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Статті в журналах з теми "Sociology of theater"

Автор: Grafiati

Опубліковано: 29 березня 2025

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1

Moisand, Jeanne. "Dal tempio monumentale alla baracca da fiera: mutamenti dello spazio urbano e luoghi teatrali a Madrid e Barcellona alla fine del secolo XIX." MEMORIA E RICERCA, no. 29 (March 2009): 29–45. http://dx.doi.org/10.3280/mer2008-029003.

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- This article compares the construction of theaters in Madrid and Barcelona from the 1830's to the 1910's by looking at the various forms and types of theaters, as well as those who funded them. As the history of books has shown, we can gain a better understanding of the social uses of cultural goods by analyzing the material forms in which they are produced and distributed. In the two Spanish main capital cities, the architectural evolutions of theater buildings, social changes in the constructors' milieux, and the movement of theater sites out of the city centers to suburban areas, show how theater descended from an elitist form of culture to a mass consumption good, available to partly illiterate populations.

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2

Campos, Fabiano Fleury Souza. "ADOLESCÊNCIA, SUBJETIVIDADE E QUESTÕES DE GÊNERO NO TEATRO DE MARK RAVENHILL." Revista Leia Escola 19, no. 2 (September 4, 2019): 30–39. http://dx.doi.org/10.35572/rle.v19i2.1411.

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A partir da análise estrutural, focada, sobretudo, nos personagens da peça Shopping and Fucking (1996), escrita pelo dramaturgo britânico Mark Ravenhill, evidenciamos uma relação incomum entre os elementos formadores desse trabalho teatral e as discussões sobre subjetividade, gênero e sexualidade voltadas para os adolescentes, nos dias atuais. Os contornos dos personagens dessa peça desestabilizam certas noções pré-concebidas sobre a individualidade e a corporeidade, por exemplo. Para a nossa análise, apoiamo-nos sobre os apontamentos de teóricos dedicados tanto ao teatro, como Pierre Sarrazac e Elinor Fuchs, quanto à sociologia e política, como Judith Butler. A peça por meio do discurso agressivo e a violência direcionadas ao corpo dos personagens é capaz de abalar as certezas e a moralidade previamente determinadas de seus espectadores.YOUTH, SUBJECTIVITY AND GENDER IN MARK RAVENHILL’S THEATER Abstract: from the structural analysis, focused mainly on the characters of the play Shopping and Fucking (1996), written by British playwright Mark Ravenhill, our study shows an unusual relationship between the elements of theatre and the contemporary discussions about subjectivity, gender, and sexuality among adolescents presented in this play. The contours of the characters destabilize certain preconceived notions to individuality and embodiment, for example. Our analysis are supported, for instance, by theater theories developed by Pierre Sarrazac and Elinor Fuchs, and sociology concepts implemented by Judith Butler. Through aggressive discourse and violence directed to the body of the characters, the play is able to shake the certainties and moralities previously found in Ravenhill’s viewers.Keywords: Ravenhill. Contemporary British Theater. Adolescence. Subjectivity. Gender.

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3

Zaelani, Mohamad. "INDONESIAN THEATER 1985-1995: A PERSPECTIVE OF DESCRIPTION PROCESSES SOCIAL CHANGE AND VALUE." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 17, no. 1 (January 31, 2018): 123–36. http://dx.doi.org/10.21009/bahtera.171.10.

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AbstractThis research seeks to depict the history of Indonesian theater development from 1985 to 1995. This period is deliberately chosen because at that time it is seen that New Order power reached the top of its consolidation. Is there correlation between theater as a part of the reflection of society's expression and the repressive-authoritarian situation of the New Order government? With the approach of sociology of art, during that period, theater in Indonesia reflectedthe changes in society socially and in terms of values. One of these changes was the collapse of the conception of human wholeness (in terms of flesh and blood) in theater in Indonesia, because humans weremerely the object of the state power that tended to be authoritarian.Keywords: Indonesian theater 1985-1995, social changes and values, silent theater, theater ideas.

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4

Buldakov, Vladimir. "Revolution and theater, revolution as theater." Rossiiskaia istoriia, no. 4 (2021): 214. http://dx.doi.org/10.31857/s086956870016235-9.

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5

Gilula, Leah. "No Sabras in the Fields?" Israel Studies Review 36, no. 1 (March 1, 2021): 128–43. http://dx.doi.org/10.3167/isr.2021.360109.

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The Cameri Theatre of Tel Aviv has always presented itself as the first repertory theater in the Yishuv that represented the sabras, creating the impression that its actors and artists were themselves mainly sabras and Hebrew their native language. However, this image, based chiefly on the successful performance of the play He Walked through the Fields, does not reflect reality. The article questions the myth by exploring the actual number of sabra theater artists and actors in the troupe, their place and measure of influence. Exposing this image sheds light on The Cameri Theatre at its beginning as well as on the creation of the image of the sabra, as presented by the character of Uri, and embraced by Hebrew culture.

