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Journal articles on the topic 'Clown and entertainer art'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Nedeljković, Zoran. "Socio-cultural interpretation of the phenomenon of laughter in 'The Joker' (2019): Interpretation of the Western civilization man." Socioloski pregled 54, no. 4 (2020): 1364–90. http://dx.doi.org/10.5937/socpreg54-29133.

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The author has given a socio-cultural interpretation of the phenomenon of laughter in the film "The Joker" (Todd, Phillips, 2019) as an individual as well as a social phenomenon of Western civilization. He considers the difference between the concepts of utopia, dystopia and utopistics as a possible solution to the problem that would avoid an optimistic and pessimistic view of the future of humanity. The author seeks a civilization parallel between the fictional world of film and the cultural elements of today. The necrophilic atmosphere of Gotham City is strikingly reminiscent of the spiritua

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2

Semenova, E. A. "The Theories of Humor in the Study of the Clown Figure." Art & Culture Studies, no. 1 (March 2023): 30–67. http://dx.doi.org/10.51678/2226-0072-2023-1-30-67.

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This article continues the research of the author in the field of studying the phenomenon of a clown. The author discusses the problem of polar interpretations of the figure of a clown in scientific discourse, where there is a noticeable absence of convincing art history and cultural theories and concepts that can explain the connection between the figure of a clown and the phenomenon of laughter and humour. It is noted that, despite the fact that most studies focus on clown laughter, they do not analyse its specifics. In connection with the problem posed, the author suggests shifting away fro

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3

Kurz, Oliver. "Der vergessliche Clown." PPH 28, no. 01 (2022): 11–15. http://dx.doi.org/10.1055/a-1641-4049.

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Als Clown in einer pflegerischen Einrichtung auf Menschen mit Demenz zu treffen, ist eine Begegnung im Moment: offen, echt und unbefangen, voller Wertschätzung und Empathie. Warum der Clown für diese Art der Begegnung besonders geeignet ist und wie er die Freude am Sein (wieder-)erweckt, schildert unser Autor, der bei seinen Clown-Visiten selbst schon viele Herzen berührt hat.

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Kurz, Oliver. "Der vergessliche Clown – Demenz mit Humor begegnen." physiopraxis 20, no. 07/08 (2022): 64–67. http://dx.doi.org/10.1055/a-1874-4930.

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Als Clown in einer pflegerischen Einrichtung auf Menschen mit Demenz zu treffen, ist eine Begegnung im Moment: offen, echt und unbefangen, voller Wertschätzung und Empathie. Warum der Clown für diese Art der Begegnung besonders geeignet ist und wie er die Freude am Sein (wieder-)erweckt, schildert unser Autor, der bei seinen Clown-Visiten selbst schon viele Herzen berührt hat.

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5

Semenova, Elena A. "Cultural potential of the clown art in the formation of pedagogical competences in the mass media era." Yaroslavl Pedagogical Bulletin 5, no. 122 (2021): 247–54. http://dx.doi.org/10.20323/1813-145x-2021-5-122-247-254.

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The article is devoted to the consideration of the art of clowning as a tool for diagnosing pedagogical competencies that are constantly transforming under the influence of the mass-media cultural paradigm.It is suggested that the image of a clown in modern culture translates a conglomerate of behavioral patterns historically entrenched in the mass consciousness, which have a high cultural and pedagogical potential. A hypothesis is proposed, according to which the attitude to the figure of a clown, as to a pattern of cultural and creative behavior, can be a marker of the teacher's professional

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6

Fonseca Alves, Ricardo Henrique, Getúlio Antero de Deus Júnior, Jonas Augusto Kunzler, and Antonio Marcelino da Silva Filho. "Clown Group - Engineers without Borders (Knowledge Connections): Building a Humanistic Training in Engineering Courses." International Journal on Alive Engineering Education 5, no. 2 (2019): 61–80. http://dx.doi.org/10.5216/ijaeedu.v5i2.54678.

