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Journal articles on the topic 'Ancient theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

Isakov, Yuriy I. "VITRUVIUS ON THE VALUE OF MUSIC FOR ENHANCING THE ARCHITECTURE OF THE ANTIQUE THEATER’S AUDIENCE SPACE. Part 1." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 10. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-10.

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Vitruvius' legacy points to the importance of music in architecture for enhancing the acoustics of ancient theaters. In particular, he described in detail the sounding vessels, or ηχεια – “echea”, the effectiveness of which has not been proven. The effect of “echeas” on the acoustic parameters of a small classical Greek theater is investigated using computer modeling methods. The theater models developed take into account Vitruvius' recommendations and published research and measurements of ancient theater acoustic parameters reconstructed in our time. The descriptions of Vitruvius and the musical theories of Aristoxenus and Pythagoras were considered when developing the “echeas” models. Using the standard algorithm of the EASE4.4 program, the parameters of a small theater were calculated and the C50, C80, STI acoustic parameters of the theater’s sound field were found to benefit from the “echeas” or sounding vessels.

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2

Izenour, George. "The Ancient Roman Roofed Theater." Perspecta 26 (1990): 69. http://dx.doi.org/10.2307/1567154.

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3

Kaimaris, Dimitris, George Karadedos, Charalampos Georgiadis, and Petros Patias. "Locating and Mapping the Traces of the Covered Ancient Theater of Amphipolis (Eastern Macedonia, Greece)." Heritage 1, no. 2 (November 1, 2018): 306–19. http://dx.doi.org/10.3390/heritage1020020.

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Ancient Amphipolis (Eastern Macedonia, Greece) is one of the most important archaeological sites of Greece. Despite the restricted excavation studies, important monuments have been discovered, such as the city walls and the Macedonian burial site at the Kasta hill, etc. Currently, the location of the ancient theater is unknown and only assumptions can be made regarding its location. In the current study, we aim to detect the accurate location of the ancient theater using archaeological prospection tools, data collected from the excavated sites, and testimonies of people of the modern city. For the first step of the approach, the approximate location of the ancient theater was determined using information derived by archived geospatial data (multi-temporal aerial photographs, satellite image, and Digital Terrain Model (DTM) of the area) as well as information regarding the neighboring excavated sites. For the in-depth study of the area of interest, a drone was used for the acquisition of high-resolution geospatial data. The generated orthorectified image (3 cm spatial resolution), DTM, and Digital Surface Model (DSM) allowed the determination of the potential location of the buried orchestra’s center using geometric rules for the design of ancient theaters. Furthermore, using the produced DSM and DTM, terrain cross-sections were generated.

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4

Parush, Adi. "The Courtroom as Theater and the Theater as Courtroom in Ancient Athens." Israel Law Review 35, no. 1 (2001): 118–37. http://dx.doi.org/10.1017/s0021223700012103.

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To prevent any misunderstanding, I first would like to clarify that I am not a historian dealing with classical studies; my main disciplines are philosophy and law. However, following a seminar I gave dealing with several philosophical-legal aspects of Greek tragedy, and an article I wrote about the relationship between the concept of guilt in Oedipus Tyrannus and the principle of strict liability in modern criminal law, I have found myself in recent years becoming increasingly interested in the unique culture which emerged in Athens during the classical period, particularly in the 5th century BCE. In the course of that century, Athens was involved in many wars – against the Persians in the early decades, against Sparta (the Peloponnesian War) in the latter decades, and other “minor” wars. And yet despite these wars, during the 5th century BCE Athens was in a state of cultural-social-political ferment that left its mark on the whole history of western culture. In the course of that century, there was in Athens a burgeoning of independent-critical thought in the philosophical domain, nature and medicine were systematically studied, tragedies by the Athenians Aeschylus, Sophocles and Euripides were written and performed, and the democratic regime took shape.

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5

Babenko, Valeriia. "PREVENTION OF TRADITION, REGULARITY OF POSITIVE RECEIVES, DELL’ARTE CANONICAL CODE REVALUATION. COMMANDARY TRANSFORMATION OF COMMEDIA CIVILE RUSTICALE INTO COMMEDIA DELL’ARTE (ITALIAN DRAMATURGY)." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 63–69. http://dx.doi.org/10.28925/2412-2475.2019.1310.

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The author of the article studies the peculiarities of comedy dell’arte, regularities of its poetic techniques. Particular attention is drawn to the style and genre of the dramatic works. The masks of dell’arte (mainly zan), having gone from the notion of a dual creature that is on the verge of a funny and terrible, profane and sacred («spirits and ghosts» of the cult of the crops of fertility, devils of the mysterious action), to the mask types of comedy del arte and further - masks-characters in the work of Goldoni, at the turn of the 19–20 centuries, turned into a symbol of the ancient theater, theater-balagan, the theater is extremely conditional and play, emphasizing the concept of «theatrical theater» in art. Mask dell’arte as the unity of the actor and the character actually ceased to exist, but it was in the traditions of this theater and its characters found inspiration for directors, poets, artists at the turn of the century. The main artistic means of comedy dell’arte are analyzed. The conducted research shows that the main aesthetic principles of commedia dell’arte are reduced to the aesthetic system, which contains three essential elements: firstly, the theater is kept by a professional actor, who completely gives himself to the theater; secondly, the influence of the theater is stronger because of the synthesis of arts: plastic, music, dance and words; and thirdly, the soul of the performance is an action. The methods used in the paper are mixed: close reading, historical data processing, analyses of interdisciplinary resources (literary gerontology, social gerontology, theatre studies). The innovative solution lies in the application of interdisciplinary approach to close reading of drama texts. The results can be practical for classes of Italian literature and study of culture, theatre.

