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Journal articles on the topic 'Capitol theatre'
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1
Condello, Annette. "Garish Luxury and the “Constructed Landscape”: Transcending the Colour of Opals in the Griffins’ Capitol Theatre." Arts 7, no. 4 (October 3, 2018): 58. http://dx.doi.org/10.3390/arts7040058.
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Walter Burley Griffin and Marion Mahony Griffin synthesized a modern crystallized interior within their Capitol Theatre design (1920–24) in Melbourne. The Capitol’s auditorium, a mine-like cavity, houses a constructed landscape, elucidating the link between architecture and geological references. Ornamented with prefabricated stepped plasterwork, the auditorium is inserted with opal-coloured light technologies. Through the concept of the “constructed landscape”, this article traces the garish luxury elements found within the Griffins’ Capitol auditorium to understand the design associations between Paul Scheerbart’s Expressionist writings on crystal-glass iconography and William Le Baron Jenney’s symbolic crystal cave. The Griffins’ architectural contribution to the Australian entertainment industry conveys both Jugendstil garden effects and Mesoamerican echoes through its elaborative prismatic ridges. Owing to its transcendental opal allusions, the Capitol’s auditorium shows a constructed landscape model and constitutes a form of garish luxury, exemplifying early Australian glamour.
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Pont, Graham. "The Cinema as Secular Temple: Ethos, Form and Symbolism of the Capitol Theatre." Nexus Network Journal 5, no. 2 (October 2003): 73–99. http://dx.doi.org/10.1007/s00004-003-0018-8.
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Baker, Paula Eisenstein. "Leo Zeitlin's Musical Works on Jewish Themes for New York's Capitol Theatre, 1927-1930." Shofar: An Interdisciplinary Journal of Jewish Studies 20, no. 1 (2001): 74–93. http://dx.doi.org/10.1353/sho.2001.0049.
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Barker, Barbara, and Serge Leslie. "A Dancer's Scrapbook: From the Capitol Theatre, New York City, to Carnegie Hall with Doris Niles." Dance Research Journal 22, no. 2 (1990): 37. http://dx.doi.org/10.2307/1477786.
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Cornford, Tom. "Reconstructing Theatre: the Globe under Dominic Dromgoole." New Theatre Quarterly 26, no. 4 (November 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 directors and actors to convert their apparent problems into opportunities. He explores the transformation of the Globe since 2006, using interviews given by Dromgoole and the directors working with the Globe's research team to critique the theory underpinning the ‘permanently temporary’ alterations to the theatre, and takes the evidence of performances to examine their use of the space in practice. Cornford offers a selection of staging solutions to the apparent ‘problems’ identified by Dromgoole and his team, and proposes an alternative model of reconstruction: not the rebuilding of the theatre, but the constant reviewing of theatre practice, including training. Tom Cornford is a freelance director and teacher of acting for the Guthrie Theater/University of Minnesota BFA Program, the Actors' Centre in London, and Globe Education at Shakespeare's Globe. He was, until recently, Artist in Residence at the CAPITAL Centre in the University of Warwick, where he is undertaking PhD research.
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Sheehan, Jennifer A., Peter Tyler, Hirani Jayasinha, Kathleen T. Meleady, and Neill Jones. "Capital planning for operating theatres based on projecting future theatre requirements." Australian Health Review 35, no. 2 (2011): 216. http://dx.doi.org/10.1071/ah10884.
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During 2006, NSW and ACT Health Departments jointly engaged KPMG to develop an Operating Theatre Requirements’ Projection Model and an accompanying planning guideline. A research scan was carried out to identify drivers of surgical demand, theatre capacity and theatre performance, as well as locating existing approaches to modelling operating theatre requirements for planning purposes. The project delivered a Microsoft Excel-based model for projecting future operating theatre requirements, together with an accompanying guideline for use of the model and interpretation of its outputs. It provides a valuable addition to the suite of tools available to Health staff for service and capital planning. The model operates with several limitations, largely due to being data dependent, and the state and completeness of available theatre activity data. However, the operational flexibility built into the model allows users to compensate for these limitations, on a case by case basis, when the user has access to suitable, local data. The design flexibility of the model means that updating the model as improved data become available is not difficult; resulting in revisions being able to be made quickly, and disseminated to users rapidly. What is known about the topic? In New South Wales there has been no documented, consistent, robust planning methodology to guide the estimated future requirements for operating and procedural suites, nor recommendations available to determine the number of operating theatres that provide optimal efficiency. What does this paper add? Opportunities to design and build new operating suites rarely arise. There is a great deal of uncertainty about future surgical models of care and recent history shows that technology and development of new procedures and approaches have greatly changed the nature of the theatres and rooms required for many interventions. This paper describes the process of developing a planning methodology to estimate the future operating suite capacity required to meet forecast future surgical demand across New South Wales for both metropolitan and rural Area Health Services. What are the implications for practitioners? Although now used only in the New South Wales public sector, the methodology can easily be applied to planning requirements for operating theatres in the private sector.
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Walden, Joshua S. "Palestina: An Overture for the Capitol Theatre, New York. By Leo Zeitlin . Edited by Paula Eisenstein Baker and Robert S. Nelson . Middleton, WI: A-R Editions, 2014." Journal of the Society for American Music 10, no. 3 (August 2016): 374–76. http://dx.doi.org/10.1017/s1752196316000274.
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ZUR NIEDEN, GESA. "The internationalization of musical life at the end of the nineteenth century in modernized Paris and Rome." Urban History 40, no. 4 (April 10, 2013): 663–80. http://dx.doi.org/10.1017/s0963926813000357.
