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Journal articles on the topic 'Community theater in fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

King, Barnaby. "Landscapes of Fact and Fiction: Asian Theatre Arts in Britain." New Theatre Quarterly 16, no. 1 (February 2000): 26–33. http://dx.doi.org/10.1017/s0266464x00013439.

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In the first of two essays which use academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, Barnaby King analyzes the relationship between Black arts and mainstream arts on both a professional and community level, focusing on particular examples of practice in the Leeds and Kirklees region in which he lives and works. This first essay looks specifically at the Asian situation, reviewing the history of Arts Council policy on ethnic minority arts, and analyzing how this has shaped – and is reflected in – current practice. In the context of professional theatre, he uses the examples of the Tara and Tamasha companies, then explores the work of CHOL Theatre in Huddersfield as exemplifying multi-cultural work in the community. He also looks at the provision made by Yorkshire and Humberside Arts for the cultural needs of their Asian populations. In the second essay, to appear in NTQ62, he will be taking a similar approach towards African-Caribbean theatre in Britain. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in theatre and drama-based activities.

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Ustinova, Oksana V., and Yulia V. Putilina. "Early 20th Century Historical Sources on the Siberian Student Community." Herald of an archivist, no. 1 (2018): 38–47. http://dx.doi.org/10.28995/2073-0101-2018-1-38-47.

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The article examines the early 20th century historical source base on the Siberian student community of the pre-revolutionary period. It argues that the sources complex of the period is heterogeneous in structure, nature, and content. It determines that the life of Siberian students, as depicted in the early 20th century sources from state archives, was recorded principally in the following aspects: approved and regulated university activities (admission, scholarships, training, participation in registered student organizations, fraternities, academic clubs, etc.) and oppositional, political, ideological activities of students prohibited by both central and local authorities and, in some cases, by university administration that followed the instructions. More details on pressing issues of student life (poverty, employment issues, etc.) unfold in the periodicals. There was a series of analytical and op-ed articles in the Sibirskii student (‘Siberian student’) and Sibirskie voprosy (‘Siberian issues’) magazines, in the Sibirskaya zhizn' (‘Siberian life’) and Utro Sibiri (‘The morning of Siberia’), and some others. The article shows that, apart from poverty and domestic issues, the informal student life, as lived outside educational institutions and politics (that is, love, friendship, attitude toward family, marriage, taste and theater preferences, fashion, and so on), went unreported. Some aspects of this life were pictured in fiction, published, for instance, in the Tomsk student press. But although they give some idea of the Siberian students’ view and ways of life, these sources don’t record facts of life.

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3

Meyer, Matthew J. "Using a Theatre as Representation Scenario as a Teaching Vehicle in B.Ed and M.Ed Preparation Programs." LEARNing Landscapes 1, no. 2 (January 2, 2008): 217–29. http://dx.doi.org/10.36510/learnland.v1i2.268.

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The following article demonstrates the use of the dramatic scenario, The Insurrection (a TAR/ethno-drama fiction work) to teach fundamental educational administration concepts to graduate and preservice teacher candidates. The scenario was written specifically to address the conflicts related to communication within a secondary school community and is used as a provocation tool in classroom discussions.

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4

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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5

Abed, Husam, and Réka Deák. "Breaking out of time: Dafa Puppet Theatre." Applied Theatre Research 8, no. 1 (July 1, 2020): 135–42. http://dx.doi.org/10.1386/atr_00031_1.

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Dafa Puppet Theatre works with refugee communities to enable expression and change people’s lives through puppetry. Dafa’s work is on the boundaries of visual arts, puppetry, music, family gathering, food and a range of different elements. The idea of the puppet is something that you can touch and sense, yet it is on the borders between reality and fiction. There is always the possibility that the gates of imagination can be opened by this object, which can have many symbolic meanings. In this article, a reflection transcribed from an interview with Laura Purcell-Gates, Husam and Réka discuss their work with puppetry in communities. They reflect on layers of meaning within the puppet, working with specific materials and found objects, the importance of cultural specificity in their approach to the work, decolonizing practices of puppetry and building community through integrating puppetry, gatherings and shared food. This artistic discussion is an insight into a very active company working with often vulnerable and displaced communities.

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6

Rheingold, Hugh M. "Possibilities Lost: Transcendental Declarations of Independence in Hawthorne's The Blithedale Romance." Prospects 26 (October 2001): 61–89. http://dx.doi.org/10.1017/s0361233300000879.