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6

Hiden, Raffael. "Sociology of Theatrical Forms. On the Sensualization of the Social on Stage." Zagreber germanistische Beiträge 29 (2020): 145–62. http://dx.doi.org/10.17234/zgb.29.8.

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Der Beitrag skizziert Grundlinien einer Soziologie der theatralen Formen, indem soziologische Gegenwartsdiagnosen mit aktuellen theatralen Praxen verknüpft werden. Dabei soll eine spezifische Wechselbeziehung (keine Homologie) zwischen Gesellschaft und Theater exemplifiziert werden, die als ›ästhetisch-subversive Praxis‹ aufzufassen ist. Entsprechend der Idee einer ›umgekehrten Mimesis‹ (V. Žmegač) verschränken sich Theater und Gesellschaft zu wissenspoetologischen Wirklichkeitsdeutungen; soziologische und theatrale Formen bringen somit auf interdependente Weise ›Wirklichkeiten‹ hervor, deren Untersuchung sich eine zukünftige Soziologie der theatralen Formen zu widmen hat. Milo Raus Theaterprojekte bieten dafür eine erste methodologische Skizze.

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7

Spasić, Vanja. "Ideology of the Opera Diva in the Case of the Opera of the National Theatre in Belgrade." AM Journal of Art and Media Studies, no. 10 (October 15, 2016): 41–50. http://dx.doi.org/10.25038/am.v0i10.132.

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The theme of this work refers to the study of opera’s diva system or the way inwhich an opera diva can affect (or not) the development of repertory theater. The idea is thatthrough a variety of approaches – musicology, history, sociology – one finds those aspects thatare caused to develop the concept of an opera diva. The thesis from my starting point is thatthe West-European practice of the first half of the 19th century was recognized in the work ofthe Opera of the National Theatre in Belgrade after its Golden period (1954–1969) when thesystem of the opera’s stars formed in Serbia. The goal of this work is to present a part of therepertoire policies of the National Theatre related to the possible impact of opera divas in theformation of the repertoire and vice versa.

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8

Waegner, Cathy C. "Staging (during) Crisis: Indigenous Zoomlets in the Pandemic." American, British and Canadian Studies 39, no. 1 (December 1, 2022): 7–30. http://dx.doi.org/10.2478/abcsj-2022-0015.

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Abstract The COVID-19 pandemic with its lockdowns and social distancing whirled theaters worldwide into an economic and cultural crisis. The San Francisco Playhouse, however, implemented an experimental theater genre based on computer-mediated communication (CMC) that proved to be highly productive and successful. The “Monday night Zoomlets” presented short plays by, among others, Indigenous authors, embedded in discussion by director, actors, and playwright, with a second reading of the play applying the insights gained. The presentations took advantage of technical finesses, as well as informality and humor, and the Zoom spectators in their home settings could interact via a chat function. This article analyzes three of the innovative Zoomlets focusing on crises in contemporary Native American families, crises that have arisen through the “slow violence” (Nixon) of centuries-long hegemonic colonization. DeLanna Studi’s Flight, Claude Jackson Jr.’s Cashed Out, and Lee Cataluna’s Funeral Attire. All these plays show young Native Americans attempting to reclaim rituals or knowledges through forms of “remembering,” a feature of twenty-first-century Indigenous theater according to engagé drama theorists Jaye Darby, Courtney Mohler, and Christy Stanlake’s Critical Companion to Native American and First Nations Theatre and Performance (2020). Relevant theories of transformations of chronotope, fourth wall, and third skin in performance within the Zoom environment are considered.

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9

Ioannidou, Eleftheria. "Performative Mo(nu)ments." Fascism 12, no. 2 (December 13, 2023): 117–41. http://dx.doi.org/10.1163/22116257-bja10068.

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Abstract The forms of popular and mass theater developed in Fascist Italy and Nazi Germany reached back to classical antiquity to reinvent theater as a secular rite. At first glance, the use of the theatrical medium is at odds with the classicizing monumentality that characterized the cultural expression of fascist regimes. Theatrical performances are by their very nature ephemeral events; unlike monuments, they do not leave their mark on civic space, and can barely provide a testament to generations to come. Drawing on performance theory and cultural history, the author argues that these antiquity-inspired performances provided powerful sites of re-enacting the myth of national rebirth. Fascist regimes used open-air theaters and forms modelled on Greek theater, whilst also tapping into the notions of performance that had been developed within the traditions of the theatrical vanguard to offer the experience of a reborn past. These performances brought forth grandiose visions of classical antiquity through living bodies and helped to embed the imagined past into a mythicized present. The intertwining between the theatrical medium and classical reception allow us to demonstrate the significance of embodied practices in shaping fascism’s political radicalism.