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6

Arpaia, Maria. "Sounds on Stage: Musical and Vocal Languages and Experiences." Greek and Roman Musical Studies 7, no. 2 (August 20, 2019): 346–69. http://dx.doi.org/10.1163/22129758-12341355.

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Abstract The twenty-four papers delivered at the graduate conference entitled “Sounds on Stage: Musical and Vocal Languages and Experiences” (L’Aquila, 14-16 November 2018) investigated the relationship between music and theatrical performances from a comparative perspective. The presentations dealt with the role of music in several theatrical genres from different cultures and times: ancient Greek drama, musical theater (especially opera), modern and contemporary theater and ancient ritual Sanskrit drama.

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7

O'Sullivan, Gerald, and Graham Ley. "A Short Introduction to the Ancient Greek Theater." Classical World 87, no. 3 (1994): 238. http://dx.doi.org/10.2307/4351467.

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8

Yoshitake, Ryuichi. "Building technique of the Theater at ancient Messene." JAPAN ARCHITECTURAL REVIEW 4, no. 3 (May 17, 2021): 515–32. http://dx.doi.org/10.1002/2475-8876.12229.

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9

Maryam Khamidovna Ashurova. "Theater is a sacred place." International Journal on Integrated Education 3, no. 8 (August 29, 2020): 152–54. http://dx.doi.org/10.31149/ijie.v3i8.554.

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Puppet theater is an integral part of our ancient and rich culture, which differs from other types of art through its colorful and unique creativity. At the same time it is the cradle of all theatrical art forms. Its roots have been enriched, polished and developed by preserving the folklore, traditions, customs and national traditions of our people.

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10

Bloch, René. "Part of the Scene." Journal of Ancient Judaism 8, no. 2 (May 19, 2017): 150–69. http://dx.doi.org/10.30965/21967954-00802003.

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This article points to the complexities of Jewish engagement with theater; thus, despite frequent condemnation of the theater by rabbis we find also more nuanced voices. The article reviews the evidence for Jewish theater attendance in ancient Palestine and the Diaspora, outlines the views on theater in the works of Philo of Alexandria and Flavius Josephus, discusses evidence for Jewish actors and actresses, and takes a look at Ezekiel’s Exagoge, the clearest case of a Jewish drama handed down from antiquity.

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11

Portnova, Tatiana V. "Architecture of Antique Theaters as an Element of the World Cultural Landscape." Observatory of Culture 17, no. 3 (August 6, 2020): 320–32. http://dx.doi.org/10.25281/2072-3156-2020-17-3-320-332.

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The article deals with the history of development of the antique theatrical architecture in the context of the environment that forms the territory acquiring the status of a cultural landscape. The material of antiquity is interpreted in the aspect of the formation evolution of theater buildings, ranging from ancient Greek to ancient Roman, which, despite being in ruins, amaze us with their large-scale and unspoiled architecture. The article attempts to systematize the valuable evidence of the past, material (theater architecture) and non-material (theater art), since the repertoire is alive as long as it is performed, and the theater architecture remains to posterity. There is considered their relationship in space and time. The study’s methods (descriptions of the phenomena under study, field observation, problem-historical analysis) made it possible to focus on the construction specifics of the theater buildings located in open spaces representing cultural landscapes — vast areas of co-creation of man and nature. Over the epochs, the theater architecture, designed for spectacular performances and connected with the environmental factor and acting art, was transforming, just as the theater itself was changing, sometimes within a single performance on a single stage. Fragments of the lost cultural experience are today open systems in associative, semantic, historical aspects, as well as in terms of objects reconstruction. They form an attractive and popular place that goes beyond the limits of urban planning conditions and has the property of an important public space. The composition of theater construction and the principles of shaping that formed in the ancient period had a great influence on their subsequent development and have been preserved in modern design solutions. In this context, the experience of interpreting the architectural monuments belonging to the theatrical art has a great cultural and educational value, not only in terms of reconstructing the lost stratum of cultural heritage, but also, to a greater extent, in modeling a new vision of the emerging architectural culture of the world.

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12

Stakhorskiy, Sergey V. "PATTERNS OF THE ANCIENT THEATER AND THEIR ARTISTIC TRADITIONS." Articult, no. 1 (2017): 73–79. http://dx.doi.org/10.28995/2227-6165-2017-1-73-79.

