethical Values among Kindergarten children in the Directorate of Private Education". Jordanian Educational Journal 9, n.º 1 (30 de janeiro de 2024): 265–90. http://dx.doi.org/10.46515/jaes.v9i1.472.
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This study aimed to identify the effectiveness of puppet theater in the development of some social values (participation, self-reliance, etiquette, safety and security rules) and the development of some ethical values (honesty, trust, altruism, benevolence, tolerance, apology). In order to achieve the aim of the study, the semi-experimental methodology was used in order to suit the objectives and nature of the study, depending on two groups, one of them is control and the other is experimental, chosen by the intentional method from the Evangelical Savior Kindergarten in Zarqa Governorate. The study revealed statistically significant differences between the mean scores of the experimental group students before applying the training program based on puppet theater (pre-test) and after applying the program in social and moral values in favor of the post-test. The results showed the effectiveness of the training program based on puppet theater in developing some social values by (1.44) in average scores and by (42.2%), and the effectiveness of the training program based on puppet theater in developing some social values was (1.64) in mean scores. By (145%). The study recommended the necessity of including kindergarten curricula with educational activities based on Puppet Theater in order to instill some moral and social values for them.
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Herron, Jonathan Blair Thomas, Rachel French e Andrew Douglas Gilliam. "Extended operating times are more efficient, save money and maintain a high staff and patient satisfaction". Journal of Perioperative Practice 28, n.º 9 (3 de abril de 2018): 231–37. http://dx.doi.org/10.1177/1750458918767601.
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Current public sector austerity measures necessitate efficiency savings throughout the NHS. Performance targets have resulted in activity being performed in the private sector, waiting list initiative lists and requests for staff to work overtime. This has resulted in staff fatigue and additional agency costs. Adoption of extended operating theatre times (0800-1800 hours) may improve productivity and efficiency, with potentially significant financial savings; however, implementation may adversely affect staff morale and patient compliance. A pilot period of four months of extended operating times (4.5 hour sessions) was completed and included all theatre surgical specialties. Outcome measures included: the number of cases completed, late starts, early finishes, cancelled operations, theatre overruns, preoperative assessment and 18-week targets. The outcomes were then compared to pre-existing normal working day operating lists (0900-1700). Theatre staff, patient and surgical trainee satisfaction with the system were also considered by use of an anonymous questionnaire. The study showed that in-session utilisation time was unchanged by extended operating hours 88.7% (vs 89.2%). The service was rated as ‘good’ or ‘excellent’ by 87.5% of patients. Over £345,000 was saved by reducing premium payments. Savings of £225,000 were made by reducing privately outsourced operation and a further £63,000 by reviewing staff hours. Day case procedures increased from 2.8 to 3.2 cases/day with extended operating. There was no significant increase in late starts (5.1% vs 6.8%) or cancellation rates (0.75% vs 1.02%). Theatre over-runs reduced from 5% to 3.4%. The 18 weeks target for surgery was achieved in 93.7% of cases (vs 88.3%). The number of elective procedures increased from 4.1 to 4.89 cases/day. Only 13.33% of trainees (n = 33) surveyed felt that extended operating had a negative impact on training. The study concludes that extended operating increased productivity from 2.8 patients per session to 3.2 patients per session with potential savings of just over £2.4 million per financial year. Extrapolating this to the other 155 trusts in England could be a potential saving of £372 million per year. Staff, trainee and patient satisfaction was unaffected. An improved 18 weeks target position was achieved with a significant reduction in private sector work. However, some staff had difficulty with arranging childcare and taking public transport and this may prevent full implementation.
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Meiklejohn, J. M. C. "Theatre Education after World War II: A Memoir". Theatre Research in Canada 12, n.º 2 (setembro de 1991): 141–68. http://dx.doi.org/10.3138/tric.12.2.141.
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Michael Meiklejohn (1906-1989) was one of Canada's most influential leaders in community theatre after World War II. As full-time theatre consultant with the Department of National Health and Welfare from 1948 to 1955, he adjudicated drama festivals, gave speeches, taught workshops, published training materials, and consulted informally with other leaders in theatre education in Canada and abroad. In this memoir, written about 1981 and found among his private papers after his death, Mr Meiklejohn records his impressions of community theatre and theatre education in the burgeoning climate of post-war Canada.
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Ziter, Edward Blaise. "The Syria Trojan Women: Rethinking the public with therapeutic theater". Communication and the Public 2, n.º 2 (31 de maio de 2017): 177–90. http://dx.doi.org/10.1177/2057047317711956.