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The Clown Group – Engineers without Borders (Knowledge Connections) is a group of clowns formed by Engineers and Engineering students. The theoretical basis of the Clown Group goes back to the origins of Jerzy Grotowski's “poor theater” (1933–1999). Concerning the use of music, theater and dance to present and promote the pleasure of art, the Group values the interaction with the public and does not worry about the structural elements commonly characterized by the theater as stage and lighting. In this way, the Clown Group promotes a Humanistic Formation of its members by providing a developme

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7

Amanulla, Rizayev Sardor Mannonov. "IN TRADITIONAL UZBEK CLOWN ART MIME ELEMENTS." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY 3, no. 4 (2023): 277–81. https://doi.org/10.5281/zenodo.7809857.

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8

Boa, Elizabeth, and Naomi Ritter. "Art as Spectacle: Images of the Entertainer since Romanticism." Modern Language Review 87, no. 2 (1992): 523. http://dx.doi.org/10.2307/3730765.

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9

Lukens, Nancy, and Naomi Ritter. "Art as Spectacle: Images of the Entertainer since Romanticism." German Quarterly 65, no. 3/4 (1992): 467. http://dx.doi.org/10.2307/407620.

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10

Swan, John, and Naomi Ritter. "Art as Spectacle: Images of the Entertainer since Romanticism." Theatre Journal 42, no. 3 (1990): 404. http://dx.doi.org/10.2307/3208107.

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11

Wright, Dorena, and Naomi Ritter. "Art as Spectacle: Images of the Entertainer since Romanticism." Comparative Literature 44, no. 4 (1992): 434. http://dx.doi.org/10.2307/1771555.

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12

Wegner, Hart L., and Naomi Ritter. "Art as Spectacle: Images of the Entertainer Since Romanticism." German Studies Review 15, no. 3 (1992): 565. http://dx.doi.org/10.2307/1430368.

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13

Dionigi, Alberto, Alessandra Fermani, and Carla Canestrari. "Do Clowns Really Taste Funny? An Investigation of the Relationship between Humor and Playfulness in Clown Doctors." Behavioral Sciences 13, no. 4 (2023): 328. http://dx.doi.org/10.3390/bs13040328.

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Healthcare clowning represents a well-established method for relieving patients and their relatives of discomfort during hospitalization. Although studies concerning the effectiveness of this approach are increasing in number, state-of-the-art studies conducted to evaluate the psychological characteristics of clown doctors are scarce. In this cross-sectional study, a convenient sample of 210 clown doctors (143 females, 67 males) aged between 18 and 75 years (M = 47.34, SD = 12.31) completed a demographic questionnaire, the Comic Styles Markers, and the Short Measure for Adult Playfulness. The

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14

Dokkum, Wim van. "The art of lecturing. How to become a scientific entertainer." International Journal of Food Sciences and Nutrition 46, no. 1 (1995): 95–100. http://dx.doi.org/10.3109/09637489509003388.

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15

Flórez Madroñero, Andrea Carolina, Charlin Stephanie Caguasango Rosero, Sandra Carolina España Gómez, and Mario Eduardo Peluffo Ordoñez. "Fortalecimiento de la empatía a través del teatro clown." Fedumar Pedagogía y Educación 10, no. 1 (2024): 138–47. http://dx.doi.org/10.31948/rev.fedumar10-1.art-13.

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En el presente artículo, se analiza la influencia del teatro clown en el fortalecimiento de los procesos empáticos cognitivos y emocionales en un grupo de voluntarios infantiles y prejuveniles de la Cruz Roja Colombiana seccional Nariño. Se utilizó la metodología cualitativa, con un enfoque histórico-hermenéutico. Los resultados confirman que el arte del clown aportó, mediante las diferentes tramas o situaciones que se pusieron en escena, al fortalecimiento del componente cognitivo de la empatía. Esto se evidenció en el aumento de la imaginación, la tolerancia y el reconocimiento de emociones.

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16

Martin, Éléonore. "Mimes et clown·e·s : histoires croisées." Horizons/Théâtre 16-17 (2023): 68–96. https://doi.org/10.4000/139ws.