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ABSTRACT:This article examines the relationship between the processes of urban renovation in European capitals and the internationalization of musical theatre productions, using the example of theatres constructed in Paris and Rome at the end of the nineteenth century. Due to the limited availability of governmental and municipal funding, the more popular theatres in both capitals came to provide an important space for musical productions on an avant-garde level, with international repertoires and casts.
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Fiskvik, Anne Margrete. "Tracing the Achievements of Augusta Johannesén, 1880–1895." Nordic Journal of Dance 5, no. 2 (December 1, 2014): 4–21. http://dx.doi.org/10.2478/njd-2014-0007.
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Abstract Dancer, choreographer and teacher Augusta Johannesén was an important figure in several capacities for Nordic theatrical dance. She danced, taught and choreographed in Sweden, Finland as well as in Russia. Between 1860-1878 she was a member of the so-called Johannensénske Balletselskab, which toured extensively in the Nordic countries. The Johannesénske family settled in the Norwegian capital Kristiania in 1880, and Augusta Johannesén slowly established herself as a professional dance artist at the most important theatres in Kristiania. Over the years she became a dancer, choreographer and teacher of great significance, and her contribution to the development of Norwegian theatre dance cannot be overestimated. She was active as dancer well into the 1910’s and “arranger of dance” up until she died in 1926. As a ballet teacher, she trained hundreds of dancers, including several of those who later went on to play a role in the Norwegian dance- and theatre scene. In many ways, Augusta Johannesén is representative of a versatile dancer that can be found on many European stages, the versatile ballet dancer that was also typical of the Nordic dance scene around the “fin de siècle”. She typically also struggled with stereotypical notion of the “ballerina”. This article focuses on only a part of her career, her first fifteen years in Norway. Between 1880 and 1895 she established herself in Kristiania, dancing at the Christiania Theater and later at the Eldorado. The article also forefront an especially important event in Norwegian Nordic dance history instigated by Johannesén: The establishment of a “Ny Norsk Ballet” (“New Norwegian Ballet”) at the Eldorado theatre in Kristiania in 1892. This is probably the very first attempt at creating a professional ballet company in Norway, and Augusta Johannesén’s contribution is only one of many ways she made a difference to professional theatre dance in Norway.
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Antochi, Carmen. "Sorana Țopa - A destiny under the wing of time." Theatrical Colloquia 8, no. 2 (December 1, 2018): 301–19. http://dx.doi.org/10.2478/tco-2018-0023.
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Abstract During the first world war, the city of Iasi played the role of the ‘wartime capital’ of Romania. Besides the political-economic structures, The National Theatres of Bucharest and Craiova moved temporarily to Iasi, leading to Iasi being a cultural capital as well, a reputation which it has kept even to this day. In the interwar period, Romania blossomed culturally unlike ever before, a true intellectual, cultural and artistic revival under the influence of the currents travelling through European stages. In spite of the laurels earned, the name of Sorana Topa is too little known. Formed by the Iasi theatre school, noticed and hired by the national theather of iasi by Marin Sadoveanu, promoted by the previous directors of Iasi theatre, she is offered the chance to study in Paris along with her stage colleagues Aurel and Maria Ghițescu.
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Ferreira, Eliane Fernanda Cunha. "Entre a plateia e o tablado: Machado de Assis, crítico teatral." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 58–68. http://dx.doi.org/10.17851/2317-2096.7..58-68.
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Resumo: O objetivo deste texto é demonstrar a atuação de Machado de Assis em uma de suas funções literárias menos apreciadas pela crítica tradicional sobre a obra do escritor brasileiro: a de crítico teatral. Apresentam-se suas ideias sobre teatro e o contexto histórico-cultural da capital do Império, notadamente marcado pela presença de um teatro importado transplantado para os tablados tropicais.Palavras-chave: teatro brasileiro; crítica teatral; historiografia teatral.Abstract: The aim of this text is to demonstrate Machado de Assis’ actuation in one of his less literary activities appreciated by the mainstream traditional criticism about the Brazilian writer: the theatrical critic. This essay shows his ideas about theatre and the historical-cultural context of the capital of Empire, which was mainly marked by the presence of an imported theatre transplanted to the tropical stages.Keywords: Brazilian theater; theatrical criticism; theatrical historiography.
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Cavanaugh, William J., and K. Anthony Hoover. "Capitol Center Theater." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2440. http://dx.doi.org/10.1121/1.4781986.
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Karulin, Ott. "How to Explain Popular to a Dead Hare." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 202. http://dx.doi.org/10.7146/nts.v29i2.104612.
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In this article the popular is defined with the tools of field theory by Pierre Bourdieu, that is as production with high degree of outer-field economic capital (measured with the number of visits per production). It is also claimed that on some conditions these productions do not lower the degree of autonomy of the field since theatre manages to convert the economic capital to symbolic capital (nominations for annual awards give evidence of the latter). Such a production is called the Full Game. Based on the comparable data of new productions made in Estonia from 2010 to 2015 (1199 in total) the article will introduce a possible methodology of how to calculate the popular in theatre that considers both the number of visits per production in a year and the use of seating capacity. Following that methodology, there were only sixty-one productions during the chosen period that could be titled popular in a sense that they have a very high degree of outer-field success (these productions are visited 2,4 times more often than the average number of visits per production in one calendar year and have the attendance rate of 95% and higher). Taking into account also the inner-field specific consecration (whether they have been nominated for annual theatre awards), only twenty-three popular productions – among them just one comedy, one musical and one operetta – remain in the list of what I have called the Full Game. That is two per cent of all the new productions of the respective time period.The list of Full Games suggests that the specific theatre, where the production is performed plays a significant role for a production to become popular. Only four theatres have had more than one Full Game in 2010–15 in Estonia and two of them – Theatre NO99 and Tallinn City Theatre – are used as case studies to find possible strategies of being popular without loosing specific consecration.
