Literatura científica selecionada sobre o tema "Tobin Foundation for Theater Art"

Harbin Ice and Snow World Project totals 98,000 square meters, consisting of Iceberg Pavilion, Dream Ice and Snow Pavilion, Ice and Snow Show, and Ice and Snow Art Museum.This project mainly introduces the foundation selection and structural design of the Harbin Ice and Snow World Show, verifies the feasibility of the project implementation, and analyzes the rationality of the structural foundation layout through structural design and structural calculation analysis.

The art of pantomime mime is one of the arts that has taken a wide space in theater performances, and because it is one of the spectacle shows that relies on an acting performance that is unique from the traditional acting performance, because of the peculiarity of pantomime art in that it is a silent performance that assumes the clarity of meaning, and for the purpose of clarifying the actor’s work in such kind of performances, the art of pantomime must be We have to know the skills that the actor can possess in order to produce a silent show that has the elements of a successful presentation, so there was a need to study the skills of the actor in this type of acting performance. The researchers divided this study into an introduction in which they dealt with the research problem formulated in the following question: What is The performance skills that the actor has to master? Then the research objective and the definition of the study term. As for the theoretical foundation, it included two topics: the first topic (the development of the art of the pantomime) and the second topic (the technical skills of the representative of the pantomime). In 2006. Then the two researchers reached a set of results, including: The skill of completing each theatrical act before starting another theatrical act must be present with the actor so that the spectator does not confuse the description of the forms, the event and the story. Then a summary and sources of research in English.

The purpose of the article is to analyze recent publications and research and to consider some contemporary concepts of theater art. We propose a new concept of theater art — “ikigai-theater” based on the human life purpose. The purpose of the article was to fulfill a number of tasks: to define the concept of “ikigai” and consider its main components; to identify the factors that are the foundation for the formation of ikigai-theater; to integrate the concept of “ikigai” into the concept of theater. In our opinion, a concept of ikigai-theater can be a solution to the problem of separation between the director, actor and audience. We consider theater as a mirror model of coexistence and found out that establishing communication between the actor and the audience depends on the formation of a new type of actor. Who translates sincere love, so forming an emotional closeness with the audience. The methodology of this article based on both the whole complex of ideas related to the object of research and a specific scientific toolkit formed by the multidisciplinary and methodological discourse. The results. The research presented a new structure of the performance as a movement from the lower to the upper chakras. So the actors on stage go through a transformation from the lowest conditions of fear, anger, envy, and despair to state of bliss. Moving up the chakras “vertically”, the actor finds his or her ikigai, automatically transmitting it to the audience. Therefore, the concept of “ikigai-theater” is proposed as a theater of destination, where information is perceived “vertically”. The scientific novelty. The main element of classical theater, the basis of its dramaturgy is a conflict. Ikigai-theater is a concept of non-conflict theater. As the scientific novelty we propose an opportunity for people to unite on a spiritual level. In this level the energies of love, friendship and bliss reign and there is no interpersonal conflict that manifests itself from the outside. The practical significance. The materials of this article can be used in the theoretical and practical study of the concept of ikigai-theater as a new kind of theater art. As well as concept of ikigai-theater can become a theoretical basis for the formation of a new theater with the aim of clarifying, improving, and providing scientific and creative substantiation.

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.

The Spring Willow Society opened a dialogue between China and theater. Although it lasted only three years before the government ordered it to stop, it laid the foundation for the future development of Chinese performing arts. It played a part in the creation of new plays. However, most scholars take The Spring Willow Society's drama and performing arts as the research object, while a few studies it from the perspective of art economics. This paper attempts to analyze the core competitiveness of the art market of The Spring Willow Society from the perspective of art economics and further broaden the interdisciplinary exploration thinking of art theory.

In this paper we will show how the new theoretical thought about theater, since the beginning of the last century and the establishment of theatrology as the academic discipline and field of research, is being based on the comparative aesthetic perspective - on the distinction between different arts on the one hand and the identification of the transcultural foundation of theater arts on the other. Following the analyses of examples of contemporary theatre and the insights that emerge from them, we will demonstrate how the questions that rise out of theatrical practice and theory resonate with the issues addressed in the field aesthetics, not only the ones about artistic creation, art or its reception.