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Cet article explore les liens entre l’art clownesque et les arts du mime et du geste dans une perspective diachronique, du xixe siècle, âge d’or de la pantomime qui voit également l’apparition du personnage de « clown », jusqu’à la création de l’École Internationale de théâtre Jacques Lecoq, en 1956, qui propose un enseignement autour du jeu physique, des techniques du mouvement et du jeu clownesque. Dès la fin du xixe siècle, les figures du mime et du clown voient leur histoire mêlée, voire superposée, notamment dans l’imaginaire culturel et social qui les représente ensemble, avec une égale

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17

Rewa, Natalie. "Le Festival international du théâtre de jeune publics: Growing Up." Canadian Theatre Review 45 (December 1985): 44–49. http://dx.doi.org/10.3138/ctr.45.006.

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From 16 to 25 August, Parc Lafontaine, in east-end Montreal, was once again the site of the annual festival of theatre for young audiences (TYA). Outdoors, “Le Festival international du théâtre de jeunes publics du Québec” was a real celebration of entertainment for children: the open-air festival featured over 100 performances by 12 companies of tap dancers, jugglers, clowns and acrobats on two stages. Indoors, more formally, 65 full-scale performances of 13 plays by 11 companies entertained audiences in seven temporary theatres in the buildings near the park: participating were six Québécois

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18

Gordeeva, L. "“Laugh, clown, but don’t you dare cry!...”." Philology and Culture, no. 2 (September 17, 2023): 45–50. http://dx.doi.org/10.26907/2782-4756-2023-72-2-45-50.

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The article examines the semantic history of linguistic units related to the nomination of persons in theatrical terminology. The subject of the study is the words actor, clown, buffoon, gaer, nominating “comic and funny” images. The article identifies a common source of the listed gallicisms, continuity in the definition of lexemes and stylistic markings of the units. We analyze the lexical role of foreign words, based on A. Pushkin’s texts, since of interest is a significant number of the units characterizing “actors” that were borrowed in the 17th–18th centuries; thus, we consider their con

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19

Chawla, Aanavi. "IS ARCHITECTURE A FORM OF ART?" International Journal of Social Science & Economic Research 08, no. 05 (2023): 1056–62. http://dx.doi.org/10.46609/ijsser.2023.v08i05.010.

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Most definitions describe architecture as “A form of Art.” As Dan Rice, an American entertainer said ‘There are three forms of visual art: Painting the art to look at; Sculpture the art you can walk around, and Architecture the art you can walk through’, we’ll be dealing with the 3rd form. Most research papers suggest art as the generator of architecture, this paper unfolds to answer the complex question whether architecture is a form of art or not. It goes about dealing with basic questions like what is architecture and what is art. Then portrays the relationship between art and architecture;

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20

Tomczyk, Izabela. "Bohater heterogeniczny – opera, cyrk i kicz w filmie Filipa Bajona „Aria dla atlety”." Załącznik Kulturoznawczy, no. 3 (2016): 114–35. http://dx.doi.org/10.21697/zk.2016.3.07.

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The author analyzing Filip Bajon’s film Aria for an Athlete focuses on the relationship between opera and circus, paying attention primarily to their interrelationship and not the differences. According to the author, the category common to both shows is kitsch. Any kind of art has in its history phase of kitsch, yet what is derived from the kitsch can become the beginning of art. While describing the coexistence of opera and circus, author makes a study of three movie characters: Władysław Góralewicz, clown Max and tenor Babtisto Messalini. In her opinion, these representatives of respectivel

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21

Cashman, Cheryl. "New Wave Clowns / 1: Toronto’s Zanies." Canadian Theatre Review 67 (June 1991): 22–31. http://dx.doi.org/10.3138/ctr.67.004.

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The most exciting thing about writing this article about current Toronto Clowning is that there is so much to write about. A few years ago, Clowning as an art form in Engish-speaking Canada was in its beginnings. Now, here in Toronto, not only do fine solo, double, and company performances abound, but daring and sophisticated forays have been made into specific genres of Clowning – Buffon, Joey/Auguste, and Commedia foremost among them – and these genres have assumed a distinctly Canadian flavour, though initially derived from Clown traditions belonging to other cultures. There has also been a

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22

Hezser, Catherine. "Freak, not Sage: An Exploration into Freakishness in Modern Jewish Culture." Culture and Dialogue 3, no. 1 (2015): 51–71. http://dx.doi.org/10.1163/24683949-00301006.