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13

Harnish, David, and Wayne Vitale. "Music of the Gambuh Theater: Bali's Ancient Dance Drama." Yearbook for Traditional Music 33 (2001): 207. http://dx.doi.org/10.2307/1519680.

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14

Beacham, Richard. "Reconstructing Ancient Theater with the Aid of Computer Simulation." Syllecta Classica 10, no. 1 (1999): 189–214. http://dx.doi.org/10.1353/syl.1999.0014.

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15

Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.

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There are some common features between opera (film-opera and theater-opera) and the Greek tragedy. Hereafter a question arises: why theoreticians and artists try to revive tragedy - what is so important in ancient drama that remains actual up to date? The author argues, that musical drama (opera) is the successor to the Greek tragedy, whereas cinema exposes musical and ancient nature of the opera clearer, than theater. The author dwells upon new possibilities of opera: different ways ofcooperation between musical and visual constituents, differences between stage and screen operas; advantages of the film-opera. The screen adaptation of opera is very actual and has special aspects. It is obvious, that opera enriches cinema language and cinema reforms traditional theatrical musical drama. There is a number of works, which are devoted to the problem of the opera- film (mostly written by music experts), but there are no special research on the part of cinema theoreticians. Cinema-opera differs from theater-opera. Cooperation between image and music is defined by specific features of the camera. The opportunities of cinema are wider in some aspects and may advance reform of stage. Integration of arts in opera-film is connected with integration of arts in the Greek tragedy. The Athenian drama, grown up from ancient cults, is connected with ancient rituals. Since the ancient sources of drama find their reflection in film-opera, the latter reaches out these cults.

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16

Cueva, Edmund P. "The Idea of the Theater in Latin Christian Thought: Augustine to the Fourteenth Century." Theatre Survey 47, no. 1 (April 13, 2006): 127–29. http://dx.doi.org/10.1017/s0040557406290094.

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This is an unusual but good and sensible book. I write that it is unusual because The Idea of the Theater in Latin Christian Thought does not follow the predictable pattern of looking at the “materiality of medieval theater practices and historiography” (2). It instead looks at theatre as it appears in medieval thought and as “moments in European intellectual history” (4). Dox leads the reader through a thorough and erudite survey of the writings of some of the Latin Christian authors. She begins with Saint Augustine of Hippo and ends with Bartholomew of Bruges. The text has three major goals. First, the author examines what different postclassical, Christian authors knew about or thought of Greco-Roman theatre as a function of written discourse. The second goal is to keep the discussion of the late-antique and medieval understanding of ancient classical theatre in the intellectual contexts in which the texts were used. Lastly, Latin Christian views on classical theatre are examined in detail. The conclusion of this analysis demonstrates that the idea of “truth” as different from “falsehood” in the writings by the Latin Christian authors was the focus of their texts, rather than any actual interest in classical tragedy and comedy as genres in their own right.

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17

Sarıkaya, Nazım. "Dionysosçu Ritüeller ve Antik Yunan Tiyatrosunda Karşıtlıkların Biraradalığı." Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi, no. 29 (December 27, 2019): 17–41. http://dx.doi.org/10.26650/jtcd.643497.

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18

Ley, Graham. "The Rhetoric of Theory: the Role of Metaphor in Brook's ‘The Empty Space’." New Theatre Quarterly 9, no. 35 (August 1993): 246–54. http://dx.doi.org/10.1017/s0266464x00007971.

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In his discussion-piece for NTQ 28 (1991), Graham Ley raised questions about the self-determination of the avant-garde, drawing on analogies from dance and design to explore the problem of the post-modern in the theatre. He also outlined a critique of what he called an ‘alternative establishment in theatrical endeavour’: here, he extends that critique into an analysis of the techniques of persuasion to be found in one of the most influential texts in post-war theatrical theory, Peter Brook's The Empty Space, arguing for an enhanced attention to be given to the language and textuality of theory. Graham Ley is a writer and researcher who has taught in the Universities of London and Auckland. As Australian Studies Fellow in Theatre at the University of New South Wales in 1984, he compiled jointly with Peter Fitzpatrick of Monash University the survey of new developments in Australian theatre published in NTQ5 (1986). Among his numerous publications on ancient performance, A Short Introduction to the Ancient Greek Theater appeared from the University of Chicago Press in 1991. He is currently working on a book on theatrical theory.

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19

Sanzhenakov, Alexander A. "Can Senecan Theater of Passions Educate a Virtuous Person?" Siberian Journal of Philosophy 17, no. 3 (2019): 245–57. http://dx.doi.org/10.25205/2541-7517-2019-17-3-245-257.

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The article is devoted to the consideration of the pedagogical content of Seneca’s tragedy. The article provides a solution for the problem, which is contained in the controversy – on the one hand, Seneca as other Stoics believes that the passions negatively affect the soul of human being, on the other hand, his tragedies portray plots overrun with passions involving murder, perfidy, betrayal and other crimes. The author suggests that this feature of the plot of dramatic works of Seneca cannot be explained by simple respect of the tradition, according to which the passion is the main driving force of both the ancient Greek and ancient Roman tragedies. The author shows that Seneca intentionally uses certain artistic techniques to achieve the pedagogical effect.

