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Journal articles on the topic 'And Contemporary Theatre'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Markovic-Bozovic, Ksenija. "Theatre audience development as a social function of contemporary theatres." Zbornik Matice srpske za drustvene nauke, no. 175 (2020): 437–51. http://dx.doi.org/10.2298/zmsdn2075437m.

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From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize

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Rodiņa, Ieva. "Actors as Co-Creators in Contemporary Latvian Theatre." Nordic Theatre Studies 34, no. 1 (2023): 78–89. http://dx.doi.org/10.7146/nts.v34i1.137927.

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In Latvian theatre, the last decade has been a time of significant changes regarding the working methods of independent theatre movements. Two of the oldest independent theatres in Riga – Dirty Deal Teatro and Ģertrūde Street Theatre – have become a centre for various theatre productions, therefore moving towards the model of state repertoire theatres. Meanwhile, in recent years, several new theatre companies and creative groups have appeared in the field. Theatre troupe KVADRIFRONS, formed by four young actors having just graduated from the Latvian Academy of Culture, as well as the theatre c

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Olatunji, Olalekan F., and Olumide J. OKI. "Creating the Contemporary Christian Theatre: An X-Ray of Sight & Sound Theatres." Global Academic Journal of Humanities and Social Sciences 6, no. 02 (2024): 69–78. http://dx.doi.org/10.36348/gajhss.2024.v06i02.004.

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The proliferation of media technologies has redefined theatre performance in contemporary times. This modification which includes mixed-media and mediatization; interactive media; social media; aesthetic communication and spectacle have resulted in a high level of change. As audiences visit the theatre with an increased level of aesthetic taste and newer lens to view performance, theatre directors and designers struggle to find newer methods to tell the dramatic story and create performances to meet the high demand. Sadly, for Christian theatres, especially in Nigeria, the handful of theatre d

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Jesenko, Primož. "Balbina’s “theatre in the round”." Maska 31, no. 181 (2016): 160–65. http://dx.doi.org/10.1386/maska.31.181-182.160_7.

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With an overview of the life and work of Balbina Battelino Baranovič (1921–2015), the article emphasises her role in the Slovenian theatre scene. She founded theatres, researched contemporary theatrical practices, and, thanks to a strong connection to French and American theatre, broadened the horizons of the Slovenian and Yugoslav theatre of the time, while enabling actors to flourish under contemporary approaches. The founder of the Experimental Theatre, she also introduced theatre in the round to the Slovenian artistic space.

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Bozkurt Jobanputra, Seyhan, and Mehmet Zeki Giritli. "Ideology and Theatre Translation in Contemporary Turkish Theatre." Vertimo studijos 16 (October 11, 2023): 10–28. http://dx.doi.org/10.15388/vertstud.2023.1.

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This paper aims to explore the relationship between drama translation and ideology in contemporary Turkish theatre. After delineating the distinction between state/city theatres and independent (private/alternative) theatres, it will then focus on the 2000s with a special emphasis on the translation activities of independent (private/alternative) theatres. In particular, it shall draw attention to how actor/director translators working with or for these theatres have become significant cultural agents and have challenged the status quo by either choosing to translate plays with provocative con

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Laganovska, Evija. "Prozas dramatizējumi latviešu profesionālajos teātros (2000–2020): kvantitatīvi statistiskais aspekts." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 30 (March 24, 2025): 277–90. https://doi.org/10.37384/aplkp.2025.30.277.

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In the 21st century, Latvian theatre processes have been characterised by the search for various new stage interpretations. One result of these explorations is the dramatisation and staging of prose works, contributing an additional segment to the theatrical language. These dramatisations of prose not only promote and enhance the artistic growth of theatres but also aid in preserving cultural heritage and revitalising various literary periods in contemporary society. In the 2010s and 2020s, theatre productions, prose dramatisation, a socially active position and marginal phenomena, contemporar

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DIAMOND, CATHERINE. "The Palimpsest of Vietnamese Contemporary Spoken Drama." Theatre Research International 30, no. 3 (2005): 207–22. http://dx.doi.org/10.1017/s030788330500146x.