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Savran, David. "Trafficking in Transnational Brands: The New “Broadway-Style” Musical." Theatre Survey 55, no. 3 (August 18, 2014): 318–42. http://dx.doi.org/10.1017/s0040557414000337.
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In a theatre world increasingly dominated by multinational corporations, in which brand-name companies make the rounds of international festivals and multilingual performances are bankrolled by consortia of state-supported theatres, the national identity of theatrical productions is becoming more and more difficult to decide. This identity crisis is especially pronounced in the case of the one theatre form that for generations has been associated with a single New York thoroughfare that for people around the world symbolizes singing and dancing, glamor and dazzle. The form to which Broadway is categorically linked, the Broadway musical, may have circumnavigated the globe countless times, but a national and municipal identity remains embedded in its name. In the twenty-first century, however, this jet-setting genre needs to be analyzed less from a national or international perspective than a transnational perspective that emphasizes interconnectedness and the cross-border fluidity of cultures and species of capital. Shows such asThe Lion KingandWickedmay have premiered in New York, but their continuing multibillion-dollar success in cities on six continents suggests that the traffic in the most popular form of theatre in the world can no longer be linked to one metropolis or one national tradition.
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Fruchtman, Aaron. "Leo Zeitlin, Palestina: An Overture for the Capitol Theatre, New York Edited by Paula Eisenstein Baker and Robert S. Nelson. Middleton, Wisconsin, 2014. [Full score, xix + 59 pp. ISBN 978-0-89579-800-8]." Journal of Film Music 7, no. 1 (October 4, 2016): 93–95. http://dx.doi.org/10.1558/jfm.29636.
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O’Toole, Emer. "Cultural capital in intercultural theatre." Target. International Journal of Translation Studies 25, no. 3 (October 11, 2013): 407–26. http://dx.doi.org/10.1075/target.25.3.06aal.
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In 2006, the Dublin-based theatre company Pan Pan went to China to produce a Mandarin version of J.M. Synge’s canonical Irish play The Playboy of the Western World. Director Gavin Quinn chose to set the adaptation in a hairdresser/ massage parlour/brothel, on the outskirts of Beijing. He originally wanted the protagonist to hail from Xin-Jiang, China’s troubled Sinomuslim province. In interview, he said he was advised against this for fear of Chinese state censorship. However, the Chinese translators, Yue Sun and Zhaohui Wang, suggest that the decision not to represent a Muslim protagonist had to do with ethnic sensitivities. In order to analyse this conflict, this article draws on translation sociology after Bourdieu, clarifying the functioning of the habitus, and formulating a global field of cultural production. It argues that analysis of intercultural processes focused on cultural capital can provide materially engaged insights into the power relations informing given intercultural situations.
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Herron, Adam. "‘A contemptible movie now showing in Times Square’: Cultural distinctions, space and taste in the exhibition of Snuff at the National Theatre." Horror Studies 11, no. 2 (October 1, 2020): 169–85. http://dx.doi.org/10.1386/host_00017_1.
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This article considers the urban landscape of New York City’s theatre district in the 1970s and how its identity as a contested space provides insight into key cultural shifts, including changes to the regulation of media, variance and convergence between industrial practices in the film industry, and discursive struggles between culture and capital. With many of the city’s luxurious picture palaces converted into movie theatres with cheaper ticket prices and more genre fare in the wake of the Great Depression, critics sought to contain ‘low’ media such as horror and pornography to prevent their spread from grind houses to prestigious milieus. Using the case study of Snuff (The Findlays, 1976) and its run at the National Theatre on 44th Street and Broadway, I argue that dailies and trade publications were more concerned with the choice of exhibition venue than the content of the low-budget exploitation feature from Monarch Releasing Corporation. Consequently, objections to the film were informed by broader contexts of gentrification, tastemaking and cultural distinctions, with hyperbolic images of the imagined audiences for Snuff generated by tastemakers when they were unable to convincingly critique the National itself.
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Smith, Frances. "Femininity, ageing and performativity in the work of Amy Heckerling." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 49–63. http://dx.doi.org/10.33178/alpha.10.03.
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In this article we evaluate the relevance of 3D visualisation as a research tool for the history of cinemagoing. How does the process of building a 3D model of cinema theatres relate to what we already know about this history? In which ways does the modelling process allow for the synthesis of different types of archived cinema heritage assets? To what extent does this presentation of “content in context” helps us to better understand the history of film consumption? We will address these questions via a discussion of a specific case study, our visualisation of Jean Desmet’s Amsterdam Cinema Parisien theatre, one of the first permanent cinemas of the Dutch capital. First, we reflect on 3D as a research tool, outlining its technology and methodological principles and its usefulness for research into the historiography of moviegoing. Then we describe our 3D visualisation of Cinema Parisien, discussing the process of researching and building the model. Finally, we evaluate the result against the existing knowledge about the history of cinemagoing in Amsterdam and of this cinema theatre in particular, and answer the question to what extent 3D as a research tool can aid our understanding of the history of cinema consumption.
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Noordegraaf, Julia, Loes Opgenhaffen, and Norbert Bakker. "Cinema Parisien 3D." Alphaville: Journal of Film and Screen Media, no. 11 (August 17, 2016): 45–61. http://dx.doi.org/10.33178/alpha.11.03.