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The Blithedale Romance occupies a unique position in the Haw-thorneian corpus for at least two reasons: Hawthorne's use of a first-person narrator and his decision to base, albeit loosely, the fictional Blithedale on his experiences as a resident at Brook Farm, an actual Utopian community founded by the transcendentalist minister George Ripley in 1841. If The Blithedale Romance constitutes a new point of departure for Hawthorne's fictional project, it is nevertheless a point of departure that Hawthorne, in particular in his prefaces, had contemplated all along. Hawthorne's fidelity to a new kind of fiction that more closely approximates lived experience would seem to be a betrayal of his notion of romance, which does not, like the novel, aim to be faithful to “the probable and ordinary course of man's experience,” but it is part and parcel of Hawthorne's anxieties about the transgressions of representation, transgressions peculiar to the kind of fictional project Hawthorne attempts to prosecute (Seven Gables, 1). While Hawthorne's preface to The Blithedale Romance celebrates his romances as “a theatre, a little removed from the highway of ordinary travel, where the creatures of his brain may play their phan-tasmagorical antics (38), his preface to The House of the Seven Gables warns that romance runs the risk of sinning unpardonably; that it commits, in other words, a “literary crime” (1). Our concern with Hawthorne as a writer seems all the more urgent, indeed necessary, given the connections Hawthorne seeks to establish between himself and his self-confessed minor poet and alter ego Miles Coverdale.

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7

Syahrul, Ninawati. "REKAYASA SASTRA SEBAGAI UPAYA MENINGKATKAN GERAKAN LITERASI DI KALANGAN GENERASI MUDA." Multilingual 18, no. 1 (June 29, 2019): 48–66. http://dx.doi.org/10.26499/multilingual.v18i1.110.

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Characteristics of quality literary works must carry and convey moral messages. As a civilized citizen, the young generation — of course other citizens — must seize moral values in treading diverse lives. In this regard, literary engineering is an idea that should be taken into account as a form of literary approach in accordance with the mental development of the younger generation. How far is literary engineering capable as a new idea to introduce literature to the younger generation, that is the problem in this paper? This paper aims to describe and "sell" the role of literary literacy engineering to improve the literacy culture of the younger generation. The targets include the literary community and / or the community of young people, such as the youth organization, the literature literary forum, and the Student Council (intra-school student organization). This study used descriptive qualitative method. Based on the study of the theory of the younger generation (Stratus Howe) and the results of the analysis, this study shows that literary engineering can be used as a vehicle to improve literacy in the younger generation. Its activities can be in the form of literary rewriting in the form of student editions sourced from classical literary works such as Mahabharata, Ramayana, Siti Nurbaya novels, Salah Asuhan, or even folklore (folklore, folktale). These literary works can also be translated into literary / theater performances, soap operas, short stories, poems, or other forms. Conversely, the genre of poetry can also be "transformed" into other creative works in the form of poetry, fiction or literary / artistic performances. In addition, the work of teen literature is a way to familiarize literature with the younger generation. The success of the literacy movement is of course necessary and must be supported and collaborated with stakeholders, both government agencies, private institutions, art workers, parents, and / or literary practitioners. This literary or artistic activity is expected to be able to improve the literacy movement that is being promoted by the government as of now.

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8

Cox, Jordana. "The Phantom Public, the Living Newspaper: Reanimating the Public in the Federal Theatre Project's1935(New York, 1936)." Theatre Survey 58, no. 3 (August 10, 2017): 300–325. http://dx.doi.org/10.1017/s0040557417000266.

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Stories of American democracy, whether critical or congratulatory, canonical or popular, feature “the public” as their recurring protagonist. “The public” is a rhetorical fixture of political campaigns and democratic theories, opinion polls and calls to action. Its influence is formidable: the very idea scores political speech, and calls citizens into being. Yet as many scholars have argued, “the public” is a moving target, and possibly even a total fiction. Perhaps the best-known challenge in recent decades has come from literary critic and social theorist Michael Warner. “Publics” he writes in hisPublics and Counterpublics,“have become an essential part of the social landscape, and yet it would tax our understanding to say exactly what they are.” If a public is difficult to describe, it is in part, Warner explains, because the idea hovers in modern imaginaries between the concrete and the abstract. “A public” can conjure at once: a bounded audience—“a crowd witnessing itself in visible space”; a more abstract “social totality” like the constituents of a nation; and a community conjured through shared texts or identities.

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9

Siebein, Gary, Hyun Paek, Stephen Skorski, and Michael Ermann. "Gulfport Community Theater." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2442. http://dx.doi.org/10.1121/1.4782093.

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10

Wolf, Stacy. "All about Eve: Apple Island and the Fictions of Lesbian Community." New Theatre Quarterly 10, no. 37 (February 1994): 28–32. http://dx.doi.org/10.1017/s0266464x00000063.