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The images of the clown and the freak and representations of the grotesque body are recurrent motifs in modern Jewish literature, film, art, theatre and dance. Kafka’s novella Metamorphosis is an early prototype of the changeling who leaves conventional human appearance behind and is gradually transformed into an insect-like creature. The story served as a prototype for Woody Allen’s film Zelig, in which the main protagonist adopts a variety of different personas, amongst them a Nazi in the Third Reich. The theme of morphing into a freak, clown, or grotesque body reappears in various forms in

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23

Tomczyk, Izabela. "A Heterogeneous Character – Opera, Circus and Kitsch in Filip Bajon’s Film Aria for an Athlete." Załącznik Kulturoznawczy ENGLISH EDITION, no. 1 (2019): 127–44. http://dx.doi.org/10.21697/zk.2019ee.01.08.

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Analysing Filip Bajon’s film Aria for an Athlete, the author focuses on the relationship between opera and circus, paying attention primarily to their interrelationship and not the differences. According to the author, the category common to both types of performance is kitsch. Any kind of art has in its history a phase of kitsch, yet what is derived from the kitsch can become the beginning of art. While describing the coexistence of opera and circus, the author makes a study of three characters in the film: Władysław Góralewicz, Max the clown and the tenor Baptisto Messalini. In her opinion,

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24

Oliveira, Flávia Márcia, Érica de Fátima Albuquerque de Souza Ramos, Rayane Figueirêdo Lucena, et al. "Recuperação Imediata pelo Riso: Uma experiência clown." Revista Ciência em Extensão 8, no. 3 (2012): 75–85. https://doi.org/10.23901/1679-4605.2012v8n3p75-85.

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The asylum or hospital institutionalization is mainly characterized by environmental and interpersonal interactions changes that can lead to negative feelings. From a biological standpoint, the nervous-endocrine-immune systems integration is characterized by bidirectional connections that can lead to an imbalance of inflammatory and noninflammatory cytokines in an individual stress condition. This may lead to health problems, as well as quality of life reduction. In the institutionalization context the playful process has an important role since facilitates interpersonal relationships, promote

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25

Fisher, James. "Rediscovering the art of AI Jolson: The films of “the world's greatest entertainer”." Popular Music and Society 17, no. 3 (1993): 19–32. http://dx.doi.org/10.1080/03007769308591521.

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26

SEMENOVA, ELENA A. "CLOWN VS RAPPER: (INVECTIVES IN ONLINE AND OFFLINE RAP BATTLES)." Art and Science of Television 16, no. 3 (2020): 89–104. http://dx.doi.org/10.30628/1994-9529-2020-16.3-89-104.

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The article is devoted to identifying the reasons for the more frequent laughter among listeners, caused by invectives addressed to the opponents’ pseudonyms rather than to their real names. In this regard, much attention in the work is paid to the concept of invective associated with the art of clownery. Since the times of Ancient Greece and Rome, it was one of the most important strategies of rhetorical art; now it is a key definition of a rap battle, in which the audience witnesses not humor, but something between humor and seriousness. (The written comments of the audience can be compared

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27

Irianto, Agus Maladi, and Hadiyanto Hadiyanto. "Revitalization of Coastal Java Society's Traditional Art in Multimedia Form." International Journal of Social Ecology and Sustainable Development 12, no. 1 (2021): 21–32. http://dx.doi.org/10.4018/ijsesd.2021010103.