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Unlike most Southeast Asian theatres, Vietnam has created a sizeable corpus of scripted spoken dramas that continue to be popular in performance with urban audiences. Initially influenced by French classicism and Ibsenist realism, the Vietnamese spoken drama, kich noi, very quickly adapted to local social realities and survives by readily incorporating topical subjects. While keeping abreast of current social issues, the theatre nonetheless makes use of its multi-cultural heritage, and in any given modern performance one can see the layers of influence – traditional Sino-Vietnamese hat boi/tuo

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Roesner, David. ""Sound Decisions – The Contemporary Praxis of Theatre Music"." Theatre and Performance Design. Special double issue: 'Sounds good', ed. by David Roesner und Adrian Curtin 2, no. 3-4, Autumn/Winter 2016 (2016): 202–16. https://doi.org/10.5281/zenodo.1067602.

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In this article, the author poses the question what constitutes “good sound” in a theatre production to a range of theatre composers working in German-language theatres today. What criteria do they apply to creating and selecting sound(s)? How conscious are their aesthetic principles? What factors influence their sonic decisions? The article seeks to represent both: how individual and diverse the answers to these questions are, even within a very small sample of interviewees, but also what common themes emerge. Finally, the author seeks to reflect on some of the implications for th

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Hadar, Misha. "Jonas Tinius. State of the Arts: An Ethnography of German Theatre and Migration." Modern Drama 67, no. 4 (2024): 506–9. https://doi.org/10.3138/md-67-4-rev7.

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Jonas Tinius’s State of the Arts: An Ethnography of German Theatre and Migration investigates the Theater an der Ruhr, in Mülheim, Germany, to challenge the role of the theatre as a public institution, as well as the place of travel and collaboration with migrants and refugees in contemporary German theatre.

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Foreman, Kathleen, and John Poulsen. "Transforming Traditions: Commedia dell’Arte and masQuirx (Contemporary Mask Performance)." Canadian Theatre Review 104 (September 2000): 93–97. http://dx.doi.org/10.3138/ctr.104.014.

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masQuirx is a collective of seven artists from a variety of visual and performing arts backgrounds—theatre, painting, dance, photography, mime and improvisation. Working together since 1991, our work has been described as “Jim Henson meets Hieronymus Bosch” (Raby). We create and exhibit masks, and perform in a variety of venues: theatres, art galleries, theatre festivals and roving street performances. Based in Alberta, we have toured nationally and internationally offering audiences our unique blend of visual art and physical theatre.

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11

Modreanu, Cristina. "Elements of Ethics and Aesthetics in New Romanian Theatre." New Theatre Quarterly 29, no. 4 (2013): 385–93. http://dx.doi.org/10.1017/s0266464x13000705.

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Young Romanian theatre artists are very concerned to address issues from the recent past and in using collaborative art to educational and therapeutic ends. The implications of the increased ethical consciousness in their work is addressed here by Cristina Modreanu, who focuses on the productions of directors Gianina Cӑrbunariu and David Schwartz. She analyzes the relationship between ethics and aesthetics in contemporary work against the backdrop of post-Communist Romanian society and in a global context, as well as the dynamics connecting the new wave of Romanian theatre to internationall te

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Harun, Afrizal, Kurniasih Zaitun, and Susandro Susandro. "Postdramatik: Dramaturgi Teater Indonesia Kontemporer." Dance and Theatre Review 4, no. 2 (2022): 57–69. http://dx.doi.org/10.24821/dtr.v4i2.6450.

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Postdramatic: The Dramaturgy of Contemporary Indonesian Theater. The research attempts to explain a new possibility in theatre practice in Indonesia, which was initially formed through the power of words in the form of dialogue depicted in drama scripts. Since then, there was another tendency which was a matter of fact, in the early 1920s, for which Antonin Artaud initiated. Various terms have been used to describe new trends in the dramaturgy of Indonesian theatre since the 1970s up to now, such as cutting-edge theatre, avant-garde theatre, experimental theatre, body theatre, visual/visual th

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Maryina, Lyudmila, and Elizaveta Kochergina. "New horizons of theatre: Digital practices and their significance for contemporary theatre arts." Managing of Culture 4, no. 1 (2025): 29–36. https://doi.org/10.70202/2949-074x-2025-4-1-29-36.