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Therapeutic theater projects with Syrian refugees in Jordan and Lebanon work at the intersection of the public and the private, facilitating individual healings while also promoting new group identities. The playing space becomes an open discursive field in which varied understandings of the self become platforms for new understandings of the nation. In the process, these artists/refugees trouble the boundaries between the private and the public, potentially creating a new public sphere that is not only revolutionary in its critique of entrenched political power but in its reformulation of the idea of the public itself. This article examines one such project, The Syria Trojan Woman, directed by Omar Abu Saada. The article places this work in the context of Abu Saada’s work in applied theater in Syria prior to the uprising and within the larger context of Syrian political theater. Applied theater, an umbrella term designating performance valued as efficacious as well as aesthetic, has had a brief and difficult history in Syria because of its capacity to undermine the regulation of speech. In the case of The Syria Trojan Woman, this speech has traveled beyond the countries hosting refugees through the efforts of non-governmental organizations that bring additional fundraising and consciousness-raising objectives to the endeavor. Through international tours and the use of new media, local performances become international phenomenon, further complicating the idea of a revolutionary public sphere.
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Witt, Sophie. "Mediales Tun und unheimliche Zeitdiagnostik. X Wohnungen: Theater in privaten Räumen". Figurationen 19, n.º 1 (1 de janeiro de 2018): 51–70. http://dx.doi.org/10.7788/figurationen-2018-190108.
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Brigden, Cathy, e Lisa Milner. "Radical Theatre Mobility: Unity Theatre, UK, and the New Theatre, Australia". New Theatre Quarterly 31, n.º 4 (9 de outubro de 2015): 328–42. http://dx.doi.org/10.1017/s0266464x15000688.
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For two radical theatres formed in the 1930s, taking performances to their audiences was an important dimension of commitment to working-class politics and civic engagement. Separated by distance but joined ideologically, the New Theatre in Australia and Unity Theatre in the United Kingdom engaged in what they described as ‘mobile work’, as well as being ‘stage curtain’ companies. Based on archival research and drawing on mobility literature, Cathy Brigden and Lisa Milner examine in this article the rationale for mobile work, the range of spaces that were used both indoor (workplaces, halls, private homes) and outdoor (parks, street corners beaches), and its decline. Emerging from this analysis are parallels between the two theatres’ motivation for mobile work, their practice in these diverse performance spaces, and the factors leading to the decline. Cathy Brigden is an associate professor in the School of Management and Deputy Director, Centre for Sustainable Organizations and Work at RMIT University, Australia. Her current research interests include the historical experiences of women in trade unions, gender in performing arts industries, and union strategies and regulation. Lisa Milner is a lecturer in the School of Arts and Social Sciences at Southern Cross University, Coffs Harbour, Australia. Current research interests include a comparative study of workers’ theatre, representations of workers and trade unions on screen, and labour biography.
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Mišovic, Karol. "Ján Borodáč and His First Steps in Life and Theatre". Slovenske divadlo /The Slovak Theatre 65, n.º 2 (27 de junho de 2017): 101–20. http://dx.doi.org/10.1515/sd-2017-0007.
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Abstract This paper presents little-known historical contexts of the life and production of the first Slovak professional director Ján Borodáč (1892-1964). It follows his private life, first encounters with theatre and especially his two-year studies in Prague. Its ambition is to offer several hypotheses which are supposed to elucidate the basic issues of Borodáč’s later production. It was namely during his youth and first encounters with practical theatre life that Borodáč’s views of theatre, which influenced Slovak professional theatre until the 1960s, were formed.
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Захарченко, Євгенія. "Organizational and creative features of the private French theater Rive Gauche". Artistic Culture. Topical Issues, n.º 15(2) (6 de dezembro de 2019): 28–34. http://dx.doi.org/10.31500/1992-5514.15(2).2019.186122.
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Curtis, Julia. "Renderings of the Charleston, South Carolina, Theatre of 1793". Theatre Survey 33, n.º 1 (maio de 1992): 23–31. http://dx.doi.org/10.1017/s0040557400009583.
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Charleston will be celebrating another bicentennial in 1993, the restoration of its theatre. Several illustrations of the Charleston Theatre of 1793, its scenery, costumes, and performers have recently surfaced, enabling us to celebrate its bicentennial more vividly. An oil painting of the theatre under construction reappeared in a private estate in 1989 and was purchased by the Gibbes Art Gallery, Charleston, the following year. In addition, watercolors and pencil sketches of the interior of the theatre, its scenery, and costumes have recently been deposited at the South Carolina Historical Society.
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Gołaczyńska, Magdalena. "Teatr Nasz w Michałowicach, czyli teatr rodzinny i wiejski". Góry, Literatura, Kultura 12 (1 de agosto de 2019): 389–95. http://dx.doi.org/10.19195/2084-4107.12.24.
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Teatr Nasz in Michałowice or a family and village theatre companyThe note concerns Jadwiga and Tadeusz Kuta private theatre, Teatr Nasz Our theatre, which performs in the Karkonosze village of Michałowice. The actors sold their possessions in the city and decided to settle in the mountains, giving up their comfortable jobs in an institutional theatre. Twenty-five years ago they erected a wooden theatre building, a restaurant and cottages for guests in Michałowice. Their spectators flee cities in order to find some rest in Michałowice, and watch cabaret, comedy and musical shows. They also undergo a humor therapy, as it were, and experience the refreshing influence of the mountains.