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This study examined the revitalization of the traditional art of Ngesti Pandowo as a product of the creative industry that responds to the demands of the era of globalization as an Indonesian cultural strategy model for reaching at an international level. Literature and field researches were conducted, and a comprehensive overview of the historical journey of Ngesti Pandowo was performed. The results revealed that Ngesti Pandowo emerged within the rural society but disappeared in the environment of the coastal society. Ngesti Pandowo, rooted in the agrarian society, became an entertainer and a

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Dreyer, Serge. "Langage corporel et interculturalité. Une étude de cas à Taiwan." Voix Plurielles 10, no. 2 (2013): 22–30. http://dx.doi.org/10.26522/vp.v10i2.838.

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Le langage corporel est souvent le parent pauvre en didactique du français langue étrangère que ce soit dans les recherches théoriques ou en classe de langue. Il constitue pourtant une sérieuse source d’interférences dans les situations de communication interculturelle. Cet article traite d’une approche originale du langage corporel en classe de français en s’appuyant sur les arts de la scène. La pratique du clown, du mime, la technique de déambulation en défilé de mode et quelques exercices de taiji quan (un art martial chinois) sont sollicités dans le cadre d’un cours visant à entrainer des

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29

Shemchuk, Yuliya M., and Margarita V. Spanopulo. "Linguistic sensory of the interlocutor’s image in H. Boll’s novel “The Clown”." Neophilology, no. 3 (2023): 534–44. http://dx.doi.org/10.20310/2587-6953-2023-9-3-534-544.

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The purpose of study is to describe the sensory features of interlocutor’s perception by the main character of the novel by H. Boll “The Clown”. Sensory vocabulary representing odors, skin reactions and color combinations of clothes perceived by the protagonist of the analyzed work of art is chosen as the study material. The novelty of study lies in the fact that for the first time the verbalization features of olfactory associations in the novel by H. Boll “The Clown” are considered; for the first time, a quantitative analysis of lexemes-representatives of skin reactions is carried out in it;

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Melo, Priscila Romana Moraes de. "E o palhaço o que é? É uma mulher." Arteriais - Revista do Programa de Pós-Gradução em Artes 4, no. 7 (2019): 127. http://dx.doi.org/10.18542/arteriais.v4i7.6935.

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ResumoEste ensaio traz a fala de uma mulher que descobre em si um palhaço, mesmo atuando, há 13 anos, como palhaça. O encontro com o palhaço Uisquisito ocorreu em 2012, no grupo de teatro Palhaços Trovadores, do qual faço parte há 10 anos. A partir disso, atuar na palhaçaria com gêneros diferentes, feminino e masculino, trouxe-me reflexões não só na arte do palhaço, fato de ter dois palhaços, mas sobretudo, de se provocar discussões do que é uma mulher que tem um palhaço, que em suas primeiras experimentações faz leituras de poemas-manifestos. Com um olhar de pesquisadora para meu fazer artíst

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31

徐, 瑞阳. "Functional Difference and Transmutation of Opera and Folk Art Clown between East and West Cultures." World Literature Studies 02, no. 03 (2014): 41–46. http://dx.doi.org/10.12677/wls.2014.23007.

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32

Dionigi, Alberto, and Paola Gremigni. "A combined intervention of art therapy and clown visits to reduce preoperative anxiety in children." Journal of Clinical Nursing 26, no. 5-6 (2016): 632–40. http://dx.doi.org/10.1111/jocn.13578.

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33

Carpenter, Alexander. "“Give a man a mask and he’ll tell the truth”: Arnold Schoenberg, David Bowie, and the Mask of Pierrot." Articles 30, no. 2 (2011): 5–24. http://dx.doi.org/10.7202/1006375ar.

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There are striking parallels between Arnold Schoenberg’s treatment of the Pierrot character in 1912 and David Bowie’s adoption of Pierrot as an alter ego in 1980. For both musicians, Pierrot is a necessary mask, and each uses the “insolent clown” in his own way, but in the service of the same delicate negotiations between past and future, and between artifice and truth in art and self. In Schoenberg’s Pierrot Lunaire and Bowie’s song “Ashes to Ashes,” we see and hear the music of the past alongside “a nostalgia for the future”: Pierrot provides the means—the mask—behind which musical reflectio

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34

Arhar, Nika. "Circus choreographies of bodies and things." Maska 34, no. 198 (2019): 116–20. http://dx.doi.org/10.1386/maska.34.198-199.116_1.

