Relevant bibliographies by topics / Bremer Theater

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'Bremer Theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Bremer Theater"

1

Brown, John Russell. "Shakespeare, the Natyasastra, and Discovering Rasa for Performance." New Theatre Quarterly 21, no. 1 (2005): 3–12. http://dx.doi.org/10.1017/s0266464x04000284.

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Recognizing analogies between the assumptions about theatricality found in the classic Sanskrit treatise on acting, the Natyasastra, and those of the Elizabethan theatre, John Russell Brown suggests that the concept of rasa as the determining emotion of a performance is similar to that of the Elizabethan ‘humour’, or prevailing passion, as defined by Ben Jonson. Here he describes his work exploring what happens when actors draw on their own life experiences to imagine and assume the basic rasa of the character they are going to present, based on experiments in London with New Fortune Theatre; in Bremen with actors of the Bremer Shakespeare Company; and in New Delhi with actors of the National School of Drama. Using actors both young and experienced, familiar and unfamiliar with ensemble playing, and well or poorly acquainted with the concepts involved, he suggests that the results merit further exploration of a technique which could empower actors to bring Shakespeare's plays to new kinds of life. John Russell Brown founded the Department of Drama and Theatre Arts at Birmingham University, and for fifteen years was an Associate Director of the Royal National Theatre. His New Sites for Shakespeare: Theatre, the Audience, and Asia was published by Routledge in 1999, and his Shakespeare Dancing: a Theatrical Study of the Plays by Palgrave Macmillan in 2004. He edited and contributed to The Oxford Illustrated History of Theatre (1995), and for Routledge has been General Editor of the ‘Theatre Production Studies’, ‘Theatre Concepts’, and forthcoming ‘Theatres of the World’ series.
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Jans, Erwin. "Oedipus aan de oevers van de Nijl. Arabische bewerkingen van een Griekse tragedie / Oedipus on the banks of the Nile: Arabic adaptations of a Greek tragedy." Forum+ 26, no. 2 (2019): 29–36. http://dx.doi.org/10.5117/forum2019.2.jans.

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Abstract Het Vlaamse theater wordt steeds vaker geconfronteerd met het verwijt ‘te wit’ te zijn op alle mogelijk niveaus: van de interne organisatie over de acteurs tot het repertoire. In deze bijdrage breekt Erwin Jans in elk geval een lans voor het lezen van niet-westerse theaterteksten. Hij buigt zich over een aantal Arabische Oedipus-bewerkingen en plaatst die in een bredere culturele en politieke context waardoor ze ook een nieuw licht werpen op de westerse adaptaties. More and more often, Flemish theatre is confronted with the accusation that it is 'too white' at all possible levels: from its internal organisation to the choice of actors and the repertoire. In this contribution, Erwin Jans makes a plea for reading non-western theatre texts. He looks into several Arabic adaptations of Oedipus, situating them in a wider cultural and political context, thus enabling them to shine a new light on the western adaptations as well.
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Fischer-Lichte, Erika. "The Aesthetics of Disruption: German Theatre in the Age of the Media." Theatre Survey 34, no. 2 (1993): 7–27. http://dx.doi.org/10.1017/s0040557400009935.

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In the early 1960s, certain new developments in Western theatre occurred which in some ways seemed to complete the process of the re-definition of theatre that was initiated by the historical avant-garde movement at the beginning of this century. In a decisive move against the long established bourgeois, educational and commercial theatre, now theatre was explicitly being defined as the “detailed investigations of the actor-audience relationship”. As before, this new definition led to the search for new theatre spaces and genres and a new manner of using signs where the focus shifted from the semantic to the pragmatic level. Performances were held in a disused workshop (Richard Schechner's Performance Garage in New York), a factory (Ariane Mnouchkine's Theatre du Soleil in a former munitions factory in Vincennes), a slaughter house (Bremen), in cinemas (Bremen and Bochum), in an exhibition hall (the Schaubuehne Greek project), in a film studio (the Schaubuehne Shakespeare project at the Halleschen Ufer 1976–7), in a tram depot (Frankfurt), in the 1936 Olympic Stadium in Berlin (Gruber's Winterreise 1977).
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Redwine, Elizabeth Brewer. "How Cathleen Became Mrs Monihan: Sara Allgood's ‘Grave Acting’ and Irish Female Performance." New Theatre Quarterly 32, no. 4 (2016): 363–74. http://dx.doi.org/10.1017/s0266464x16000439.