The paper presents the relationship between the worlds of film and dance theater, and the ways in which the medium of the performing body can be translated onto the screen by the director and cinematographer. By analyzing his own experiences and related artistic decisions made during the realization of the experimental documentary Tensity, the author looks at the clash of two different media and the relations that may result from the effort to translate dance theater performance into traditional film medium. Along with the change of medium, the nature of the work also changes and a completely new artistic value is created, enriched with elements unknown to theater, such as film editing, camera work and, finally, screen time. A film work based on the theatrical medium becomes a separate artistic creation, allowing the director and the cinematographer to build upon the foundation of the performative art of the actor/dancer.

The article examines the peculiarities of Oleksandr Korolchuk’s acting Style based on the works of national drama on the Stage of the Kyiv Theater named after Mykola Sadovsky. Therefore, based on the extensive material of the Kyiv press, memories of contemporaries, materials of the Museum of Theater, Music and Film Arts of Ukraine (Vasyl Vasylko Foundation), the actor’s range of roles was considered, the means of Stage expressiveness of Oleksandr Korolchuk were characterized based on the material of national drama. Also, for the firSt time, we introduce the term into scientific circulation and argue the concept of the “transitional generation” of Ukrainian artiSts in the history of national Stage art. The dramatic material, the specifics of its embodiment, on which the “transitional generation” of Ukrainian actors was formed, the significance of this phenomenon in the hiStory of Ukrainian theater, using the example of Oleksandr Korolchuk’s creative work, are analyzed.

The research is based on the study of literature. The problem of this research was uses of the spell in theater makyong. The study of uses of the spell in theater makyong is assumed so interesting, because until now theater makyong has still been using spell used by the Panjak chairman to chase away the evil and averse evil before the show begins which is well-known as the ceremony of the"discard wet" or "open land". The spell in theater makyong consists of swearing, the evil, and averse evil spells related to ceremonies open land or discard wet, installing fabric spell, advanced series spell, make-up spell, perindang voice spell and pembungkam (speechless) spell. The sources of the data in this research were obtained from litelature and the Tanjungpinang Art Conservatory Foundation which has kept preserving Theater Makyong till now. The technique of collecting data was done by using the observation technique, interview, and recording elicited from the Panjak chairman, especially about the spell. The data were analyzed by using the collecting data technique. Relating to the research findings, there were seven spells associated with the stage opening ceremony and wet soil or waste opening ceremony and five spells associated with inner preparations existing in theater makyong. The use or the role of spell was as a protection.

The article attempts to concretize the essence of the two aesthetically polar staging approaches — theatrical and non-theatrical (performative) — in the context of the choreographic art development. The author suggests that the basis for separating these approaches can be some peculiarities in the ways they interpret such fundamental concepts as “actor”, “role”, “spectator”, “drama”, “action”, “conflict”, which, in a choreographic performance, are in certain relationships determined by cultural traditions, and in a non-theatrical production, they are transformed up to their disappearance. A similar experience of separating a theater and a non-theater on the basis of the presence of an actor, a role, a spectator and an hierarchy between them is proposed in theater studies. However, in choreographic (including ballet) performances, the content of the role is closely linked with the music and is often determined by the emotional background and musical dramaturgy. In the case of a radical departure from the composer’s intention, turning to a different starting point for the composition, the specificity of the choreographic (ballet) performance is destroyed. Borrowings from non-theatrical art are showed in the construction of meanings when working with intrinsic body movement, as well as in the reliance on interdisciplinarity. Within a single line of choreographic art, there is a whole spectrum of ideas that interpret the concepts of “theatricality”, “non-theatricality”, “drama”, and “performativity” in different ways. On what basis to classify them in order to reduce them to a consistent system is a difficult question. The article attempts to outline the foundation for future classification. The relevance of this topic is caused by the insufficient elaboration of the conceptual base in the specialized literature on choreographic art.

This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.

Chapter 1 explores Colman Smith’s origins, arguing that her frequent moves helped create the outsider perspective that was to become a fundamental characteristic of her life and art. Born into an extended New York-based family that included well-known artists, actors, and political figures, Colman Smith spent the first decade of her life primarily in England, which laid the foundation for her decision to return as an adult and settle as an expatriate artist. Her early exposure to Swedenborgianism helped instill an interest in religious mystery and ritual that continued throughout her life and infused much of her work. After the collapse of her father’s mercantile firm, the family moved to Jamaica where she became fascinated with the country, especially its history, folklore, and Obeah spiritual practices. This inspired her to collect Afro-Jamaican Anansi folktales. Her time in Jamaica also provided her with firsthand knowledge of imperialistic primitivism, which fueled both her interest in a wide range of cultures and religious traditions and her, at times, appropriation of Jamaican folktales. The chapter concludes by arguing that the plays she produced for her miniature theater were important in the development of her feminist voice.