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20

Sanzhenakov, Aleksandr A. "Ancient theater in the light of the notion of catharsis." Vestnik Tomskogo gosudarstvennogo universiteta, no. 427 (February 1, 2018): 91–95. http://dx.doi.org/10.17223/15617793/427/11.

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21

Sanzhenakov, A. A. "On an Influence of the Ancient Theater on Public Opinion." Siberian Journal of Philosophy 16, no. 2 (2018): 201–11. http://dx.doi.org/10.25205/2541-7517-2018-16-2-201-211.

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22

Bianchi, Robert Steven, and Marjorie Susan Venit. "Monumental Tombs of Ancient Alexandria. The Theater of the Dead." Journal of the American Research Center in Egypt 40 (2003): 191. http://dx.doi.org/10.2307/40000302.

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23

Lieber, Laura S. "Theater of the Holy: Performative Elements of Late Ancient Hymnography." Harvard Theological Review 108, no. 3 (July 2015): 327–55. http://dx.doi.org/10.1017/s001781601500022x.

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A script is merely an artifact until a performer brings it to life; a text is a starting point, despite the fact that its finality suggests a destination. With works that were meant to be performed in some fashion (however generously understood “performance” may be), the dynamic relationship between performer and audience shapes and even defines their reception; such works, fully expressed, are visual, auditory, and kinetic. The written word may mediate this relationship, shaping the arc of the narrative and the words of the characters, but it is performance that gives the narrative life and the characters voices and bodies.

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24

Perlman, Marc. "Music of the Gambuh Theater: Bali's Ancient Dance Drama (review)." Asian Music 36, no. 2 (2005): 120–25. http://dx.doi.org/10.1353/amu.2005.0021.

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25

Hanink, Johanna. "Actors and Icons of the Ancient Theater (review)." Classical World 105, no. 4 (2012): 563–64. http://dx.doi.org/10.1353/clw.2012.0030.

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26

Evans Romero, Constance. "Ancient ecstatic theater and Analytical Psychology: creating space for Dionysus." International Journal of Jungian Studies 9, no. 2 (May 4, 2017): 75–83. http://dx.doi.org/10.1080/19409052.2017.1306332.

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ABSTRACTThis paper explores links between the theatrical aspect of the Dionysian archetype and Analytical Psychology. It looks at some of the Dionysian elements in Jung’s published work and follows up with a brief exploration into how some of the potentially generative aspects of the archetype continue to be suspect in current clinical practice. Plutarch’s historic anecdote about the first actor, Thespis, and his dialogue with the Athenian Magistrate, Solon, will provide a focus with which to explore Dionysian elements within the Individuation process. A final section includes a short case history illustrating Dionysian elements unfolding in the theater of Jungian analysis.

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27

Davydov, Andrey A. "Genesis of the Classic Greek Theater: the Cultural and Philosophical Interpretations." Observatory of Culture, no. 6 (December 28, 2015): 106–11. http://dx.doi.org/10.25281/2072-3156-2015-0-6-106-111.

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The article examines the early stage of development of the classic Greek theater and its tragic basis in close correlation with the ancient culture’s specific features and the ancient Greeks’ worldview. The two best-known interpretations of antiquity elaborated by F. Nietzsche and O. Spengler are emphasized here particularly. While analyzing the roots of tragedy, the author pays special attention to its close relation with rituals and sacrifices. In the context of the subjectness problem, the article raises the question of a specific status of the Greek theater’s spectator, who can be reasonably called an active participant of the spectacle, representing a subject.

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28

Schubert, Gottfried, and Emmanuel G. Tzekakis. "The ancient Greek theater and its acoustical quality for contemporary performances." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 1043. http://dx.doi.org/10.1121/1.424971.

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29

Vasilenko, A. B., N. V. Polshchikova, O. I. Marceniuk, and А. V. Namchuk. "DEVELOPMENTANDESTABLISHMENTTHEARCHITECTURE OF THE HELLENIC THEATER FROM FOIKDANCE TO THEATER BUILDINGS, VII-II beforec.b." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 140–48. http://dx.doi.org/10.31650/2519-4208-2020-20-140-148.