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Abstract The text reflects on the 12th Festival of New Circus and Contemporary Clown Klovnbuf through the prism of contemporary circus' character and its slippery position in contemporary performing arts practices. Following a short overview of developments that have helped shape today's context, the performance analysis focuses mainly on tendencies incorporating critical thinking and the exploration of original forms, means (the trained circus body) and conditions, thereby expanding perspectives in this field of art. It also addresses the issue of the position of contemporary circus in this l

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35

Sembiring, Darta Prima, and Agustinus Supriyadi. "SENI MUSIK SEBAGAI SARANA BERKATEKESE DI PAROKI-PAROKI KEVIKEPAN MADIUN." JPAK: Jurnal Pendidikan Agama Katolik 23, no. 1 (2023): 140–50. http://dx.doi.org/10.34150/jpak.v23i1.476.

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Abstract The art of music is an expression of someone who is poured into sound. For the community, music is a part of their life, because music serves as an entertainer, teaching the listeners. Catechesis is learning about faith for all people, which is given organically and systematically, this is given to people so that they know God more and can unite with God. The purpose of this research is to describe what is meant by music, to describe what catechesis is, and to describe the art of music as a means of catechesis effectively and efficiently in the parish of Madiun Vicariate. This s

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Khlystun, Olena. "Showman's Activities as a Profession, Art, and Vocation." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 4, no. 2 (2021): 132–41. https://doi.org/10.31866/2616-759X.4.2.2021.243241.

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The purpose of the article is to explore the main personal qualities, character traits, professional skills that determine and form the priority requirements for the showman and his activities. Research methodology. The author of the article applies general scientific and special methods of scientific knowledge, in particular, analysis, synthesis, and generalisation, to formulate conclusions. The integrated use of methodological tools of art studies, socio-psychological and systematic approaches allowed us to consider the profession and personality of the showman as a holistic system

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Sáez Pradas, Fernando. "Entre el Delirio y la Ironía: el Joker. Sátira y Cinismo en la Obra de Chema Cobo." Barcelona Investigación Arte Creación 9, no. 2 (2021): 118. http://dx.doi.org/10.17583/brac.2021.5293.

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The iconography of the joker, clown, jester, etc. has been very attractive and has been worked from different points of view throughout the art history. From cinema to painting, passing through literature and theatre. The resurgence of this character after the screaming of the Hollywood super production directed by Todd Phillips and interpreted by Joaquin Phoenix has become an excuse to revise the figure from different perspectives, and a way of finding the relationship between this figure and our present. Authors such as Velazquez or even within circus performances have nurtured this characte

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38

I Ketut Muada, I Ketut Lanus, and I Made Indra Sanjaya. "NILAI-NILAI PENDIDIKAN KARAKTER DALAM TARI LEGONG NGEWAYANG." Widyadari 25, no. 2 (2024): 292–302. https://doi.org/10.59672/widyadari.v25i2.4131.

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Legong Ngewayang is a new creation of palegongan dance which is danced by 8 dancers. This palegongan creative dance is a traditional palegongan dance which uses movements that are thick with traditional movements, wrapped with new creative movements, arranged in such a way as to suit the needs of the dance. The Legong Ngewayang dance uses fans and puppets as props. This dance cannot be separated from the standards of traditional Pelegongan dance movements without eliminating the aesthetic forms of Balinese traditional dance such as: batel maya, pepeson, pengawak, pecet, pengrangrang and pekaad

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Jędrzejko, Paweł. "“The Justest of All Views”: Traveling to Mardi and Beyond with Agnes D. Cannon." Review of International American Studies 17, no. 2 (2024): 5–42. https://doi.org/10.31261/rias.18244.