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In this article we evaluate the relevance of 3D visualisation as a research tool for the history of cinemagoing. How does the process of building a 3D model of cinema theatres relate to what we already know about this history? In which ways does the modelling process allow for the synthesis of different types of archived cinema heritage assets? To what extent does this presentation of “content in context” helps us to better understand the history of film consumption? We will address these questions via a discussion of a specific case study, our visualisation of Jean Desmet’s Amsterdam Cinema Parisien theatre, one of the first permanent cinemas of the Dutch capital. First, we reflect on 3D as a research tool, outlining its technology and methodological principles and its usefulness for research into the historiography of moviegoing. Then we describe our 3D visualisation of Cinema Parisien, discussing the process of researching and building the model. Finally, we evaluate the result against the existing knowledge about the history of cinemagoing in Amsterdam and of this cinema theatre in particular, and answer the question to what extent 3D as a research tool can aid our understanding of the history of cinema consumption.
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CHATTERJEE, PARTHA. "Theatre and the Publics of Democracy: Between Melodrama and Rational Realism." Theatre Research International 41, no. 3 (October 2016): 202–17. http://dx.doi.org/10.1017/s0307883316000419.
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The theatre that developed in late nineteenth-century India, especially in the Bengal and Maharashtra regions, catered to an audience that was much wider than the new educated middle-class males who introduced the European stage form in Kolkata, Mumbai and Pune. Driven by private capital, the new Indian theatre adopted the melodrama as its main dramatic form. When performance capital shifted to the more lucrative field of cinema in the middle of the twentieth century, the melodramatic form again became the chief narrative mode. Such is its power that it has become the principal rhetorical form of popular democracy in India. In the decades after independence, theatre was rescued from imminent death by the support provided by state agencies which sponsored the production of a national theatre canon and style, as opposed to the prevailing regional ones. However, with bureaucratization and political interference, theatre in India today must revert to its one inherent superiority over the cinema – the immediacy of its encounter with small audiences.
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Saddler, Sarah. "Training Corporate Bodies." TDR/The Drama Review 64, no. 3 (September 2020): 118–31. http://dx.doi.org/10.1162/dram_a_00946.
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In the global corporate world, dramatic techniques adapted from theatre for social change repertories provide tools for workplace empowerment. In corporate India, theatre training teaches employees to conform to implicit workplace codes of bodily conduct. Overlaps between managerial strategies and tactics of workshop participants reveal that corporate theatre engineers moments of human expression that exceed human capital formation.
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Zhulina, Alisa. "The Invisible Stage Hand; or, Henrik Ibsen's Theatre of Capital." Theatre Survey 59, no. 3 (July 27, 2018): 386–408. http://dx.doi.org/10.1017/s0040557418000315.
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“Theatre is not political action. Political action happens in the streets.” This is how the German director Thomas Ostermeier addressed the audience in a recent conversation with Branden Jacobs-Jenkins at the Brooklyn Academy of Arts. All theatre can do is make us realize the “lies we tell ourselves.” Thomas Ostermeier made a name for himself staging the socially conscious dramas of Sarah Kane and Mark Ravenhill. After becoming the artistic director of Berlin's Schaubühne, Ostermeier turned to Henrik Ibsen because he thought that Ibsen's bourgeois world would appeal to the patrons of the Schaubühne: “Characters in Ibsen constantly worry about money.” Perhaps, this is also the reason behind Ostermeier's desire to bring his production of Ibsen'sAn Enemy of the People,adapted into English by Branden Jacobs-Jenkins, to the patrons of Broadway in the fall of 2018. It's a Trojan Horse. Get the haves into the theatre and make them see their own complicity in perpetuating the injustices of capitalism. Ostermeier's version ofAn Enemy of the Peoplebreaks the fourth wall during the play's town hall meeting and invites the audience to share their thoughts about capitalism and democracy. Ultimately, this audience participation reveals the anxiety that theatre might simply be a distraction.
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Boyle, Michael Shane. "Performance and Value: The Work of Theatre in Karl Marx's Critique of Political Economy." Theatre Survey 58, no. 1 (January 2017): 3–23. http://dx.doi.org/10.1017/s0040557416000661.
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That theatre is a place of work seems beyond debate. But what kind of workplace is it? And under what conditions does theatre conform to a capitalist production process? At first glance these questions may seem obviously, even inextricably, linked; but investigating theatre as somewhere people go to work is a far different enterprise than specifying its economic connection to capital.
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ADKINS, BARBARA, and MICHAEL EMMISON. "YOUTH THEATRE AND THE ARTICULATION OF CULTURAL CAPITAL." Journal of Contemporary Ethnography 21, no. 3 (October 1992): 307–42. http://dx.doi.org/10.1177/089124192021003002.
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Krpič, Tomažz. "On the Researcher’s/Reviewer’s Bodily Presence in Theatre." New Theatre Quarterly 35, no. 03 (July 18, 2019): 238–50. http://dx.doi.org/10.1017/s0266464x19000241.
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In this article Tomaž Krpič discusses two specific types of creative theatregoer: the theatre researcher and the theatre reviewer (researcher/reviewer). He stresses the influence of the theatre researcher’s/reviewer’s bodily presence in the theatre on the results of their professional work: the scholarly article and the review. Becoming a researcher or a reviewer involves going through a long complex process of personal embodiment to gain the skills associated with the learning, participative, and writing body to achieve and to maintain specific theatre bodily habitus, the physical and cultural capital necessary for fulfilling the roles of the researcher/reviewer. Tomaž Krpič is a sociologist of the body in performance studies, particularly in the spectator’s body in postdramatic theatre. He has published widely on various social, political, and cultural aspects of theatre and art performance. He is a member of the Faculty of Social Sciences, Ljubljana University.
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Pianca, Marina. "The Latin American Theatre of Exile." Theatre Research International 14, no. 2 (1989): 174–85. http://dx.doi.org/10.1017/s0307883300006143.