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The tradition of the holidayswhich dedicatedtotheendof the grape harvest, was born in Hellada in ancient times, in the countryside and gradually moved to the cities. This process began in the VIII century BC. Holidays were dedicated to God Dionysus, he was responsible about the natural forces of the earth and vegetation, the mastery of viticulture and winemaking. The holiday started to name Dionysuy. One of the most important action –dance around a circle. Then it becamenational, it conducted in cities, where was taken the new forms. Actors or other free citizens of the city performed on the level of the round plan as a symbol (similar to the village dance in a circle) citywide holiday, the audience were also residents of the city, seats for which came down to the playground of actors in the form of a semicircular funnel. Initially, such places were arranged on artificial sub-constructions of wood. Such structures were prefabricated and were used many times. There have been cases of their collapse. Only after being in Athens to the second part of VI century BC such structures collapsed during the performance, it was decided more of this type of sub-exercise not to be used. From the end of the VI century BC, places for spectators were cut downin the natural hills. And the theaters themselves turned into stationary facilities, which contributed to many spectacular innovations and conveniences of actors -all this increased the visual efficiency of performances. From a simple place of national celebration gradually theaters turned into city-wide centers of state-political information (where the words of the actors conveyed to the audience the general provisions of state policy). For example, in the time of Pericles (444-429 BC), the poor free citizens of Athens were given theatrical money from the state treasury, which they had the right to spend solely on watching theatrical productions. Taking into account the fact that the theaters gathered several thousand spectators at the same time, the performances contributed to the dissemination of state information at a time for a large number of residents of the city. The Theatre of Deonis in Athens under the acropolis of the Acropolis accommodated 17,000 spectators from the total number of citizens in the heyday of 100,000. In addition, it was noticed that certain performances contribute to the optimistic mood of the ISSN 2519–4208. ПРОБЛЕМЫ ТЕОРИИ И ИСТОРИИ АРХИТЕКТУРЫ УКРАИНЫ.2020. No 20142audience, and this has a beneficial effect on their health. Therefore, it is no coincidence that theatrical productions (late classics of Hellas) were provided among the medical and recreational procedures in the “Asclepius” treatment and health procedures at VI C. in B.C.). The “Asclepius” architectural ensemble has a theatre as part of a medical and recreational center.Theatrical actions carried to the masses the state lines of ideology and politics, increased the general culture of the population while influencing the audience as wellness procedures. Theatrical performances were more effective than temple services. This is the need for the construction of theaters throughout Hellenism, where there was no city within Hellenistic borders, where there would be no theater. By the end of the III century BC, when the entire East Mediterranean world was subordinated to the Roman Republic, the type of theatrical construction of Hellas was completely formed. This was accepted by the Romans for their theatrical productions, gradually adapting it to the features of their mass-entertainment culture.

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Pichugina, Victoria. "School institutes and mentoring apprenticeship in Ancient tragedies." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 13, no. 1 (2019): 137–52. http://dx.doi.org/10.25205/1995-4328-2019-13-1-137-152.

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Ancient Greek tragedies of the 5th century BC are considered as double texts (texts for scenic incarnation and texts for reading) that ensured the development of school institutions and mentoring apprenticeship and reflected the pedagogical positions of playwrights on these institutions. Texts of tragedies as texts for scenic incarnation were aimed at adult students - townspeople, who continued their education in the theater as a special educational landscape – school on the stage. Texts of tragedies as texts for reading were texts for schoolchildren who used them as notebooks with prescriptions for rewriting or as text-exercises for reading aloud, reciting, memorizing.

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31

Richardson, Seth. "Obedient Bellies: Hunger and Food Security in Ancient Mesopotamia." Journal of the Economic and Social History of the Orient 59, no. 5 (November 7, 2016): 750–92. http://dx.doi.org/10.1163/15685209-12341413.

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This essay argues that a broad survey of the evidence for hunger in ancient Mesopotamia shows that, while it was relatively rare in fact (if familiar enough in theory), the political management of hunger by early states points to its use in simulating their positions, in rhetoric and ideology, as providers of security and political membership as a rational economic choice. In fact, the social marginalization and moral pejorativization of the hungry points to these protections as “security theater” rather than security in fact.

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32

Budaeva, T. B. "Svetlana A. Serova on Life, Science and Chinese Traditional Theater." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 186–97. http://dx.doi.org/10.31696/2618-7302-2020-1-186-197.

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The names of specialists in Russian Sinology associated with independent research area are rare. This short list includes Svetlana A. Serova, a sinologist, theater historian, and theater expert, who devoted her academic endeavor to Chinese traditional theater. Deep historical roots of the Chinese theater, specifics in the simultaneous coexistence of dozens of its regional varieties, completely different from Western aesthetic views, stage embodiment and perceptions of this theatrical art — these are just some of the common features inherent in the genre of traditional theater. In Svetlana A. Serova’s seven monographs Chinese theater consistently appeared in its most diverse forms. Among them are genres of Beijing musical drama Jingju and Kunshan drama Kunqu (both became popular nationwide), acting skills and stage art, creative views of playwrights who influenced the development of Chinese theater as a whole, historical retrospectives up to the ancient ritual origins of the theater, parallels with Western theater, etc. It is obvious, that even the most objective and impartial scientific work is the result of not only professionalism, but also the personality of the scientist, his worldview. But when we deal with such a subtle and ephemeral matter as art, the author involuntarily steps at the avant scène, being forced to pass all the material through himself. Therefore, our interest in a researcher of such magnitude as Svetlana A. Serova is dictated not by a common interest, but rather by a need to understand her life values, providing additional opportunity to obtain more holistic view of her heritage.