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Digitalization is changing the contemporary theatre, posing new challenges. The article examines how technologies – from virtual reality to online platforms – are transforming the perception of viewers, creating new performance formats and changing promotion strategies. Particular attention is paid to the role of the viewer, who from a passive observer becomes an active participant, as well as the influence of social networks on the formation of a loyal audience. The transformation of traditional forms, viewer experience and theatrical space under the influence of virtual and augmented reality

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Giannachi, Gabriella, and Lizbeth Goodman. "Which Freedom? An Overview of Contemporary Bulgarian Theatre." New Theatre Quarterly 8, no. 32 (1992): 362–76. http://dx.doi.org/10.1017/s0266464x00007144.

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Our ‘Update from Eastern Europe’, following this article, includes reports from Poland, Czechoslovakia, and Russia – on all of which countries we have published earlier features concerning the problems faced by theatre people in the wake of the disintegration of the Communist bloc. However, the theatre of Bulgaria has been little previously noticed, whether by NTQ or its contemporaries, and requires a more detailed overview. This is now provided by Gabriella Giannachi and Lizbeth Goodman, who visited the country in October 1991, interviewing a wide range of people working in its theatres and s

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YILDIRIM, ŞEYDA NUR. "Staging Theatre Historiography: The Afterlives of Ottoman Armenian Drama in Contemporary Turkish Public Theatre." Theatre Research International 48, no. 3 (2023): 246–63. http://dx.doi.org/10.1017/s0307883323000160.

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In the last twenty years, memory has gained broader attention in Turkey's social, cultural and political arena. In line with this movement, independent and subsidized theatres produced plays engaging with Armenian history through diverse political and aesthetic agendas. Among these works, public and state theatre productions remained mostly invisible in theatre scholarship due to their ambiguous position that does not directly align with the framework of political theatre. This article examines the adaptation of the Ottoman Armenian playwright Hagop Baronian's Adamnapuyj aravelyan (1868) as Şa

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Hyldig, Keld. "Teaterhistoriens betydning." Peripeti 16, S8 (2019): 122–31. http://dx.doi.org/10.7146/peri.v16is8.117600.

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Artikkelens hensikt er å vise teaterhistoriens verdi og betydning. Med avsett i et hermeneutisk historiesyn beskrives teaterhistorien som et erkjennelsesmessig samspill mellom samtid og fortid. Begrepet om «historisk bevissthet» diskuteres som et akademisk-historiografisk begrep og som begrepsliggjøring av en nødvendig historisk bevissthet i og rundt samtidsteateret. Med utgangspunkt i en hermeneutisk forståelse av den teaterhistoriske bevisstheten vises det hvordan teatervitenskapen og den teaterhistoriske forskningen i det 20. århundre oppsto og utviklet seg i nært samspill med samtidens tea

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17

Boyle, Catherine M. "From Resistance to Revelation: the Contemporary Theatre in Chile." New Theatre Quarterly 4, no. 15 (1988): 209–21. http://dx.doi.org/10.1017/s0266464x0000275x.

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Largely as a result of the experimentation and stability of the university theatres founded in the early 'forties, Chilean theatre is among the best-established in Latin America. But how far has its survival since 1973 depended on the regime's sense of the theatre's relative impotence to effect change? Little is known about Chilean theatre in Britain, few plays have been translated, and with rare exceptions those that have found their way here have been limited to ‘solidarity’ audiences. In this article. Catherine M. Boyle, who teaches in the Department of Modern Languages of the University of

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Balme, Christopher B. "Interpreting the Pictorial Record: Theatre Iconography and the Referential Dilemma." Theatre Research International 22, no. 3 (1997): 190–201. http://dx.doi.org/10.1017/s0307883300017004.