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10

Chou, Mark, Roland Bleiker, and Nilanjana Premaratna. "Elections as Theater." PS: Political Science & Politics 49, no. 01 (January 2016): 43–47. http://dx.doi.org/10.1017/s1049096515001225.

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11

Pavlić, Goran. "Against connotation mania: A contribution to the sociology of theater." Zbornik Akademije umetnosti, no. 8 (2020): 30–41. http://dx.doi.org/10.5937/zbaku2008030p.

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12

Rimoldi, Lucas. "Estudio longitudinal de la representación social del teatro en una cohorte de 25 dramaturgos argentinos de entre 35 y 45 años." Moderna Språk 113, no. 1 (July 6, 2019): 242–62. http://dx.doi.org/10.58221/mosp.v113i1.7657.

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With the aim of contributing to the understanding of the recent trends and transformations of the Argentinean independent theater system, this work deepens its analysis by means of a longitudinal panel design on a cohort formed by 25 writers/directors/actors who were born as artists towards 2000, extending the interval considered until 2020. The social representation on the theater of this group expresses some modifications of the system itself, as a certain turn towards the commercial and an acceptance of realism even in the advanced areas that at the beginning of the interval were defined precisely by their rejection. The cohort concept allows us to define common characteristics in a field invested with symbolic climate, while the life course helps to visualize non-normative idiosyncratic factors that explain influences of change and play in relation to the cohort effect. Our approach allows us to avoid simple biographism without obliterating the life of those who create. As regards different activities and dimensions of the selected subjects, we deal with a complex theoretical object. From an interdisciplinary perspective, our framework integrates the sociology of literature, concepts from sociology and social psychology, aimed at updating and demystifying the approaches that are deployed on Argentine theater.

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13

OSMANOV, Diliaver, and Daria MYKOLENKO. "Theoretical fundamentals of theater research in the context of musical sociology." Humanities science current issues 3, no. 38 (2021): 42–48. http://dx.doi.org/10.24919/2308-4863/38-3-7.

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14

Baron, Steve, Kim Harris, and Richard Harris. "Retail Theater." Journal of Service Research 4, no. 2 (November 2001): 102–17. http://dx.doi.org/10.1177/109467050142003.

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15

Borzenko, Irina V., Irina B. Ignatova, Natalia M. Ilyenko, Natalia I. Lyubimova, and Natalya N. Nikulina. "The Technique of Formation of Valuable Attitude for Amateur Theatre by Future Leaders." International Journal of Criminology and Sociology 9 (April 5, 2022): 1889–93. http://dx.doi.org/10.6000/1929-4409.2020.09.218.

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The dynamic development of theater culture in Russia, including the culture of Amateur theater, the growing popularity of Amateur theater in modern society, and the awareness of Amateur theater as a phenomenon of Russian national culture makes it urgent to improve the training of managers of Amateur theater groups in institutions of arts and culture. The study of literature, generalization of practical experience, and experimental research data led the authors to the conclusion that the direction of this improvement is to educate students in a value attitude to Amateur theater and their chosen profession. The functions of value attitude education: epistemological (knowledge), axiological (value), regulatory-normative and creative. Components of the pedagogical model: adaptive-diagnostic, planned-correctional, informational-activity, variative-creative, evaluative-effective. The results of the chosen pedagogical model gave positive results, which makes it possible to consider the proposed way to improve the training of specialists correct and appropriate.

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16

Alexander, Susan M., and Katherine Sullivan. "Teaching "In Tandem": Combining Sociology with Theater to Create an Interdisciplinary Classroom." Teaching Sociology 24, no. 4 (October 1996): 372. http://dx.doi.org/10.2307/1318874.

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17

Brustein, Robert. "Reinventing American Theater." South Atlantic Quarterly 91, no. 2 (April 1, 1992): 243–56. http://dx.doi.org/10.1215/00382876-91-2-243.

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18

Erdener, Jasmine. "Prefigurative Politics at Bread and Puppet Theater." Cultural Politics 20, no. 1 (March 1, 2024): 92–111. http://dx.doi.org/10.1215/17432197-10969240.

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Abstract Bread and Puppet (B&P) Theater is one of the oldest, most influential, and well-known puppet theaters both in the United States and abroad and has been at the forefront of puppetry, performance, and political protest for more than half a century. B&P also functions as a site of tension in prefigurative political theory, between creative world building and alternative decision-making structures. B&P fosters a powerful lived experience of prefigurative politics. The political process of envisioning alternative realities took place through performance, puppets, and the shifting sense of temporality in an isolated location. At the same time, B&P operates in a state of flux, at the center of a constant stream of apprentices, volunteers, and audience members. They rely on hierarchical decision-making to facilitate order, which challenges the prefigurative ideal of a democratic community. B&P models a mediated form of prefigurative politics in which a hierarchical governance structure and creative world building exist in tension with one another. The theater has worked within this tension to survive and even flourish. B&P complicates prefigurative politics in social movement theory and practice, as the hierarchy helps preserve some sense of order but conflicts with the more egalitarian vision of the world represented in their performances. B&P's intervention in prefigurative politics offers lessons to social movements and artistic practices in the contemporary resurgence of prefigurative politics.