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It is not surprising that the ancient republics allowed the condemned to escape death through flight. Exile did not seem to them a softer sentence than death. Roman jurisprudence also called it capital punishment.
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Lane, Jill. "Reverend Billy: Preaching, Protest, and Postindustrial Flânerie." TDR/The Drama Review 46, no. 1 (March 2002): 60–84. http://dx.doi.org/10.1162/105420402753555859.
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Reverend Billy rages against the noxious effects of consumerism, transnational capital, and the privatization of public space and culture. His “Church of Stop Shopping” represents a fascinating departure for new left theatre in the era of global capital.
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FRERS, BJÖRN. "Work in Progress: Rimini Protokoll's Karl Marx: Capital, First Volume and the Experience of the Future on Stage." Theatre Research International 34, no. 2 (July 2009): 153–58. http://dx.doi.org/10.1017/s0307883309004490.
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This article examines how the future is expressed and experienced in the theatre. Referring to the performance Karl Marx: Capital, First Volume by the German artistic collective Rimini Protokoll, the article exemplifies the relation between the past, the present and the future, showing how the different layers of time are interrelated. The performers involved are not professional actors but so-called ‘experts’, whose lives are connected to Marx's Capital in different ways. Based on the experts’ biographies, the performance not only offers a rereading of Marx's ideology, but also shows similarities between Rimini Protokoll's artistic and Marx's scientific approach, between the conceptualization of one's life and watching a performance in theatre.
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Petrikas, Martynas. "Bourdieusian Concepts and the Field of Theatre Criticism." Nordic Theatre Studies 31, no. 1 (March 13, 2019): 38–57. http://dx.doi.org/10.7146/nts.v31i1.112999.
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Pierre Bourdieu’s concepts of field sociology began their life in humanities, particularly in literature and art studies after publication of his seminal Les règles de l’art: genèse et structure du champ littéraire in 1992. Regretfully, Bourdieu has not left a study dedicated to theatre, possibly due to the long-standing French tradition of considering theatre as another literary genre. Nevertheless, Bourdieusian sociology is abundant with terms, concepts, and ideas that are extremely handy in analyzing and understanding how theatre was produced in the past and is produced in the present. The appropriation of Bourdieu’s ideas for theatre studies is a tempting effort, especially considering how closely theatre is intertwined with the phenomena of habitus, distinction, and all the forms of capital described by Bourdieu himself. The aim of my article is to discuss the applicability of selected Bourdieusian notions and concepts for research of a very specific aspect of theatre studies. I argue that the concepts of field (champs), nomos, doxa, illusio as well as of symbolic violence are very useful in understanding the nature, functions, and effects of theatre criticism. Dwelling on my own theoretical research, I propose to understand theatre criticism as another field of social practice that is definedby the conflict between the opposing interests of t
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Hansen, Kathryn. "Parsi theatrical networks in Southeast Asia: The contrary case of Burma." Journal of Southeast Asian Studies 49, no. 1 (January 16, 2018): 4–33. http://dx.doi.org/10.1017/s0022463417000662.
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Rangoon circa 1900 was known as ‘one of the best show towns in the East’. As the capital city of Burma, then ruled from Calcutta as a province of India, it was home to more Indian nationals than Burmese. In this cosmopolitan context, two vernacular arts complexes — the Parsi theatre of India and the popularzat-pweof Burma — flourished, competed, and converged. This article documents the 55-year long engagement of Parsi theatre in Burma within the larger history of global theatrical flows in the Indian Ocean. It highlights the story of Dosabhai Hathiram, a theatre man who rooted himself in Rangoon his entire life. And it asks, why was Parsi theatre celebrated elsewhere in Southeast Asia as a vector of modernity, and yet in Burma it left scarcely a trace behind?
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Riccio, Thomas. "Tanzanian Theatre, From Marx to the Marketplace." TDR/The Drama Review 45, no. 1 (March 2001): 128–52. http://dx.doi.org/10.1162/105420401300079095.
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This is one of two articles in this TDR about Tanzanian perfor-mance. Riccio asks, What has been the “journey of Tanzania” from tribalism through colonialism to Marxism, and then to capital-ism and globalization as represented in performance?
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Noonan, James. "Lord Lorne Goes to the Theatre, 1878-1883." Theatre Research in Canada 11, no. 1 (January 1990): 29–47. http://dx.doi.org/10.3138/tric.11.1.29.
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This article examines the involvement of Lord Lorne, Governor General of Canada from 1878 to 1883, and to a lesser extent that of his wife, Princess Louise, in theatre both at Rideau Hall and elsewhere in Ottawa, and in their travels in Canada and the United States. Using Lorne's diary as well as newspapers and magazines of the day, it seeks to recreate the theatre life of the capital during the Lornes' tenure in Canada.
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Edwards, Gemma. "Small Stories, Local Places: A Place-Oriented Approach to Rural Crises." Journal of Contemporary Drama in English 8, no. 1 (May 11, 2020): 65–82. http://dx.doi.org/10.1515/jcde-2020-0006.
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AbstractSince the British EU Referendum in 2016, there has been an ongoing media narrative of division: Remain voters against Leave voters, experts against ordinary people, the capital rich against the capital poor, and metropolitan centres against regional peripheries. This article explores the way in which theatre might offer a response to the perceived failure in understanding between these entrenched positions, using the lens of place. Making an argument for an ideological and dramaturgical shift from questions of voice – which have so far dominated theatrical critical discourse in response to Brexit – to place, I explore the potential of this change in focus and scale in relation to Matt Hartley’s play Here I Belong (2016) which toured with Pentabus Theatre – a professional rural touring company from the Midlands – to rural communities across England in 2016 and 2018. It is through this contact with rural communities that I propose that theatre can make a critical intervention: telling smaller stories about local places offers a way to reconnect with such communities during this crisis of communication.