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In 1926 the German theatre critic and scholar Julius Bab compared the endeavour of the theatre historian engaged in reconstructing past performances with that of the art historian required to study paintings solely on the basis of descriptions. The analogy serves as a justification for Bab's own study of contemporary theatre based on personal observations: only the privileged status of the eye-witness account can do justice to the transitory nature of theatrical performance, he argues. What today may seem like a self-evident truth was in the 1920s by no means so. German Theater-wissenschaft of

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19

Bhuyan, Abul Basher MD Ziaul Haque. "The synthesis of tradition in contemporary theatre of Bangladesh: “The theatre of roots”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 84–104. http://dx.doi.org/10.35852/2588-0144-2022-4-84-104.

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The article examines how the Eastern traditional theatre responded to the Western theatre in the context of the British colonial regime in the Indian subcontinent. From this point of view, the dialogue between cultures was practically not considered. Hence, this study is devoted to understanding the synthesis of European theatre and traditional theatre, which began to be considered a rural art form by the early twentieth century, meaning something simple or low. In contrast, urban theatre of the European type was perceived as something refined or high. Rabindranath Tagore had not been fully su

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20

Chen, Chen. "Theatre as Memory Site: Cultural Activities, Imaginaries, and Theatrical Things of a Regional Xiqu Theatre in Contemporary China." Asian Theatre Journal 41, no. 1 (2024): 50–79. http://dx.doi.org/10.1353/atj.2024.a927713.

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Abstract: This paper explores how the theatre of a Chinese regional opera, as a memory site and an actor, enunciates stories, theatrical experiences, and imaginaries of xiqu (traditional Chinese theatre) communities. The material presences of theatres ensure the continuities of cultural activities of xiqu traditions in Chinese society today. The institutionalized opera activities that emerged in the 1950s national xiqu reform campaign have molded the Chinese xiqu theatres toward an “enduring site” for constantly revamping regional cultures into the rubrics of national culture coherently. Howev

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Shevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014." New Theatre Quarterly 32, no. 2 (2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.

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What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in foc

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Kristensen, Jeppe. "World Theatre and Theatre of the Moment." Peripeti 19, SI (2023): 186–93. http://dx.doi.org/10.7146/peri.v19isi.137789.

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Kristensen gives an overall artistic discussion of FIX&FOXY and draws a thread from the company’s beginning as a theatrical variant of contemporary art, to Peter Osborne's analysis of what contemporary art is today.

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Mazeikiene, Ruta. "Text in Contemporary Theatre." Nordic Theatre Studies 26, no. 1 (2018): 104–7. http://dx.doi.org/10.7146/nts.v26i1.110371.

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Mazeikiene, Ruta. "Text in Contemporary Theatre." Nordic Theatre Studies 26, no. 1 (2018): 104–7. http://dx.doi.org/10.7146/nts.v26i1.110371.

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Hamon-siréjols, Christine. "Populism on Contemporary Theatre." Slovenske divadlo /The Slovak Theatre 68, no. 3 (2020): 267–75. http://dx.doi.org/10.31577/sd-2020-0017.

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Foley, Helene. "Classics and Contemporary Theatre." Theatre Survey 47, no. 2 (2006): 239–44. http://dx.doi.org/10.1017/s0040557406000214.

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Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development. Electronic resources are developing to record not only recent but many more past performances, from the Renaissance to the present.1 A group of scholars at the Archive of Performances of Greek and Roman Drama at Oxford—Edith Hall, Fiona Macintosh, Oliver Taplin, and their associ

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Brilli, Stefano, and Laura Gemini. "Trailers as mediatized performances: Investigating the use of promotional videos among Italian contemporary theatre artists." Journal of Italian Cinema & Media Studies 10, no. 1 (2022): 77–95. http://dx.doi.org/10.1386/jicms_00103_1.

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In the theatre sector, many companies, festivals and theatres have integrated promotional videos into their communication strategies. This recent development is undoubtedly due to the rise of social media and the increasing accessibility of video technologies, but also to the need for theatre companies to publicize their work in a media that combines creative autonomy with economic efficiency. Despite this widespread use, trailers in the performing arts have received little attention in academic literature. This article offers the first, exploratory study on the use of promotional videos in th

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Ljupcho, Jovanov, Vasic Toni, and Jovanchevska‐Milenkoska Jovanka. "The Significance of Adolphe Appia in Contemporary Theatrical Space in the EU and Macedonia." AICEI Proceedings 9, no. 1 (2014): 249–60. https://doi.org/10.5281/zenodo.4553259.