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Sagitova, Aisylu S. "The Worldview Sources of Bashkir Theater." ICONI, no. 1 (2019): 167–75. http://dx.doi.org/10.33779/2658-4824.2019.1.167-175.

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The art of the Bashkir people, similarly to the art of all the peoples of the world, emerged in very early historical times and has its unique roots, which lead us into those remote times when the Bashkirs worshiped pagan gods, and all of their life was that of service to natural elements. These were the times when the great epos “Ural-batyr” was created, which in many ways has conditioned the worldview and world-perception of the Bashkir people during the course of many centuries. Particularly in the epic character of this work and in its pure, unadulterated, direct pathos lies the key to the romantically elevated Bashkir performing art. Frequently even presently, in the technological age of all-pervading mercenary self-interest, cold rationality and unlimited irony in national theater, in some performances a special style of pronunciation of the text as a type of epic singing is preserved. In any of the productions carried out by the Bashkir State Mazhit Gafuri Academic Theater of Drama — whether it be national, Russian or Western European classics or relevant contemporary dramaturgy — it always has the sound of the unusual, original, elevated, melodic, poetical intonation of speech, characteristic only to the Bashkir language. This peculiar intonation is an integral part (ancient, mythological, and archetypical) of the Bashkir consciousness and its product — the Bashkir language, in its sound and melody reminding heroic chants: strict, measured, not restless, maybe, at times harsh and at the same time soft. The language is an invaluable repository of people’s ancient culture and history. The Bashkir art of theatrical performance, which aspires towards capacious relief forms, parabolic, profound plot-generating meanings and epic melodiousness, is in many ways determined particularly by its mythological world perception. The latter is genetically intrinsic to the Bashkir people and is perceived by them as “a genuine and maximally concrete reality”. The worldview sources and folklore traditions make it possible for the Bashkir people to preserve their face and, keeping up with the time, to orient themselves on folklore traditions as the measure of things and the reference point in the constantly changing contemporary world. Therein is contained the unique sense of motion and development of the Bashkir theater: to be con-temporary (in tune with the times), but to base itself on the timeless and the eternal.

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Cozzolino, Marilena, Vincenzo Gentile, Claudia Giordano, and Paolo Mauriello. "Imaging Buried Archaeological Features through Ground Penetrating Radar: The Case of the Ancient Saepinum (Campobasso, Italy)." Geosciences 10, no. 6 (June 9, 2020): 225. http://dx.doi.org/10.3390/geosciences10060225.

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The archaeological area of Saepinum is considered the symbol of the history of Roman civilization in Molise region (Italy). It was a Samnite commercial forum and service center, then it became a Roman municipium, and, later, it was transformed into a medieval and modern rural village. Although the archaeological excavations brought to light different important public buildings, such as the theater, the forum, the basilica, different temples, and the main streets, today, there is still much to discover and study inside the well-preserved city walls. For this purpose, a ground penetrating radar (GPR) survey was realized in the space between the theater and the decumanus, allowing imaging of a complex regular pattern of archaeological features belonging to thermal buildings still buried in the soil.

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Withers, Rob. "Didaskalia: Ancient Theater Today200018Sallie Goetsch Managing Editor, C.W. Marshall Associate Editor Didaskalia@csv.warwick.ac.uk. Didaskalia: Ancient Theater Today. http://didaskalia. berkeley.edu/: University of California at Berkeley, ISSN: 1321-4853." Electronic Resources Review 4, no. 3 (February 2000): 18–19. http://dx.doi.org/10.1108/err.2000.4.3.18.18.

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Seidensticker, Bernd. "Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.

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Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.

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37

Lee, So-Rim. "Translation, Adaptation, and Appropriation in Brook's Mahabharata." New Theatre Quarterly 34, no. 1 (January 10, 2018): 74–90. http://dx.doi.org/10.1017/s0266464x17000690.

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In this article So-Rim Lee closely investigates the Mahābhārata in relation to – but quite distinct from – The Mahabharata: a Play (1985) by Peter Brook and Jean-Claude Carrière. Since the ancient text of the Mahābhārata does not have a definitive author, version, or form, So-Rim Lee argues that Brook and Carrière's framing of their modern reading as an adaptation of the ancient text poses a series of questions regarding the politics of recontextualizing a South Asian text in Western terms, the methodological process involved in doing this, and the ethical stance espoused by the transcultural adapters. She then questions whether the audience actually finds Brook and Carrière's international, multi - racial production as cosmopolitan and multicultural as the authors claim it to be. If The Mahabharata: a Play is a matter of cultural appropriation rather than adaptation, what transgressions are involved in reframing the source text and how does it produce what Gayatri Spivak calls ‘epistemic violence’? Lee is a doctoral candidate in the Department of Theater and Performance Studies at Stanford University. She has previously reviewed for Theatre Survey and Performance Research.

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Gruber, Markus A. "David Kawalko Roselli: Theater of the People. Spectators and Society in Ancient Athens." Gnomon 84, no. 7 (2012): 577–81. http://dx.doi.org/10.17104/0017-1417_2012_7_577.