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Serrano Rodríguez, Alejandra. "Xalapa, capital teatral de México." Investigación Teatral. Revista de artes escénicas y performatividad 10, no. 16 (October 28, 2019): 54–77. http://dx.doi.org/10.25009/it.v10i16.2605.
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Este artículo tiene como finalidad demostrar que Xalapa es la ciudad con mayor actividad teatral en el país. Para esto se proporcionará una definición de actividad teatral basada en un análisis documental. La importancia de señalar un foco cultural fuera de la Ciudad de México es relevante en términos de diversidad cultural y descentralización de la cultura.Xalapa: Mexico’s Theatre CapitalAbstractBased on a documentary analysis, this article seeks to position Xalapa as the city with the largest theatrical activity in the country. The presence of a cultural core outside Mexico City is relevant in terms of both cultural diversity and cultural decentralization. Recibido: 31 de marzo de 2019Aceptado: 12 de junio de 2019
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Halpern, Richard. "Marlowe's Theater of Night: Doctor Faustus and Capital." ELH 71, no. 2 (2004): 455–95. http://dx.doi.org/10.1353/elh.2004.0026.
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Lau, Leung Kwok Prudence, and Pak Yin Ophios Chow. "The Right to Landscape: Social Sustainability and the Conservation of the State Theatre, Hong Kong." Sustainability 11, no. 15 (July 25, 2019): 4033. http://dx.doi.org/10.3390/su11154033.
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This study analyses research gaps and identifies potential new research topics concerning the adoption of social sustainability values when conserving historic buildings, with a focus on the State Theatre (the Theatre) in Hong Kong. Despite becoming a Grade 1 historic building in March 2017, the Theatre has since faced an uphill battle, sustained only through public participation and widespread pressure on heritage authorities. In the process, problems with local heritage policy and the bureaucratic procedures of technocratic administrative bodies have been brought to light. Based on in-depth interviews with members of the local community, stakeholders, non-governmental organisations and heritage consultants, and using government policies and media reports, this study unveils and analyses issues related to the conservation of the Theatre using a humanised anthropological approach. The results highlight the need for a more socially sustainable future for cultural capital by integrating the notion of the cultural landscape with heritage conservation in Hong Kong.
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Matzke, Christine. "‘Travellers of the Street’: Flãnerie in Beyene Haile's Heart-to-Heart Talk." New Theatre Quarterly 27, no. 2 (May 2011): 176–88. http://dx.doi.org/10.1017/s0266464x11000303.
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In January 2008 the Eritrean capital of Asmara witnessed a theatre production that did not sit easily with the cultural imaginary of the country. Performed by a group of university graduates rather than the well-versed artists in government employ, Beyene Haile's Weg'i Libi, or Heart-to-Heart Talk, caused a stir among the local art-loving community in that it defied common strands of Eritrean theatre arts. Difficult to understand, with no clear plot or clear-cut message, it nonetheless drew crowds during the two weeks of its performance, largely because, as Christine Matzke suggests in this article, it allowed audiences to participate in the intellectual flânerie presented on stage. Basing her article on material collected in autumn 2008 and spring 2010, the author here provides an interpretation of the play and an outline and contextualization of its production process. Christine Matzke has spent well over a decade researching Eritrean theatre arts and cultural production. Her publications include the co-edited African Theatre 8: Diasporas (2009) and Postcolonial Postmortems (2006) on transcultural crime fiction. She teaches at the University of Bayreuth.
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Ahmed, Syed Jamil. "Decoding Myths in the Nepalese Festival of Indra Jātrā." New Theatre Quarterly 19, no. 2 (May 2003): 118–38. http://dx.doi.org/10.1017/s0266464x03000046.
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As a rule, news from Nepal gets little or no prominence in the western media – but the regicide of 2001, in which Prince Dipendra allegedly mowed down his parents and then shot himself, was a notable exception. Two years earlier, Syed Jamil Ahmed witnessed Prince Dipendra's and his father King Birendra's participation in the festival of Indra Jātrā, held annually in the nation's capital city, Kathmandu. After an analysis of the myths underlying the festival, and of their modification over centuries to serve changing dynastic priorities, the author provides an account of the festival as a ‘first-person felt experience’, and then investigates how its contemporary actuality reflects and attempts to perpetuate an intricate network of social and political meanings. Syed Jamil Ahmed is a director and designer based in Bangladesh, where he is Associate Professor at the Department of Theatre and Music in the University of Dhaka. He trained in theatre at the School of Drama in New Delhi, and in 2001–2 was a visiting faculty member at King Alfred's College, Winchester. His full-length publications – Acinpakhi Infinity: Indigenous Theatre in Bangladesh (Dhaka University Press, 2000) and In Praise of Niranjan: Islam, Theatre, and Bangladesh (Dhaka: Pathak Samabesh, 2001) – catalogue the wide variety of indigenous theatre forms in Bangladesh. He has proceeded to examine the variety of Islamic theatre forms, their inherent features, and their relationship to the corrupting influence of western forms.
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Goldhill, Simon. "Reading Performance Criticism." Greece and Rome 36, no. 2 (October 1989): 172–82. http://dx.doi.org/10.1017/s0017383500029740.