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Theatrical space occurs as an interaction between stage and auditorium, between scenic and architectural space. This interaction is a complex process, and the theatrical space is constantly evolving. Usually this is in correlation with the spirit of time, which often fails to treat the theater as one building and space. Modern technology, which is increasingly employed in the theater, requires a change in the architectural space (both the exterior and interior). Back in the late 19th and early 20th centuries, Adolphe Appia advocated key changes, which influenced the creation of new theatrical

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Hornby, Richard. "Ibsen Our Contemporary." New Theatre Quarterly 30, no. 3 (2014): 243–48. http://dx.doi.org/10.1017/s0266464x14000487.

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In this article Richard Hornby argues that Ibsen's plays are badly performed today, or not performed at all, because of directors' refusal to take them with appropriate seriousness. The tendency is to stage the plays' reputation as simplistic social problem plays rather than as the complex, challenging, bizarre dramas that Ibsen actually wrote. In particular, directors avoid the grotesque elements that are the true ‘quintessence of Ibsenism’, and that are often remarkably similar in style to that of avant-garde playwrights today. Richard Hornby is Emeritus Professor of Theatre at the Universit

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Zhao, Shuhang. "Analysis of the Psychological Characteristics of the Audience in Contemporary Chinese Theater Space." Transactions on Social Science, Education and Humanities Research 7 (May 6, 2024): 285–89. http://dx.doi.org/10.62051/n667xz18.

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Since the beginning of 2023, the number of theatre performances in China has increased year by year, and a new round of " theatre defense war " is about to be opened. Whether the operators can keep up with the favorable policies, take advantage of the wind, grasp the new market competition situation, and make timely market response has become a key factor. This paper focuses on the current audience viewing psychology dimension for data sampling and analysis, in order to put forward constructive suggestions. The purpose of this project research is based on the current situation investigation an

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Rajaravivarma, K. R., and Suresh Chandra Das. "THERUKUTHU AS A TRAINING METHOD FOR CONTEMPORARY THEATRE ACTOR." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 115–22. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.147.

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The contemporary acting in theatre has resembling in many features of the Tamil traditional theatre form Therukuthu. So, this discussion intended to establish the possibilities of the Therukuthu as a method of actor training for contemporary theatre actors. The primary concern of the discussion includes the actor and acting of contemporary theatre; the way how actor presents the character and communicates with the audience as co-actors, which are the two significant features of contemporary theatre. So, the discussion considers at those factors of Therukuthu form and acting or performance thos

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Krasner, David, Lisa M. Anderson, Nadine George-Graves, et al. "African American Theatre." Theatre Survey 47, no. 2 (2006): 191–97. http://dx.doi.org/10.1017/s0040557406000159.

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David Krasner: In surveying contemporary London theatre, New York Times critic Ben Brantley reported that the Tricycle Theatre hadinaugurated a season of African-American plays with the commandingly titled but obscure Walk Hard, Talk Loud, a play by Abram Hill from the early1940's. Abram who? The name meant nothing to me, but Abram Hill (1910–1986) was a founder and director of the American Negro Theater in New York (1940–1951) and a playwright, it seems, of considerable verve.3That Abram Hill and the American Negro Theatre—the most important black theatre company during the mid-twentieth cent

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Brown, John. "Tomorrow's Theatre – and How to Get There from Today's." New Theatre Quarterly 18, no. 4 (2002): 334–42. http://dx.doi.org/10.1017/s0266464x02000441.

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Taking a wide-ranging look at the aesthetics and economics of theatre on both sides of the Atlantic, and highlighting the increasing interest in learning about theatre in the educational sphere at a time when institutional theatre appears to be floundering, John Russell Brown here draws on his own visits over the past decade to traditional and contemporary theatres in China, India, Japan, Korea, and Indonesia to suggest how new approaches to and locations for theatre might build on forms which continue to draw audiences worldwide. John Russell Brown founded the Department of Drama and Theatre

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Chkhartishvili, Lasha. "War and Contemporary Georgian Theatre." Arts 12, no. 6 (2023): 236. http://dx.doi.org/10.3390/arts12060236.