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19

Shem-Tov, Naphtaly. "Israeli Theater for Youth." Israel Studies Review 37, no. 1 (March 1, 2022): 81–104. http://dx.doi.org/10.3167/isr.2022.370105.

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This article examines Mizrahi theater artists who portray the little-known history of Middle Eastern Jews to Israeli youth, focusing on two productions: Palms and Dreams (1983) and Scapegoat (1987), both of which are based on well-known novels about the immigration of Iraqi Jews to Israel. In ‘performing history,’ these plays shape an assertive Mizrahi image and a Mizrahi historical narrative that contests the Orientalism of the Israeli education system. In addition, although both plays convey the Mizrahi narrative to a youth audience, compared to similar plays aimed at adults, they are conservative in their adherence to the conventional Zionist narrative.

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20

Idoye, Patrick E. "Ideology and the Theater." Journal of Black Studies 19, no. 1 (September 1988): 70–78. http://dx.doi.org/10.1177/002193478801900106.

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21

nikiforova, sargylana valentinovna. "The formation of the theater spectator subculture in the cultural space of a provincial town." Человек и культура, no. 3 (March 2022): 69–82. http://dx.doi.org/10.25136/2409-8744.2022.3.37940.

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In order to determine the specifics and nature of the formation of the subculture of the theater spectator in Yakutsk, the history of relations between the theater and the spectator is considered. Variants of a strategy for the formation of a subculture of theatergoers in the youth environment of a provincial city (students of colleges and universities as the "backbone" of the audience) are proposed. The specifics of the subject of the study led to the use of interdisciplinary, sociocultural and cultural approaches, which made it possible to integrate the methods of cultural studies, sociology, art history, folklore and pedagogy. The culturological approach made it possible to determine the nature of changes in the cultural space. The synchronic method provided an opportunity to analyze in a slice mode and identify three stages in the formation of the subculture of the theatrical spectator. The dynamics of the formation of the subculture of theatergoers in Yakutsk in 1960-2020s is considered in detail. This is the time when the theater was formed as an organic institution of modern Yakut culture, but not something artificially introduced into the national culture. An indirect criterion base is determined, indicating the growth of the theater audience's competence: a change in the repertoire, problems, directing styles, participation in theater competitions and festivals, touring policy, pricing. Convergence of different types of cultural "consumption" is proposed: hybrid forms of work in cooperation with museums, philharmonic society, libraries; organization of creative meetings, excursions to rehearsals, pre-premiere screenings, charity events, etc. The regional specificity of the communication "theater - spectator" influences the formation of both moral and aesthetic views of the spectator; influences the national consciousness of the people, contributes to the strengthening of spiritual guidelines.

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22

BRAY, BERNARD L., and LARRY W. CHAPPELL. "Civic Theater for Civic Education." Journal of Political Science Education 1, no. 1 (February 9, 2005): 83–108. http://dx.doi.org/10.1080/15512160590907630.

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23

Doktorov, Boris. "In memory of B.M. Firsov (1929—2024). A Little Known Side of B.M. Firsov." Sociological Journal 30, no. 1 (March 28, 2024): 171–90. http://dx.doi.org/10.19181/socjour.2024.30.1.8.

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On the 18th of January we lost Boris Maksimovich Firsov (1929–2024), a scientist of exceptional magnitude and a person of extraordinary civic courage. He most certainly can be regarded as a man of different eras with rich and diverse life experience. Early on in his career he held high-ranking management positions, and he would later go on to conduct complex scientific and organizational operations in the field of sociology. His research covered various strata, states of mass consciousness, the history of sociology, and in more recent years — social history. Boris Firsov is responsible for establishing the Sociology institute of the RAS, he was the founder and first rector of the European University at St. Petersburg. He was frequently mentioned by his colleagues in their writing, and in the year 2021 a book by V. Vyzhutovich titled “Boris Firsov” came out as part of the “Life of remarkable people. Biography continues” book series. The author of this article had been a friend and colleague of Firsov for half a century, and as such is in a position to detail certain aspects about the life of Mr. Firsov and his scientific research that are not well known to the public. The article goes into B. Firsov’s involvement in the world of theater: his significant contribution to putting together a play called “Springtime at the LETI” [Leningrad Electro-Technical Institute] (1953) which was an early symbol of the political thaw; the script he wrote for a play called “The Death of Vazir-Mukhtar” (1969) that never got to be shown on television and was based on a novel by Yuri Tynyanov; him participating in a one-of-a-kind project known as “Sociology and theater” (1973–1989).