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Sara Allgood was an integral member of the Abbey Theatre from its opening in December 1904, yet her presence in its histories or in the growing national theatre movement of the time tends to be rather peripheral. Drawing on archival research in the Berg Collection and the Abbey Theatre Archives, Elizabeth Brewer Redwine argues here for the centrality of Allgood in the experiments of William Butler Yeats and Lady Gregory, and reveals the complicated class and religious fissures that surrounded the performance of Irish female identity in which Allgood was embroiled. By tracing her own trajectory, Redwine also challenges the dominant narratives of the Abbey Theatre that present it as distinct from earlier nationalist theatre movements, exploring the impact of the tableaux of the all-female street theatre group on the images of women presented on the Abbey stage. Further, she draws important connections between Allgood's work on the stage and her later work in Hollywood film, showing how she challenged stereotypes consistently to present a new kind of Irish female performance. Elizabeth Brewer Redwine lectures in the English Department at Seton Hall University, New Jersey, and is the co-editor with Amrita Ghosh of the forthcoming Tagore and Yeats: a Postcolonial Re-Envisioning. Her current research project, titled Written for Her to Act: Female Performance and Collaboration, examines Yeats's and Synge's collaborations with actresses at the Abbey Theatre.
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Prabowo, Anik, Udi Utomo, and Syahrul Syah Sinaga. "Komposisi Musik Ilustrasi Pada Kelompok Teater Kembang SMA N 1 BREBES." Jurnal Seni Musik 9, no. 2 (2020): 99–108. http://dx.doi.org/10.15294/jsm.v9i2.39608.

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Theater is a performing art which in its performance brings a story that is delivered through acting on the stage. Theater performance is inseparable from music as supporting atmosphere. Based on that, this research aims to know the types of illustration music composition in “Kembang” Theater group from SMA N 1 Brebes. This study used qualitative method. To obtain the accurate data, this study used observation, interview, and documentation. This research consists of data collection, data reduction, data presentation, and conclusion. The result shows that “Kembang” Theater always makes music composition that is suitable with the theme of the script on their performances. Illustrated music is always played live on stage with consideration of getting maximum results in every scene played. There are various types of illustration music composition in “Kembang” Theater group. They are opening music, happy music, wistful music, tense music, horror music, romantic music, comical music, sampakan music/convey music, transition music, and closing music. The types of script are divided into two types. There are tragedy script and comedy script. Not all types of Illustration music composition exists in all types of script. For example, sampakan music and comical music that only exist in comedy script.
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Brewer, Mary. "Peter Pan and the White Imperial Imaginary." New Theatre Quarterly 23, no. 4 (2007): 387–92. http://dx.doi.org/10.1017/s0266464x07000309.

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To consider racial difference in terms of exclusion enables whiteness to retain its relative invisibility. Drawing upon the theoretical insights of critical whiteness studies, Mary Brewer examines J. M. Barrie's Peter Pan, exploring how the amorphous status granted to whiteness in the text lends it cultural authority. She aims to uncover how race and racism structure the play and to find ways of exploiting the gaps in its representation of white identity. These gaps potentially may be exploited in production – that is, made to operate against the grain and yield explicitly oppositional performances that work toward the denaturalization of hegemonic constructions of whiteness, gender, and sexuality. Mary Brewer lectures in the Department of English and Drama at Loughborough University. Her books include Race, Sex, and Gender in Contemporary Women's Theatre (Sussex Academic Press, 1992) and Problems of Exclusions in Feminist Thought: Challenging the Boundaries of Womanhood (Sussex Academic Press, 2002).
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Levy, Ellen. "Inspiration in Its Roots: The Place of Poetry in the Theater of Lee Breuer." Theater 18, no. 2 (1987): 66–68. http://dx.doi.org/10.1215/01610775-18-2-66.