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Fred Astaire once remarked of performing in London that he knew when the end of a play's run was approaching when he saw the first black tie in the audience. Perhaps this is an American's ironic representation of the snobbishness of pre-War London (though he was the American who sang the top-hat, white tie and tails into a part of his personal image). Perhaps it is merely an accurate (or nostalgic) picture of the dress code of the audiences of the period. The very appeal to such a dress code, however – in whatever way we choose to read the anecdote – inevitably relies on a whole network of cultural ideas and norms to make its point. It implies tacitly what is easily recoverable from other sources about the theatre of the period: the expected class of the audience; the sense of ‘an evening's entertainment’ – attending the fashionable play of the season, with all the implications of the theatre as a place not merely for seeing but also for being seen; the range of subjects and characters portrayed on the London stage of the period; the role of London as a European capital of a world empire (with a particular self-awareness of itself as a capital); the expected types of narrative, events, and language, that for many modern readers could be evoked with the phrase ‘a Fred Astaire story’. If we want to understand the impact of the plays of Ibsen or Brecht or Osborne or Beckett, it cannot be merely through ‘dramatic techniques’, but must also take into account the social performance that is theatre. Ibsen's commitment to a realist aesthetic is no doubt instrumental to the impact of his plays, but it is because his (socially committed) dramas challenged the proprieties of the social event of theatre that his first reviewers were so hostile.
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Black, Helen. "Organisational Climate for Change and Innovativeness." Asia Pacific Journal of Health Management 13, no. 1 (October 21, 2018): i22. http://dx.doi.org/10.24083/apjhm.v13i1.27.
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Purpose: Acute health services around the world are increasingly required to respond to accreditation institutes, the changing needs and expectations of patients and societal values that demand continuous improvement in quality and efficiencies. Many change initiatives and innovative attempts have failed or resulted in lower performance than expected. The purpose of this paper is to increase understanding of the organisational contextual factors such as social capital and organisational climate that interact with the change implementation processes and provide a new perspective for change management in the unique environment of acute health care.
Methodology: This mixed methods study was executed in three different sized operating theatre suites. A survey and in-depth interviews were used to reveal a current organisational climate for innovativeness through team member perspectives. The strength of each organisational climate was assessed with reference to the level of disparity in the participant responses. In-depth interviews and observations provided understanding of how social capital is developed and maintained, then examined in context with the climate for innovativeness to understand how contextual factors, social capital and climate interact.
Findings: It has been demonstrated that social capital in the operating theatre suite has bearing on the organisational climate for change and innovativeness. Size and structure of an organisation influence how social networks develop; policies and management practices influence how different networks interact; and, the combination of contextual factors and social capital influences the organisational climate for innovativeness.
Originality/value: Managing social capital can offer a people-focused perspective through which to design and implement change and enhance an organisational climate for innovativeness.
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Niziołek, Katarzyna. "Przestrzeń możliwości. Teatr partycypacyjny jako środek budowania kapitału społecznego." Civitas. Studia z Filozofii Polityki 27 (December 22, 2020): 217–49. http://dx.doi.org/10.35757/civ.2020.27.09.
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The article is an attempt at examining the possibilities for the development of social capital by means of active cultural engagement, as exemplified by participatory theatre. Narrowing the analysis to this particular area of artistic practice is not a coincidence. Theatre constitutes one of the most exclusive social spaces within the cultural field, requiring a high degree of cultural competency, and taking the inequality of position between artists and spectators for granted. On the other hand, it is defined by their immediate, face-to-face encounter, which, as compared to other areas of art, provides theatre with an exceptional social potential. The so-called participatory turn in contemporary art has moved theatre into a new domain of social functionality, which cannot be adequately described and researched without the sociological “toolbox”. Hence, the article is also an attempt at taking an interdisciplinary stance and connecting the study of art and society, as well as outlining a proposal for a practical application of sociological knowledge, used not only for the sake of understanding, but also organising of the artistic practice. In this respect, it addresses the growing interest in applied social research (both filed work, and theory), as shown by political, cultural, and scientific institutions.
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Mayer, David. "New Readings in Theatre History. By Jacky Bratton. Theatre and Performance Theory. Cambridge: Cambridge University Press, 2003; pp. xi + 238. $24 paper; $70 cloth." Theatre Survey 46, no. 1 (May 2005): 144–47. http://dx.doi.org/10.1017/s0040557405300093.
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I have no hesitation in saying how much I admire Jacky Bratton's New Readings in Theatre History. I consider it an essential guide to an understanding of modern theatre historiography, and it offers a cluster of apposite alternative approaches to historical research. That this book throws light into some areas of the early Victorian stage that are rarely investigated and even less frequently analyzed is a further gift. Bratton has a knack for identifying those marginalized, by gender or by theatrical task, from central discourses and in restoring to these now-distant sources a reclaimed significance. She hears the small voices and those whose contributions to the British stage were rarely, if ever, known to audiences in the capital or major centers. She has given us a superb study, vital to the practicing historian.
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Рогачев, Сергей Вячеславович. "The Heraldic “Theater” of Russian Cities." Городские исследования и практики 1, no. 4 (May 31, 2017): 47–57. http://dx.doi.org/10.17323/usp14201647-57.
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The usurpation of the right to unite the surrounding territories bestowed some exclusive rights upon Moscow. Which other coat of arms apart from that of Moscow could surround itself with such a suite, such an entourage, of serving shields of arms on its heraldic map? An almost ideal social and geographical model is drawn up around the capital by the coats of arms of Moscow’s retinue: all three principal forces of society are gathered in this national nucleus — those being craftsmen, parishioners and warriors — forming the trade, monastic and defense appendages to St. George’s robe.
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Ward-Perkins, J. B., and S. C. Gibson. "The ‘Market Theatre’ Complex and Associated Structures, Cyrene." Libyan Studies 18 (1987): 43–72. http://dx.doi.org/10.1017/s026371890000683x.