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24

Van Steen, Gonda Aline Hector. "Forgotten Theater, Theater of the Forgotten: Classical Tragedy on Modern Greek Prison Islands." Journal of Modern Greek Studies 23, no. 2 (2005): 335–95. http://dx.doi.org/10.1353/mgs.2005.0024.

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25

Allen-Paisant, Jason. "Theater of Ancestral Mediation." CR: The New Centennial Review 22, no. 3 (November 1, 2022): 79–101. http://dx.doi.org/10.14321/crnewcentrevi.22.3.0079.

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26

Dombroski, Robert S. "On Gramsci's Theater Criticism." boundary 2 14, no. 3 (1986): 91. http://dx.doi.org/10.2307/303235.

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27

Schulte, Hanife. "Ostermeier’s Ein Volksfeind on the Anniversary of Turkey’s Gezi Park Protests." New Theatre Quarterly 36, no. 1 (February 2020): 29–41. http://dx.doi.org/10.1017/s0266464x20000081.

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In this article Hanife Schulte discusses Thomas Ostermeier’s Ein Volksfeind, a German version of Henrik Ibsen’s An Enemy of the People that toured to the International Istanbul Theatre Festival in 2014. In borrowing Maria Shevtsova’s notion of the sociology of performance, Hanife Schulte offers a sociological examination of Ein Volksfeind’s Istanbul performances and demonstrates how the first anniversary of Turkey’s Gezi Park protests at the time of the festival influenced the performances. These protests, which began in 2013, were in resistance to the Turkish government’s urban development plan for Istanbul’s Taksim Park. In her examination of the dramaturgy and stage design of the production and its Turkish reception, Schulte argues that Ein Volksfeind’s political dramaturgy-in-progress allowed Ostermeier to adapt its touring performances in Istanbul and transform them into events in which the Turkish audiences became fellow performers and adaptors who reflected on the Gezi Park protests. She also suggests that Ostermeier showed solidarity with the Turkish people resisting political violence and oppression in tackling their local politics. Hanife Schulte has completed three years of doctoral research in Theatre and Performance Studies at Tufts University and is an alumna of the Mellon School of Theater and Performance Research at Harvard University, where she participated in the 2019 Session on Migrations.

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Čirić-Fazlija, Ifeta. "Staging Race and Gender in the Era of Contemporary Crises: Dramas of African American Women Playwrights." American, British and Canadian Studies 39, no. 1 (December 1, 2022): 54–78. http://dx.doi.org/10.2478/abcsj-2022-0017.

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Abstract Starting from the premise that contemporary crisis is a pervasive continuation of the modern “series of interrelated crises” (Fernández-Caparrós and Brígido-Corachán vii), this article examines the manner in which the US theater has responded to the outbreak of the COVID-19 pandemic. Simultaneously considering crises as “agents of change and transformation” (xvii) and bearing in mind the #MeToo, and Black Lives Matter movements, the article questions the likelihood of contemporary American theater overcoming its own crisis of representation. Relating modern and current crises, the essay first outlines twentieth century dramatic literature and theatersi against the backdrop of the World Wars, the 1918 health crisis, economic depression, and post-war (racialized) society, focusing on plays by American women of color. The study then centers on dramatic and theatrical developments brought about by the annus horribilis of 2020, surveying new genres, authors and performances, and discerning no significant improvement in systemic discrimination on Broadway stages. The essay also offers complementary reading of Trouble in Mind (1955), a meta-drama mirroring systemic racial and gender discrimination in American theaters, and By the Way, Meet Vera Stark (2011) which unravels similar issues, albeit in the film industry.

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29

Canut and Sow. "Testimonial Theater and Migration Performance." Africa Today 61, no. 2 (2014): 3. http://dx.doi.org/10.2979/africatoday.61.2.3.

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30

Gürgens Gjærum, Rikke, Jens Ineland, and Lennart Sauer. "The Story about Theater Organizations, the Public's Approval, and the Actors' Identity Formation in Nordic Disability Theater." Journal of Social Work in Disability & Rehabilitation 9, no. 4 (November 19, 2010): 254–73. http://dx.doi.org/10.1080/1536710x.2010.523648.

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31

Kosmos, Iva. "Staging the Lived Experience and Socialist Everyday Life in Post-Yugoslav Theater." East European Politics and Societies: and Cultures 34, no. 1 (July 31, 2019): 3–24. http://dx.doi.org/10.1177/0888325419864423.