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Herman Melville’s Mardi emerges as a pivotal work that bridges the domains of narrative realism and philosophical allegory, reflecting the writer’s evolving artistic ambitions and his quest for truth. This articleexamines Melville’s exploration of the poet’s role and literature’s potential as a medium for conveying profound philosophical insights. Drawing on Agnes D. Cannon’s critical framework and Melville’s marginalia, the analysis highlights how the writer constructs a multidimensional vision of the artist as entertainer, mouthpiece, interpreter, visionary, savior, and mythmaker. Melville’s

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40

Kreicberga, Zane. "POLITICAL ACTIVISM AS A FORM OF THEATRE." Culture Crossroads 8 (November 13, 2022): 146–52. http://dx.doi.org/10.55877/cc.vol8.172.

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Nowadays political activism can be considered as a form of theatre: its strategies and tactics often employ the means proposed by Brecht and other thinkers of the political theatre. However, there is a paradox if artistic activism is being practised exclusively in the artistic context, it can find itself in a deadlock. The article is dedicated to the phenomenon of artistic activism, exploring such examples as protest movements born in the UK “Reclaim the Streets” and “Clandestine Insurgent Rebel Clown Army”, “Nano-rallies” in Barnaul, Russia, the act of “The Standing Man” in Turkey, and the ac

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Aquino, Rafael Guerra de, Roberta Z. Bortolucci, and Ilda Estefani Ribeiro Marta. "Clowns doctors: the child talk...." Online Brazilian Journal of Nursing 3, no. 2 (2004): 41–48. http://dx.doi.org/10.17665/1676-4285.20044909.

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This study appeared for believing in the clown’s art as modifier of the hospital environment. The clowns can touch people’s hearts in a way that make them feel and not only seeing and trusting. The purpose was to identify the hospitalized children’s opinion about the funny doctors’s work. The datawere colected in the first semester of 2003, with the utilization of a semi-structered script. We decided for an investigation exploratory descriptive with qualitativy analysis and, thus we used te Thematic Analysis of the data, one of the techinicsof the Content Analysis. The interviews’s analysis sh

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Kuchukova, Zukhra A., Burkhan A. Berberov, and Liana B. Berberova. "Jerome Salinger and Heinrich Böll: experience of transcultural creativity." Philological Sciences. Scientific Essays of Higher Education 2, no. 6 (2020): 280–91. http://dx.doi.org/10.20339/phs.6-20.280.

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The article examines one of the notable in the history of world literature experiences of transcultural creativity on the material of the novels by the American J. Salinger “The Catcher in the Rye” and the German G. Böll “Through the Eyes of the Clown”, linked not only by intertextual calls, but also by the name of R. Wright-Kovaleva, who translated both novels into Russian. Within the framework of such three-dimensional intercultural communication, a wide range of issues related to the phenomena of literary translation, palimpsest, prototext, comparative studies, game poetics are considered.

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Tang, Xin. "Creation of Drama Art Based on Deep Learning and Evolution Strategy." Scientific Programming 2022 (August 10, 2022): 1–9. http://dx.doi.org/10.1155/2022/6217325.

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The rapid development of information technology has promoted the growth of deep learning, artificial intelligence, and big data technology. Nowadays, the artistic form of traditional opera creation is accepted and respected by people—more and more people like the art form. However, the artistic creation of traditional opera needs inspiration. The essence of inspiration creation is to reconstruct its objective structure. The deep learning algorithm’s essence is to extract all of the attributes of sample self-learning input data and use them as inspiration for artistic production. First, this pa

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Darie, Andreea. "Slava’s SnowShow Searching For The Divine Child." Theatrical Colloquia 10, no. 1 (2020): 158–67. http://dx.doi.org/10.2478/tco-2020-0011.

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AbstractThe performance SnowShow, created by Russian artist Slava Polunin, had its premiere in Moscow in October 1993. It won Drama Desk Award for Unique Theatrical Experience and was nominated at Tony Award for Best Special Theatrical Event. Currently, this performance-event has world tours periodically.The contemporary art can be characterized by the hybridization of the expression forms, by the impressive blend of antagonistic signs and concepts. SnowShow consists of at least two spectacular forms: theater and clownery. There can be observed many overall compositional elements specific to c

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Sheppard, Richard. "Reviews : Art as Spectacle: Images of the Entertainer since Romanticism. By Naomi Ritter. Columbia and London: University of Missouri Press, 1989. Pp. x + 347. $35.00." Journal of European Studies 21, no. 4 (1991): 317. http://dx.doi.org/10.1177/004724419102100409.