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YOSHITAKE, Ryuichi. "A NEW RECONSTRUCTION OF THE SCAENAE FRONS OF THE THEATER AT ANCIENT MESSENE." Journal of Architecture and Planning (Transactions of AIJ) 78, no. 691 (2013): 2055–65. http://dx.doi.org/10.3130/aija.78.2055.

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40

Katz, Marilyn A. "Did the Women of Ancient Athens Attend the Theater in the Eighteenth Century?" Classical Philology 93, no. 2 (April 1998): 105–24. http://dx.doi.org/10.1086/449382.

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41

Johnson, Eugene J. "Jacopo Sansovino, Giacomo Torelli, and the Theatricality of the Piazzetta in Venice." Journal of the Society of Architectural Historians 59, no. 4 (December 1, 2000): 436–53. http://dx.doi.org/10.2307/991620.

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The architectural forms of Jacopo Sansovino's Libreria di San Marco in Venice, begun in 1537, have generally been interpreted in terms of a revival of the ancient Roman forum. Another way of looking at the building, suggested here, concentrates on its theatrical nature, both in terms of the typology of architectural forms and in terms of use. Sansovino's library completed the Piazzetta in Venice as a theatrical space, and it did so at the same time that the modern theater with boxes was first developed in Venice. The great seventeenth-century scene designer Giacomo Torelli in turn used the space completed by Sansovino as a set for the opera Bellerofonte, produced in Venice in 1642. In Torelli's scene, Venice is shown as a theater of justice.

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Dogorova, Nadezhda A. "Anthropological Characteristics of Theatricality in the Context of Mordovian Dance Plasticity." Observatory of Culture, no. 6 (December 28, 2015): 48–51. http://dx.doi.org/10.25281/2072-3156-2015-0-6-48-51.

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The article gives a comparative analysis of historical and ethnographic materials of the late 19th - early 20th century to define the anthropological characteristics of theatricality in the context of Mordovian dance plasticity. For the first time ever, the basis is provided to the artistic and esthetic levels of existence of the syncretic behavioural activities of ancient composition of the “bezaktersky” theater of the “folklore period”.

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Demchenko, Alexander I. "Ancient World. (Depth of Times). Discoveries and Revelations." ICONI, no. 1 (2020): 6–23. http://dx.doi.org/10.33779/2658-4824.2020.1.006-023.

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The object of the proposed cycle of essays is that with a maximal compactness of presentment it presents a cumulative overview of the chief phenomena of world artistic culture, spanned in whole, both from the perspective of an overall historical process and in relation to the various arts (literature, the visual arts, architecture, music, theater and cinema). At the same time, it avoids the customary rubrication according to national schools and division into separate arts forms with the specifi cation of genre inherent to each one of them, which is in accord with the positive tendencies of globalization and provides an integral vision of artistic phenomena. A phased examination of the following periods of art history is foreseen: the Ancient World, Antiquity, the Middle Ages, the Renaissance, the Baroque period, the Enlightenment, Romanticism, the 1st Modern style, the 2nd Modern style, the 3rd Modern style, the Postmodern style, and as an afterword — “The Golden Age of Russian Artistic Culture.”

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44

Di Gregorio, G. "REPRESENTATION AND DIGITALIZATION OF STONE THEATRES IN EASTERN SICILY: THE PALAZZOLO ACREIDE THEATER." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 4, 2019): 475–79. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-475-2019.

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<p><strong>Abstract.</strong> The ancient theatres in Sicily, in southern Italy and along the countries facing the Mediterranean Sea basin, constitute a reality of incomparable cultural value. Regarding the research on the ancient theatres of eastern Sicily, few studies have been recently dealt with different methodologies. In the last years some practices have been done using 3D laser scanners for the theatres of Syracuse, Taormina and Morgantina, as well as the Syracuse amphitheatre and Taormina Odeon, just obtaining very interesting results. Lately the theatre of Palazzolo Acreide (Syracuse) has been studied, with Structure From Motion (SFM) and Dense Matching methodologies. From these experience, conclusions could be drawn on the quality and reliability of the elaborations realised with the SFM methodologies. We really know that these systems are today representing one of the fastest growing areas of examination, on which several software houses are investing. The study was chosen both for the small size of the building, and for the particular geometric conditions typical of the architecture of ancient theatres. This because their three-dimensional trend varies continually in the three variables X, Y, Z. The purpose of the work was to check whether the latest releases of these systems of survey allow today more than yesterday, a rapid digitalization and representation of the enormous archaeological cultural heritage. Various software were used, to verify the practicality and operation, the choice then fell on the Zephyr of 3DFlow, kindly available by the manufacturer, whose results were quite agreeable. The possibility offered by the program of a graphical tracing of polylines on the textured 3D model, has been a considerable advantage. Therefore the results obtained by modeling and surveying of the Palazzolo Acreide theatre have been compared, with the survey of the Syracuse, Taormina and Morgantina theatre performed using 3D laser scanners. First results of the research are matter of the following work.</p>

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Siry, Joseph M. "Chicago's Auditorium Building: Opera or Anarchism." Journal of the Society of Architectural Historians 57, no. 2 (June 1, 1998): 128–59. http://dx.doi.org/10.2307/991376.