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Authoritative models of remembering Yugoslavia tend to exclude experiences of living people while often reproducing the memory trope of “totalitarian legacy.” Several theater performances that appeared in 2010 and 2011 challenged these memory models, as they centered on performers’ personal experiences and recollections as legitimate sources of understanding, imagining, and discussing the past. This article investigates how lived experience is (re)constructed in the theater and whether these performances differ from dominant narratives. Reception analysis of selected performances has shown that public and media appear to find affective memories of socialism more acceptable if told from the position of victims and “authentic” witnesses. Performances widened and diversified the cultural memory of socialism and directed attention to positively evaluated experiences of socialist culture and everyday life, such as multicultural and supranational interactions in Yugoslavia. Nevertheless, the dominant representation of Yugoslav state as totalitarian was not challenged, but rather sidestepped. The focus on popular and everyday culture thus remains the predominant memory model for remembering Yugoslavia in theater, which can be seen as a part of wider processes of gradual reevaluation of socialist life in post-socialist Europe.

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32

Witt, Mary Ann Frese. "Fascist Discourse and Pirandellian Theater." South Atlantic Quarterly 91, no. 2 (April 1, 1992): 303–31. http://dx.doi.org/10.1215/00382876-91-2-303.

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Crank, John P., and Kate King. "Babble: A Theater in Justice and Discourse." Critical Criminology 15, no. 4 (October 30, 2007): 343–63. http://dx.doi.org/10.1007/s10612-007-9040-6.

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Guard, Julie, D’Arcy Martin, Laurie McGauley, Mercedes Steedman, and Jorge Garcia-Orgales. "Art as Activism." Labor Studies Journal 37, no. 2 (January 5, 2012): 163–82. http://dx.doi.org/10.1177/0160449x11431895.

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Popular theater has significant, although largely overlooked, potential as a tool for unions to raise members’ political consciousness and strengthen their relationship to the union movement. Activist theater validates workers’ own knowledge, builds workers’ solidarity and self-confidence, and fosters an activist culture. It can also raise gender consciousness within unions. It has particular value for unions attempting to organize precarious workplaces such as call centers, where workers are especially vulnerable and often unfamiliar with unions and union culture. The experience of one group of workers demonstrates how popular theater can be integrated into the labor movement’s repertoire of strategies for building solidarity and revitalizing unions.

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Shea, Christine M., Mary Fran Fran T. Malone, Justin R. Young, and Karen J. Graham. "Interactive theater: an effective tool to reduce gender bias in faculty searches." Equality, Diversity and Inclusion: An International Journal 38, no. 2 (March 11, 2019): 178–87. http://dx.doi.org/10.1108/edi-09-2017-0187.

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Purpose The purpose of this paper is to describe the development, implementation and impact evaluation of an interactive theater-based workshop by the ADVANCE program at the University of New Hampshire (UNH). The workshop is part of a larger institutional transformation program funded by the National Science Foundation. Design/methodology/approach This institutional transformation program relied upon a systems approach to diagnose potential causes for the underrepresentation of women faculty in certain disciplines. This revealed that increasing awareness of, and reducing, implicit gender bias among members of faculty search committees could, in time, contribute to increasing the representation of women faculty at UNH. A committee charged with developing a faculty workshop to achieve this change identified interactive theater as an effective faculty training approach. The committee oversaw the development of customized scripts, and the hiring of professional actors and a facilitator to implement the workshop. Findings The workshop’s effectiveness in fulfilling its goals was assessed using faculty hiring and composition data, program evaluations, participant interviews and questions in an annual faculty climate survey. Findings indicate that the representation of women faculty increased significantly at UNH since the implementation of the interactive theater workshop. Analysis of the multiple sources of data provides corroborating evidence that a significant portion of the increase is directly attributable to the workshop. Originality/value This paper demonstrates the effectiveness of interactive theater-based workshops in an academic environment and of the systems approach in diagnosing and solving organizational problems.

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Zolbrod, Leon, Kunio Komparu, and Jacob Raz. "The Noh Theater. Principles and Perspectives." Pacific Affairs 58, no. 3 (1985): 534. http://dx.doi.org/10.2307/2759271.

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Jenkins, J. Daniel. "The Early Years of the American Musical in Vienna." Journal of Austrian-American History 6, no. 1 (May 18, 2022): 89–103. http://dx.doi.org/10.5325/jaustamerhist.6.1.0089.

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Abstract The individual most responsible for bringing the American musical to the Viennese stage was Marcel Prawy (1911–2003). Born into a Jewish Austro-Hungarian noble family, Prawy moved to the US in the late 1930s. While his first love was opera, he also developed an appreciation for the Broadway musical. He returned to Vienna after World War II and produced musical revues in local theaters that included showtunes. Upon becoming a dramaturge at the Vienna Volksoper in 1955, he began overseeing productions of American musical theater, which were among some of the earliest productions of American musicals on the European continent. The article reviews archival documents at the Prawy archive, housed at the Wienbibliothek, to better understand Prawy’s early efforts to bring American musical theater to the Viennese stage. The focus will be on the two earliest musicals Prawy produced, Kiss Me, Kate and Wonderful Town. The analysis will consider how Prawy packaged, promoted, and “sold” the American musical to his Viennese audience. A close reading of some of Prawy’s translations of libretti will be part of the analysis, revealing interesting insights into how Americans and American culture may have been viewed by the Viennese audience.