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Wiles, David. "The Lewes Bonfire Festival." New Theatre Quarterly 12, no. 46 (1996): 177–91. http://dx.doi.org/10.1017/s0266464x00009994.

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The Lewes Bonfire Festival is an important piece of popular theatre, which has largely resisted attempts by higher authority to control and redefine it. Annually some 2,000 costumed participants, watched by up to 80,000 spectators, take over the streets of the usually staid county town of East Sussex, and effigies of contemporary politicians and of the Pope are burnt during six hours of carnivalesque rule. Here, David Wiles analyzes the history and organizational structure of the festival, and examines the ideology of Englishness upon which the event turns. David Wiles is Reader in Drama at Royal Holloway College, University of London. His interest in popular theatre has principally been historical, and he has published books on the Robin Hood play and on the Elizabethan clown. Most recently, in Shakespeare's Almanac (D. S. Brewer, 1993) he has explored the structural logic of the festive calendar.
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Holkenbrink, Jörg. "FREMDELN." Performative Sozialwissenschaft 28, no. 1 (2020): 67–85. http://dx.doi.org/10.30820/0942-2285-2020-1-67.

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Es ist ein Anliegen der performativen Sozialforschung, Wissenschaften und Künste in produktive Verhältnisse zu bringen. Das Zentrum für Performance Studies der Universität Bremen (ZPS) entwickelt seit den 1990er Jahren regelmäßig Projekte, die eine künstlerische Orientierung in wissenschaftlichen Arbeitszusammenhängen ermöglichen. Das dem Zentrum angeschlossene Theater der Versammlung zwischen Bildung, Wissenschaft und Kunst (TdV) gilt als eines der ersten Forschungstheater in Deutschland. In dem als Dialog angelegten Text begegnen sich die Sozialpsychologin und Performerin Clara Schliessler und Jörg Holkenbrink, Leiter des ZPS und des TdV. Sie gehen gemeinsam der Frage nach, wie und bei wem in fächerübergreifenden Projekten des ZPS Wissen generiert wird und welche Lernprozesse durch die performativen Strategien und Interventionen des TdV (nicht nur) in der Welt der Wissenschaften provoziert werden.
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Braese, Stephan. "Editorial: Wolfgang Hildesheimer." Literatur für Leser 38, no. 3 (2015): 145–48. http://dx.doi.org/10.3726/90073_145.

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Am 9. Dezember 2016 jährt sich der Geburtstag Wolfgang Hildesheimers zum 100. Mal. Der Schriftsteller und bildende Künstler zählt zu den namhaftesten Autoren der deutschsprachigen Nachkriegs- und Gegenwartsliteratur. Mit seinen Lieblosen Legenden feierte er in den 50er Jahren frühe Erfolge; seine Dramen gegen Ende desselben Jahrzehnts machten ihn zum führenden Vertreter des deutschsprachigen absurden Theaters; für Tynset (1965) erhielt er den Bremer Literaturpreis und den Georg Büchner-Preis; mit seiner Rede The End of Fiction (1975) setzte er ein – vom deutschen Literaturbetrieb nur mit Widerwilligkeit aufgenommenes – lang nachwirkendes Zeichen; 1977 veröffentlichte er einen spektakulären, in viele Sprachen übersetzten Lang-Essay über Mozart; und auch seine ,,Biographie eines Mannes, der niemals existiert hat“1, Marbot (1981), erregte weithin Aufmerksamkeit. Nach Jahren nur noch gelegentlicher Publikationen, aber reger bildkünstlerischer Arbeit verstarb Hildesheimer 1991 im schweizerischen Poschiavo, wo er seit 1957 lebte.
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Dissertations / Theses on the topic "Bremer Theater"

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Brewer, Catherine (Cate). ""Splintered and a Great Silence": The Production of Return to the Upright Position by Caridad Svich." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1679.