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Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multiple tiers of boxes for privileged patrons. This tradition was represented by the Metropolitan Opera House in New York City (1881-1883). Turning away from works like the Paris Opéra, Peck and his architects perhaps sought to emulate ideas of other European theaters of the period, such as Bayreuth's Festspielhaus (1872-1876). Sullivan's interior had an ornamental and iconographic program that was innovative relative to traditional opera houses. His design of the building's exterior was in a Romanesque style that recalled ancient Roman monuments. It is here compared with other Chicago buildings of its era that represented high capital's reaction to workers' culture, such as Burnham and Root's First Regiment Armory (1889-1891), Peck's own house (1887), and the Chicago Athenaeum (1890-1891). The Auditorium's story invites a view of the Chicago School that emphasizes the role of patrons' ideological agenda rather than modern structural expression.

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Benjamin, Matthew, and Karelisa V. Hartigan. "Greek Tragedy on the American Stage: Ancient Drama in the Commercial Theater, 1882-1994." Classical World 90, no. 6 (1997): 445. http://dx.doi.org/10.2307/4352002.

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IWATA, Chiho, and Juko ITO. "DESCRIPTION AND TENTATIVE RECONSTRUCTION OF THE ROMAN CAVEA OF THE THEATER IN ANCIENT MESSENE." Journal of Architecture and Planning (Transactions of AIJ) 79, no. 697 (2014): 827–36. http://dx.doi.org/10.3130/aija.79.827.

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48

IWATA, Chiho, Ryuichi YOSHITAKE, and Juko ITO. "A TENTATIVE RECONSTRUCTION OF THE ROMAN SCENE BUILDING OF THE THEATER IN ANCIENT MESSENE." Journal of Architecture and Planning (Transactions of AIJ) 77, no. 678 (2012): 1967–76. http://dx.doi.org/10.3130/aija.77.1967.

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Naidysh, Vyacheslav M. "Hellenic Theology of Early Classical Period." RUDN Journal of Philosophy 24, no. 4 (December 15, 2020): 669–80. http://dx.doi.org/10.22363/2313-2302-2020-24-4-669-680.

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The author analyzes the transformations of Hellenic theologys content and forms in the epoch of early antique classics (1st half of the 5th century B.C.). The general orientation of such transformations is the generalization of mythological gods meanings into the abstract implications of the Absolute, which is not yet sacral in its full sense and not transcendent. Besides, this period is the end of the decentralization of consciousness. Cognitive limitations to the development of abstract conceptual thinking and the rational component of consciousness are removed. This processs main points transform mythology into artistic and aesthetic creativity (folklore, mythopoetic epic, etc.), religious consciousness, and theology. Rationalism is always critical. Critical rationalism inevitably leads to historicism. Therefore, the formation of a historical attitude strengthens at the sight of the critical approach. The world's mythological image is increasingly being questioned (first in parts, and then in general). Its content is being transferred to the past. Finally, the era of early classicism comes into play. It is a time when theology becomes a field of philosophical and theoretical reflection on myth and an area of its artistic and aesthetic experience. The most influential form of such an understanding of myth was the theater. The ancient theater served as a spiritual and practical form of ancient theology, a subject embodiment of theology in stage action.

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Yeksarova, Nadia, and Vladimir Yeksarov. "Genesis of the formation of the cultural and social core of Odessa." VITRUVIO - International Journal of Architectural Technology and Sustainability 3, no. 2 (December 26, 2018): 67. http://dx.doi.org/10.4995/vitruvio-ijats.2018.11018.

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<span>The architectural and spatial environment of the city is an important part of the cultural heritage, a carrier of information about its formation. The life cycle of a diverse architectural environment forms a series of stages - from the concept-creation-realization-alterations-degradation and, finally, partial or complete loss. The main idea, the scenario of modeling the environment-phenomenon of Odessa was in the priority development of culture. The construction of the first City Theater in 1809 on the plateau of the coastal zone determined the formation of a system of rhythmically iridescent spaces of a social center. An analog of the ancient forum - “Odessa Acropolis or Odessa Agora” - was created at the intersection of Lanzheronovskaya and Rishelevskaya (Decumanus and Cardin) streets in full accordance with the recommendations of Vitruvius. After the theater was destroyed by fire in 1872, the project of the new theater was developed by the Viennese architects F. Fellner and H. Helmer. The size of the new Opera and Ballet Theater for 1,728 seats significantly exceeded the volume of the former, and the main planning axis of the theater was changed by 90 degrees (1884–1887). This actually became an act of destruction and the loss of the original intention of the script by architect G. Toricelli on the formation of the solemn “Road of Processions”. Elements of the architectural environment of the cultural center gradually adapted to the new changes. The process of the evolution of the environment often creates more contradictions and problems than it solves. The problem lies not only in avoiding alterations and losses but in how to preserve the value-psychological core of culture.</span>

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