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Brogdon, Matthew S. "Young Mr. Lincoln in Ford's Theater." Perspectives on Political Science 47, no. 2 (June 13, 2016): 78–86. http://dx.doi.org/10.1080/10457097.2016.1184959.

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GEROMINI, Jenifer Cortes Demeterco. "Uma Reflexão sobre a Fenomenologia da Experiência Estética: O Caso do Teatro." PHENOMENOLOGICAL STUDIES - Revista da Abordagem Gestáltica 27, no. 2 (2021): 242–51. http://dx.doi.org/10.18065/2021v27n2.10.

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Art, a fundamentally human subject, has become an important field of study in both philosophy and psychology. It is deemed relevant to think of it from a phenomenological perspective, that regards artistic activities not as a representation, but as an expression. This study aims to consider the actor's/actress's activities based on the book Phénoménologie de l'experience esthétique, the main work by Mikel Dufrenne, a phenomenologist who wrote the most extensive study regarding aesthetics in phenomenology. This task has been accomplished in two stages: a possible explanation about the aesthetic experience as proposed by Dufrenne and, from it, the construction of a reflection about a theater artist's work. The role that art and, above all, the artist plays in the resignification of the world becomes evident, as he is the one who offers the viewer, through an immanent intersubjectivity, a world expressed as a novelty. It is understood that, in addition to the study of specific topics, the study of aesthetic experience in phenomenology, from the Dufrennian perspective, may prove relevant to the comprehension of the human phenomenon in general. Palavras-chave : Aesthetic experience; Phenomenology; Art; Theater.

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Constantinidis, Stratos E. "Modern Greek Theater, Its History and Theory." Journal of Modern Greek Studies 25, no. 2 (2007): 147–61. http://dx.doi.org/10.1353/mgs.2008.0001.

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Nosov, Dmitry. "Comprehension of Russian Culture (“Theater Review”)." Sotsiologicheskoe Obozrenie / Russian Sociological Review 22, no. 3 (2023): 335–49. http://dx.doi.org/10.17323/1728-192x-2023-3-335-349.

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The article analyzes the recently-published third part of Olga Zhukova’s trilogy devoted to Russian culture, Russian philosophy, and the philosophy of Russian culture. The article’s author suggests that this book, as well as previous parts of the trilogy, contains extensive, largely unknown material about the studied area. Besides the richness of the factual material, the advantage of the book is that it encourages a reader’s interest in the considered stories; at the same time, it provokes an internal polemic with Zhukova, produces the desire to reflect on the various statements made, and, probably, even enters the discussion with the author. The cornerstone of Zhukova’s concept is the thesis about the fundamental conditionality of Russian culture and Russian philosophy on Eastern Christianity. According to this concept, there is a direct conditionality in some cases, while an indirect conditionality appears through the dialectical contradiction in some others. The article’s author does not find this thesis to be ultimately correct. Another separate object of the article’s discussion is the reviewed book’s polygraphic features.

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Benbow, Heather, and Andreas Dorrer. "‘KULTURKRIEG’ BEHIND BARBED WIRE: GERMAN THEATRE IN AN AUSTRALIAN FIRST‐WORLD‐WAR INTERNMENT CAMP." German Life and Letters 77, no. 2 (April 2024): 195–217. http://dx.doi.org/10.1111/glal.12407.

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ABSTRACTThis article is the first in‐depth study of the ‘Deutsches Theater Liverpool’, probably the most successful non‐English theatre ever on Australian soil, selling out daily performances and mounting a new production each week. The theatre's success was due in large part to its location inside the ‘German Concentration Camp’, the largest First World War (WWI) internment camp in Australia. In contrast to most WWI internment camps around the world, its almost six thousand ‘enemy alien’ internees were a mixture of civilians – most of whom called Australia home before the war – merchant sailors and naval personnel. For this diverse group of men, the theatre was more than entertainment; it was an important way to spend their time meaningfully. We argue that this meaning was strongly connected to the (re)negotiation of identity through theatre, allowing the internees to contribute to the war effort understood at the time in German public discourse as a ‘Kulturkrieg’, a battle for the survival of German culture. Theatre‐makers and audiences (re)engaged with their Germanness through ideas of ‘Kameradschaft’, German diligence and the joint duty of ‘durchhalten’ – ‘making do’. The critical importance of female impersonation in the achievement of the theatre's cultural aims rounds out our analysis of the D.T.L.