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AbstractThis is a summary account, based on a detailed report first published in Libya Antiqua, of the so-called ‘Market Theatre’ complex. This complex comprises a number of closely linked structures situated near the heart of ancient Cyrene and was excavated by the late R. G. Goodchild in the 1950s. After his death, it was resurveyed for publication in 1971. The various component structures (the ‘Market’, the Stepped Street, the ‘Forehall’, the Valley Street frontage, the Propylon, the Building with the Windswept Capitals and the Theatre) are described in the context of three broad periods of construction observed in this area.Goodchild's original interpretation of the main porticoed building as a market, rather than as a temple precinct is defended, as is his belief that the late Roman theatre exhibited only one period of construction. The single closely datable structure is the Severan propylon, but, from observed structural relationships and architectural similarities, some suggestions are made as to the chronology of development in this quarter of Cyrene.
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이승희. "The Theatre as Public Media and The Cultural Politics of Joseon Civil Capital." DAEDONG MUNHWA YEON'GU ll, no. 69 (March 2010): 219–59. http://dx.doi.org/10.18219/ddmh..69.201003.219.
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Okam, Chinyere L., and Abel Idebe. "Agency and participation as determinants of social capital in Gombe Children’s Theatre Project." Comprehensive Child Studies 2, no. 3 (2020): 170–77. http://dx.doi.org/10.33910/2687-0223-2020-2-3-170-177.
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Hemmings, F. W. J. "Applause for the Wrong Reasons: The Use of Applications for Political Purposes in Paris Theatres, 1780–1830." Theatre Research International 14, no. 3 (1989): 256–70. http://dx.doi.org/10.1017/s0307883300008968.
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John Moore, the Glasgow physician and friend of Tobias Smollett, after attending a few performances at the Théâtre-Fran¸ais during a visit to the French capital in 1779, commented as follows on the surprisingly subversive behaviour of the Parisian parterre at that date: ‘By the emphatic applause they bestow on particular passages of the pieces represented at the theatre, they convey to the monarch the sentiments of the nation respecting the measures of his government.’ Moore gives no precise instances, but it is clear what he is referring to, and there were plenty of other contemporary observers to testify to the growing habit of making applications, and using this method to express opposition to certain government policies which, in the prevalent atmosphere of political repression, it might have been dangerous to contest too openly anywhere else. The theatre auditorium was the ideal place for voicing anonymous criticism with impunity. The guard in the theatre, entrusted with the task of preserving law and order, was powerless to prevent the parterre applying a maxim or simple phrase spoken from the stage to some matter of burning political import, and showing, by their vociferous applause, where exactly their sympathies lay.
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Collins, Christopher. "Performing the Rural in Contemporary Irish Theatre." New Theatre Quarterly 35, no. 04 (October 8, 2019): 341–51. http://dx.doi.org/10.1017/s0266464x19000381.
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In this article Christopher Collins considers how the rural is represented in contemporary Irish theatre through a performance analysis of WillFredd Theatre’s award-winning production of FARM, staged in an industrial Dublin warehouse. Adopting a relational perspective, the article explores how the rural in contemporary Irish culture is a valuable commodity that is produced for urban consumption, and examines how the representation of the rural in FARM offered a critique of economies of capital that obscure the inherent labour of producing the rural. It also highlights how the performance explored the workings of the Irish cultural economy that produces rural nostalgia as an affective practice at the expense of some of the lived realities of rural life that extend beyond labour to loneliness, depression, and gendered essentialism. Consequently, Collins questions what, if anything, has changed from the representation and reception of the rural as nostalgic utopia, and the role nostalgia plays in articulating regional and national identities. Christopher Collins is an Assistant Professor of Drama at the University of Nottingham. He has published widely on modern and contemporary Irish theatre, including two monographs on the plays and performances of J. M. Synge. In 2016 he was appointed as Secretary General (Communications) for the International Federation for Theatre Research.
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Pierotti, Mariarita, Alessandro Capocchi, and Paola Orlandini. "Mutual aid for the arts in nineteenth- and twentieth-century Milan: The ‘Pio Istituto Teatrale’." Accounting History 25, no. 4 (December 30, 2019): 602–24. http://dx.doi.org/10.1177/1032373219895295.
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In the nineteenth century, when the theatre arts were at their peak, Milan was considered the intellectual and artistic capital of Italy. This article explores the objectives and the functioning of an important mutual aid company based in Milan – the Pio Istituto Teatrale – through its accounting system. These accounting documents clearly convey the dual nature of this organization, which was dedicated to protecting both social welfare and the arts. This study confirms the social role of accounting and its implications. In recent years, the attention paid to accounting in artistic institutions has been increasing. However, while many studies have explored Italian mutual aid societies in general, few have considered those in the artistic field specifically. This article attempts to rectify this oversight by examining a mutual aid society functioning in the world of theatre via its accounting records.
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Moisand, Jeanne. "Dal tempio monumentale alla baracca da fiera: mutamenti dello spazio urbano e luoghi teatrali a Madrid e Barcellona alla fine del secolo XIX." MEMORIA E RICERCA, no. 29 (March 2009): 29–45. http://dx.doi.org/10.3280/mer2008-029003.
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- This article compares the construction of theaters in Madrid and Barcelona from the 1830's to the 1910's by looking at the various forms and types of theaters, as well as those who funded them. As the history of books has shown, we can gain a better understanding of the social uses of cultural goods by analyzing the material forms in which they are produced and distributed. In the two Spanish main capital cities, the architectural evolutions of theater buildings, social changes in the constructors' milieux, and the movement of theater sites out of the city centers to suburban areas, show how theater descended from an elitist form of culture to a mass consumption good, available to partly illiterate populations.