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Like the Tribute in Light that grew phoenix-like from the ashes of the broken hearts of the artists who created it, Return to the Upright Position is a beautiful on-line collaboration amongst fourteen artists in the six months following 9/11. Conceived and edited by Caridad Svich, the play is moving and delicate and instantly brings us back to those moments when American history and sentiment were forever changed. Demoralized, terrorized, afraid, and alone, our country dragged its shocked and weary carcass from the ash, and pulled itself back up again. That is after all the American way, pulling yourself up by your bootstraps, continuing to believe in a better, brighter future, in hope and possibility; returning to the upright position.
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2

Roth, Salomé. "Quand les dieux entrent en scène : pratiques rituelles afro-cubaines et performances scéniques à La Havane au lendemain de la Révolution." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA150/document.

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Ce travail porte sur les performances scéniques qui naquirent à Cuba de la rencontre entre l'idéologie marxiste, officiellement adoptée par le gouvernement depuis 1961, et les religions afro-cubaines, pratiquées sur l'île depuis l'arrivée des premiers esclaves africains. D'un côté, le gouver-nement révolutionnaire entreprit de transformer les rituels afro-cubains en folklore national, tout à la fois pour en neutraliser la portée religieuse et pour les intégrer au patrimoine d'une nation en pleine construction. De l'autre, il exigea au fil des années un militantisme croissant de la part des artistes et notamment des dramaturges, auxquels il était demandé de produire un théâtre social, au service d'une cause politique résolument athée. Ces deux univers, celui des rituels afro-cubains et celui du théâtre engagé, étaient donc a priori bien distincts. Certains dramaturges entreprirent cependant de les mettre en contact : Carlos Felipe (Réquiem por Yarini, 1960/1965), José Ramón Brene (Santa Camila de la Habana Vieja, 1962), José Triana (Medea en el espejo, 1960 et La muerte del Ñeque, 1964), Eugenio Hernández Espinosa (María Antonia, 1964/1967) et José Milián (Mamico Omi Omo, 1965). Leurs approches et leurs objectifs sont très variés mais d'une manière ou d'une autre tous en vinrent, par le détour théâtral, à restituer au langage rituel l'efficacité qu'il avait perdue sur les scènes folkloriques et à produire, le plus souvent involontairement, un théâtre qui s'apparente à de maints égards au théâtre de la Cruauté théorisé par Antonin Artaud, ce théâtre de « l'invisible rendu visible » - théâtre justement décrié par les autorités révolutionnaires
This work studies on stage performances created in Cuba as a result of the encounter of Marxist ideology, officially adopted by the government in 1961, and Afro-Cuban religions, practised in the island since the arrival of the first African slaves. On one hand, the revolutionnary government set out to transform Afro-Cuban rituals into a national folklore in order to both neutralize its religious significance and insert it within the heritage of a nation in building; on the other hand, artists, playwrights in particular, were ordered over the years to be the activists of a staunch atheist political cause. Therefore these two worlds, Afro-Cuban rituals and socially engaged theater, were a priori quite distinct. However, some playwrights took on bridging the gap between them : Carlos Felipe (Réquiem por Yarini, 1960/1965), José Ramón Brene (Santa Camila de la Habana Vieja, 1962), José Triana (Medea en el espejo, 1960 and La muerte del Ñeque, 1964), Eugenio Hernández Espinosa (María Antonia, 1964/1967) and José Milián (Mamico Omi Omo, 1965).Their approaches and goals were diverse but, somehow or other, by the detour of theater, they all came to restore the effectiveness of the ritual language, lost in the context of folk scenes, and to create, often unwittingly, a theater similar to the Theater of Cruelty theorised by Antonin Artaud, the theater of « the invisible made visible » – the one precisely criticized by the revolutionary authority
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Books on the topic "Bremer Theater"

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Schümann, Frank. Bremer Theater, 1913-2004. Schünemann, 2004.

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Fuchs, Ulrich. Publikumsumfrage am Bremer Theater: Dokumentation der Ergebnisse. Statistisches Landesamt Bremen, 1999.