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Marshak, A. L. "Sociology of culture: Paths of scientific development (1968-2018)." RUDN Journal of Sociology 19, no. 2 (December 15, 2019): 313–21. http://dx.doi.org/10.22363/2313-2272-2019-19-2-313-321.

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The article considers the long path of the development of sociology of culture as a special sociological theory within the system of Russian sociological knowledge. The author describes the fifty-year period of the empirical enrichment of sociology of culture; identifies main research issues within cultural and educational activities (clubs, museums, parks, groups of artistic and technical creativity in cities and villages); provides an overview of key achievements in the sociological study of theater, cinema and the media in the 1970-1980s. It was during this period that the basic directions of the sociological study of cultural life were formed and consolidated the efforts of sociologists: planning, forecasting and managing various types of cultural institutions; scientific planning of cultural development of the city, village, and region; forecasting the development of art and its different types; social indicators of the development and management of artistic culture; economy of culture - improvement of its material and technical base, pricing, efficiency; interaction of different types and forms of artistic culture, their relationship with art; analysis of the cultural life of different social-demographic groups; development of the theoretical-methodological foundations of sociology of culture, its self-determination as a special sociological theory. The author also considers such aspects of the spiritual life as musical culture and features of leisure activities and describes the multicultural state of the contemporary Russian society.

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44

Bengelsdorf, Carollee, and Randy Martin. "Socialist Ensembles: Theater and State in Cuba and Nicaragua." Contemporary Sociology 25, no. 6 (November 1996): 815. http://dx.doi.org/10.2307/2077316.

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Cavallaro, Daniela. "Who Says You Can’t Be a Saint? Female Saints as Heroes on the Italian Catholic Stage." Journal of Humanistic Psychology 58, no. 4 (July 28, 2017): 444–59. http://dx.doi.org/10.1177/0022167817722272.

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This essay considers how one modern order of Catholic priests and nuns, the Salesians, presented the lives of female saints as heroic role models through theater to young women in Italy in the post-World War II years. My discussion touches on the Salesian use of theater in education; the most important Salesian woman author, Caterina Pesci; the heroic journey of the saints that Pesci chose as role models; the effect that the theatrical representation of these saints was meant to make on performers and audience, and the historical reasons for the importance of saints as heroic role models in postwar Italy.

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Ferreira, Mariana Leal, and Dominique Devine. "Theater of the Oppressed as a Rhizome." Latin American Perspectives 39, no. 2 (December 2011): 11–26. http://dx.doi.org/10.1177/0094582x11427888.

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47

Crawford, T. Hugh. "Imaging the Human Body: Quasi Objects, Quasi Texts, and the Theater of Proof." PMLA/Publications of the Modern Language Association of America 111, no. 1 (January 1996): 66–79. http://dx.doi.org/10.2307/463134.

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In the field of medical imaging, theory, technique, and rhetoric converge to produce knowledge. Historical taboo and cultural belief in the fragility of life have protected the interior of the human body from the scientist's prying eyes; nevertheless, in the modern period (since about 1540), the production of medical knowledge has depended on the unveiling of physical detail. Recent work in the sociology of science—notably Bruno Latour's concept of the theater of proof—has questioned this epistemology. Latour argues that scientific knowledge can be produced by superimposing data that create an effect of reality. To illuminate traditional strategies for constructing convincing accounts of hidden biological processes, I examine texts by Andreas Vesalius, William Beaumont, and Wilhelm Conrad Röntgen. I then discuss an advertisement for a contemporary medical-imaging device that, by foregrounding the superimposition of diagnostic data, provides a useful counterexample to the constructed objectivity of the earlier texts.

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48

Marshall, David. "Rousseau and the State of Theater." Representations 13, no. 1 (January 1986): 84–114. http://dx.doi.org/10.1525/rep.1986.13.1.99p01114.

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49

Marshall, David. "Rousseau and the State of Theater." Representations 13 (January 1, 1986): 84–114. http://dx.doi.org/10.2307/2928495.

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50

Ioannidou, Eleftheria. "Editorial Introduction." Fascism 12, no. 2 (December 13, 2023): 107–15. http://dx.doi.org/10.1163/22116257-bja10067.

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Abstract This special issue examines the use of classical antiquity within artistic, cultural, and political events under fascist regimes in the interwar period. Fascist Italy and Nazi Germany promoted the production of ancient drama, alongside forms of theater modelled on Greek antiquity, organized grand-scale classical spectacles, and deployed ancient themes and classical-looking symbols and insignia at political gatherings and displays. The analyses presented in this special issue bring into dialogue the scholarship on theater and culture under fascist regimes with the growing literature on the reception of the classics to foreground the significance of performative practices in reconfiguring the classicizing mythologies of fascism. It is the hope of the guest editors that the findings presented here will contribute to the study of performances that strove to re-enact historical pasts beyond the scope of classical reception.

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