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Fisher, James. "Naomi Ritter Art as Spectacle: Images of the Entertainer Since RomanticismColumbia, Missouri: University of Missouri Press, 1989. 347 p. $35.00. ISBN 0-8262-0719-7." New Theatre Quarterly 6, no. 24 (1990): 399. http://dx.doi.org/10.1017/s0266464x00005091.

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Rosa, Gea, Arti Wulandari, and Oscar Samaratungga. "LAKON PUNAKAWAN DALAM KARYA FOTOGRAFI SENI." spectā: Journal of Photography, Arts, and Media 3, no. 2 (2019): 90–97. http://dx.doi.org/10.24821/specta.v3i2.2790.

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Abstrak Penciptan karya seni ini bermula dari keprihatinan terhadap pementasan wayang yang sudah mulai ditinggalkan di era milenial ini, sangat disayangkan apaila pementasan tersebut hilang begitu saja. Padahal kesenian ini sangat banyak memberikan pelajaran yang dapat membentuk karakter generasi muda menjadi lebih baik. Sebagai seorang yang lahir dan besar di Jawa, berkewajiban untuk turut andil dalam melestarikan kesenian peninggalan nenek moyang ini. Penciptaan karya seni ini mengambil tokoh Punakawan yang beranggotakan Semar, Gareng, Petruk dan Bagong. Tokoh-tokoh wayang tersebut diambil k

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Lanero Fernández, Juan, and Eduardo Ortega Montes. "Una preciosa moneda de múltiples caras : la partida dobe el algunos tratados ingleses del siglo XVII." Pecvnia : Revista de la Facultad de Ciencias Económicas y Empresariales, Universidad de León, no. 6 (July 1, 2008): 131. http://dx.doi.org/10.18002/pec.v0i6.1728.

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<p>El contable Ralph Handson no ha pasado desapercibido en la Historia de la Contabilidad. Así, ocupa una cierta posición como autor de unas breves consideraciones, a modo de Prefacio, de la obra de Richard Dafforne, The Merchants Mirrour (1836). Sin embargo, existe una publicación independiente de Handson a la que se le ha prestado escasa atención y en la que se centra la atención de este estudio. Se trata de una Tabla desplegable titulada Analysis or Resolution of Merchants Accompts. La copia que se halla en la Biblioteca del Christ College de Oxford está encuadernada con la tercera ed

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Kang, ji hye. "Hanseong Gwonbeon and Gwonbeon Sijo in the Imperial Japan’s Forced Occupation Period." Korean Society of Gyobang and Culture 3, no. 1 (2023): 131–50. http://dx.doi.org/10.58936/gcr.2023.6.3.1.131.

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The purpose of this study is to examine the establishment process of Hanseong Gwonbeon (government female entertainers guild) and Gwonbeon Sijo in the Imperial Japan’s forced occupation period, and to understand its contents and meaning. First, this study looked at the establishment background of Gwonbeon through the process of change in the Gisaeng (government female entertainers) system. Next, this study looked into the establishment process of Hanseong Gwonbeon, Korea’s first Gwonbeon, and looked at Sijo works that introduced Hanseong Gwonbeon. In the Imperial Japan’s forced occupatio

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Caddy, Davinia. "Parisian Cake Walks." 19th-Century Music 30, no. 3 (2007): 288–317. http://dx.doi.org/10.1525/ncm.2007.30.3.288.

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The popularity of the cake walk among Parisians in the early 1900s is usually attributed to the dance's assumed racial signification. Scholars have argued that the cake walk, owing to its African American origins, was welcomed by Parisians as iconic of a racial "other," a signifier of the primitive, uncultured, and grotesque. This article proposes an alternative reading, setting the standard scholarly line against other, more subtle impressions of the cake walk's cultural import. A consideration of popular response to the dance--on stage, on film, and in the circus arena--reveals Parisian tast

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