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How is war and its consequences reflected in the theatre? How, in particular, has the Georgian theatre reacted to war, and to what degree does its presence impact Georgian theatre directors and audiences? When and under what circumstances do theatre companies stage plays on the theme of war? Since war never loses its relevance for Georgians, new texts are written continually on this topic and subsequently turned into plays, primarily by young directors. These productions grapple with the experience of war and its impact on the nation and its people, who are radically transformed by their indiv

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Cornford, Tom. "Reconstructing Theatre: the Globe under Dominic Dromgoole." New Theatre Quarterly 26, no. 4 (2010): 319–28. http://dx.doi.org/10.1017/s0266464x1000062x.

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In this article Tom Cornford examines the policy of extending and adapting the permanent stage of Shakespeare's Globe for each new production, as pursued by Dominic Dromgoole since the beginning of his tenure as Artistic Director in 2006. The article responds initially to John Russell Brown's equation in NTQ 102 of a particular kind of ‘intimate’ acting with ‘small theatres’. Cornford resists this conflation of acting and building, seeing in it a tendency to obscure both the role of reconstructed theatres to challenge contemporary notions of the ‘rightness’ of theatre spaces and the role of di

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Leben, Andrej. "Contemporary Slovenian Bilingual and Multilingual Theatre in the Context of Carinthia." Amfiteater 11, no. 2 (2023): 36–56. http://dx.doi.org/10.51937/amfiteater-2023-2/36-56.

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For many years, bilingual and multilingual practices have been one of the distinctivefeatures of contemporary theatre work by the Slovenian minority in Carinthia. Morerecently, they can also be observed in the productions of other Carinthian theatres,both non-institutional and institutional, with which actors from minority backgroundsrepeatedly collaborate. Some have (co-)founded new bilingual and multilingual theatrestructures within or outside this environment. Others are working simultaneously to agreater or lesser extent in theatres in the wider German and Slovenian language area andelsewh

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Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.

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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität i

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(Yoshi), Yoshihara Toyoshi. "A Personal Attempt to Introduce Canadian Theatre to Japan." Canadian Theatre Review 85 (December 1995): 19–21. http://dx.doi.org/10.3138/ctr.85.004.

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With its population of twelve million, Tokyo is a huge market for performing arts. It has more than one hundred theatres, and in each theatre something goes on almost every day. (Unlike in North America or Europe, there is no “Theatre Season” in Japan. Performances go on all the year round, probably because of the size of the market and the high cost of building and maintaining a theatre.) The repertoire ranges from Japanese classics, such as Kabuki or Noh, to modern dramas reflecting the day-to-day life of contemporary Japanese.

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Heinrich, Anselm. "Theatre in Britain during the Second World War." New Theatre Quarterly 26, no. 1 (2010): 61–70. http://dx.doi.org/10.1017/s0266464x10000060.

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In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and educatio

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Yung, Danny, and Maciej Szatkowski. "Cultural Institution and Institutional Culture from the Transcultural Perspective: What Is the Culture behind the Stage, and What Is the Culture inside a Cage?" Pamiętnik Teatralny 72, no. 3 (2023): 73–86. http://dx.doi.org/10.36744/pt.1476.

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This article presents the profile of the East Asian theatre artist Danny Yung, director of the acclaimed Zuni Icosachedron theatre in Hong Kong. In the first part, Maciej Szatkowski offers a synthesis of his artistic biography, from his early years as a theatre maker in Hong Kong in the 1980s to the creation of a transnational Chinese theatre, which provides a space for artistic encounters of established and emerging artists from the Sinosphere and beyond. The article focuses on highlighting the main areas of Yung’s work and contextualizing them in terms of the realities of Chinese cultural li

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Konovalova, Nina A. "PARTICULARITIES OF ARCHITECTURE OF MODERN THEATRE BUILDINGS IN THE WORLD: GLOBAL REQUIREMENTS AND NATIONAL PRIORITIES." Arts education and science 3, no. 36 (2023): 130–37. http://dx.doi.org/10.36871/hon.202303130.