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Schümann, Frank. Lasst mich den Löwen auch noch spielen: 20 Jahre Bremer Shakespeare Company. Bremer Shakespeare Company, 2003.

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Rüppel, Michael. "Nur zwei Jahre Theater, und alles ist zerrüttet": Bremer Theatergeschichte von den Anfängen bis zum Ende des 18. Jahrhunderts. C. Winter, 1996.

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Geschichte des Niederdeutschen Bühnenbundes Niedersachsen und Bremen. Isensee, 2008.

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Waldau-Andersen, Ingrid. Ein Mundarttheater in der Gross[s]tadt: Das Ernst-Waldau-Theater in Bremen. Schuster, 1990.

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Meyer-Braun, Renate. Löcher im Eisernen Vorhang: Theateraustausch zwischen Bremen und Rostock während des Kalten Krieges (1956-1961) : ein Stück deutsch-deutscher Nachkriegsgeschichte. Trafo, 2007.

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Schümann, Frank. Bremer Theater 1913 - 2007. Schünemann, 2007.

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Klaus, Pierwoss, Brade Helmut 1937-, and Landsberg Jörg 1958-, eds. Das Bremer Theater: Intendanz Klaus Pierwoss, 1994/95-2006/07. Schünemann, 2007.

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Getting off! Lee Breuer on Performance. Theatre Communications Group, Incorporated, 2018.

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Book chapters on the topic "Bremer Theater"

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Gontarski, S. E. "Lee Breuer and Mabou Mines." In Contemporary American Theatre. Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_8.

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2

"Institutionskritik und Regie. Produktion und Rezeption der künstlerischen Freiheit am Bremer Theater 1969." In Theater als Kritik. transcript-Verlag, 2018. http://dx.doi.org/10.14361/9783839444528-033.

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3

"Korrespondenz aus Bremen: Theater. Buchdruckerfest Literatur." In Friedrich Engels: Werke, Artikel, Entwürfe bis August 1844. Akademie Verlag, 2020. http://dx.doi.org/10.1515/9783050076010-070.

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"Korrespondenz aus Bremen : Rationalismus und Pietismus. Schiffahrtsprojekt. Theater. Manöver." In Friedrich Engels: Werke, Artikel, Entwürfe bis August 1844. Akademie Verlag, 2020. http://dx.doi.org/10.1515/9783050076010-076.

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White, Bretton. "Introduction." In Staging Discomfort. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401544.003.0001.

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The introduction outlines the theoretical and historical contexts that shaped the texts examined in Staging Discomfort. The chapter pays significant attention to the role of the revolution’s breed of masculine heteronormativity as a vehicle for creating exclusions based upon the visibility of queer difference. This chapter also outlines (queer) Cuban theater history in order to trace the development of an autochthonous theater, as well as signalling how queer culture resists the repressive aspects of the revolution.
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Helland Rønningen, Lene. "Teatral kiasma – for å skape en bredere tilgang til dramaturgiske åpninger i teaterproduksjon." In Teaterproduksjon. Cappelen Damm Akademisk/NOASP, 2018. http://dx.doi.org/10.23865/noasp.43.ch1.

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This article examines how the methodology ‘theatrical chiasma’ can open up the material when working in a theatre production, so that you do not abort or ‘close’ the creative process too soon. The method is based on a crossing-over principle, where the students can try different inputs to the creative material through various working methods. The article analyses the dramaturgical entry points in light of Shusterman’s theory of ‘art as dramatization’. Central findings are that dramatisation as a framework helps to focus the content and creates awareness about form. The method also facilitates the connection between visions, form and content, so that aesthetic alignment also becomes an important part of the students’ learning process. Dramatisation can be seen as art in itself, because it is an active theatre rehearsal with intrinsic value, where creation and reflection are essential to create new artistic significance.
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Reports on the topic "Bremer Theater"

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Shultz, Christopher J. Employing the New Breed of Stand-Off Weapons in the Operational Theater. Defense Technical Information Center, 1997. http://dx.doi.org/10.21236/ada325821.

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