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The architecture of theatre buildings in the modern period (from the late XXth century to the present day) has gone through significant changes in the architectural and artistic image of new constructions and in technological solutions. These transformations were motivated both by the need to comply with global standards and by the desire to sovereignly formulate priorities for the development of authentic national theatres (as an essential type of cultural institution) in each country. The goal of the article is to identify the key features of the traditions of contemporary theatre architectu

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Saro, Anneli. "Building an Ideal Theatre." Nordic Theatre Studies 34, no. 2 (2023): 66–78. http://dx.doi.org/10.7146/nts.v34i2.141663.

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Throughout the course of theatre history, many actors and directors have dreamt about an ideal theatre. Many young European theatre makers in the twenty-first century have preferred working in their own groups with like-minded colleagues instead of joining big institutional theatres or have tried to revolutionize the institutions.Dwelling on theoretical arguments about the terms “ideal”, “idealism”, and “utopia” in theatre, the article investigates what are the ideals of contemporary theatre makers, which ideals/utopias are realizable in theatre practice and how. To answer these questions, the

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Pezdirc Bartol, Mateja. "Najnovejša slovenska dramatika med platnicami in odrom." Jezik in slovstvo 49, no. 5 (2024): 13–21. http://dx.doi.org/10.4312/jis.49.5.13-21.

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Contemporary Slovene playwriting is met with a unique phenomenon: it has an extremely diverse theatre production of high quality, while the production of Slovene plays is minimal, their book publications are rare, approximately one Slovene text is staged per Slovene theatre on average, while literary studies have shown considerably less interest in contemporary Slovene playwriting compared to that in poetry and prose; therefore it is justified to speak of a so-called crisis in national playwriting on various levels. This aim of this article is to provide some key reasons for the current state

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Adams, Kate. "Contemporary Theatre and the Experiential." International Journal of the Arts in Society: Annual Review 5, no. 4 (2010): 153–64. http://dx.doi.org/10.18848/1833-1866/cgp/v05i04/35890.

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Marchenko, Valerii, Cheng Yunjia, Lin Yitong, Iryna Antonyuk, and Oleksii S. Khovpun. "Symphonic music in contemporary theatre." Linguistics and Culture Review 5, S4 (2021): 162–70. http://dx.doi.org/10.21744/lingcure.v5ns4.1569.

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The transformation of symphonic music is an understudied subject for research. It has changed since the beginning of the 20th century and it can even be said that symphonic music has lost its popularity. An important feature of contemporary symphonic music is its transformation and acquiring a different form. Still, it remains in demand for the theatrical world. The authors aimed to investigate modern trends in symphonic music and works of contemporary composers. For studying examples of contemporary symphonic music and its performance on theatrical stages the authors used the following method

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B, Dr Jayalakshmi, and Dr Sowmya A. "Hayavadana and the Contemporary Theatre." International Journal of English Literature and Social Sciences 7, no. 1 (2022): 064–67. http://dx.doi.org/10.22161/ijels.71.11.

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Delgado, Maria M. "Contemporary Catalan Theatre: An Introduction." Hispanic Research Journal 2, no. 1 (2001): 86–87. http://dx.doi.org/10.1179/hrj.2001.2.1.86.

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Weinstein, John B. "Multilingual Theatre in Contemporary Taiwan." Asian Theatre Journal 17, no. 2 (2000): 269–83. http://dx.doi.org/10.1353/atj.2000.0026.

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Dzikevich, Elena. "Institutional Changes in Contemporary Theatre." Societal Studies 5, no. 4 (2013): 1086–93. http://dx.doi.org/10.13165/sms-13-5-4-08.

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Delimata, Maria. "Contemporary theatre in the Philippines." Mimesis Journal, no. 2, 2 (December 1, 2013): 48–56. http://dx.doi.org/10.4000/mimesis.342.

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