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We continue our occasional series on the actuality and the ideology of lesbian performance with a study of Apple Island, a performance space in Madison, Wisconsin. Many of the productions of this ‘women's cultural and art space’ could, suggests Stacy Wolf, be categorized as performance art: she looks at these in the context of other modes and definitions of cultural production, and at the ‘complex interplay of identity and knowledge’ which constructs Apple Island's potential spectators. Looking at both positive negative critiques of its work, she concludes that the activity through which its refusal of political and performative divisions is best exemplified is the weekly class-cumperformance of country western line dancing, and suggests through folkloric analogy how this helps to define or redefine the meaning of cultural feminism. Stacy Wolf is a doctoral candidate in Theatre and Drama and a lecturer in Women's Studies at the University of Wisconsin, Madison. She has also published articles in Theatre Studies, Women and Performance, and the Journal of Dramatic Theory and Criticism.

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11

Graven, Kenneth W., and David R. Schwind. "Vacaville Community Theater acoustics." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2440. http://dx.doi.org/10.1121/1.4781961.

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12

Mundim, Isabella Santos. "História, utopia e contranarrativa da nação em Angels in America." Aletria: Revista de Estudos de Literatura 19, no. 1 (January 31, 2009): 169–79. http://dx.doi.org/10.17851/2317-2096.19.1.169-179.

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Resumo: Este artigo visa analisar Angels in America, a Gay Fantasia on National Themes, do dramaturgo norte-americano Tony Kushner. Kushner, neste que é seu trabalho de maior impacto, retoma eventos e figuras da história recente de seu país, com foco na crise que a epidemia de AIDS desencadeia, o descaso do governo Reagan em relação às minorias que a epidemia vitima e a consequente devastação que acomete a comunidade gay da época. Nessa perspectiva, o trabalho de Kushner supera o mero registro e aponta para acontecimentos e pessoas ausentes do relato dominante. Para além da versão oficial, emerge aí uma contranarrativa da nação, comprometida com a construção de uma memória dos Estados Unidos a partir do viés da margem e da exclusão.Palavras-chave: Tony Kushner; dramaturgia norte-americana contemporânea; contranarrativa da nação.Abstract: This article analyses Angels in America, a gay fantasia on national themes, by the American dramatist Tony Kushner. In what many believe to be his major work, Kushner weaves the lives of fictional and historical characters into a web of social, political, and sexual revelations, focusing on the discovery of AIDS, the disregard with which politicians marginalized its early spread and the impact of the disease on the gay community. As it is, Kushner’s work rethinks the recent past and portrays alternatives absent from the dominant reports. Moving beyond the official version of events, Angels in America is thus a counter-narrative, one where the master narrative implodes on itself, one where new stories arise out of the ashes of that explosion.Keywords: Tony Kushner; contemporary American theater; national narrative and counter-narrative.

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13

Mason, David. "Video Games, Theater, and the Paradox of Fiction." Journal of Popular Culture 47, no. 6 (January 2014): 1109–21. http://dx.doi.org/10.1111/jpcu.12200.

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14

Gómez Vázquez, Jorge. "La microtextualidad en el teatro breve actual: del teatro breve al microteatro español y su reverso con la microficción hispánica." Epos : Revista de filología, no. 33 (August 23, 2018): 115. http://dx.doi.org/10.5944/epos.33.2017.19318.

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Dentro del teatro breve actual en España, establecemos una distinción entre el teatro breve y el denominado microteatro. Al respecto, tenemos en cuenta la extensión de tales textos dramáticos y su duración en la escenificación. Tras estudiar el fenómeno del microteatro español, estudiamos la microficción hispánica. Aquí analizamos los casos de semejanza microtextual con el microteatro, tal y como sucede con la microficción dialógica o dramática.In the current short theater in Spain, we establish a distinction between short theater and so-called micro-theater. Around this, we indicate the extension of these dramatic texts and their duration in the staging. After studying the phenomenon of the Spanish micro-theater, we studied Hispanic micro-fiction. Here we analyze the cases of micro-textual similarity with the micro-theater, as it happens with dialogic or dramatic micro-fiction.

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15

Dymkowski, Christine. "Susan Glaspell: Essays on Her Theater and Fiction (review)." Theatre Journal 49, no. 3 (1997): 389–90. http://dx.doi.org/10.1353/tj.1997.0063.

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16

Rodríguez Ortiz, Raúl. "Las tres etapas del radioteatro en Chile: de la época dorada al nuevo auge de las series de ficción." INDEX COMUNICACION 9, no. 2 (June 30, 2019): 55–73. http://dx.doi.org/10.33732/ixc/09/02lastre.

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Following the growth, since 2016, of new fiction and non-fiction sound series in a large part of Ibero America, thanks to podcast and radio on demand, the task of analyzing the history of radio theater as a genre in Chile, from its roots and sociocultural importance to the new ways of producing and thinking about the genre in the 21st century is conducted. On the basis of documentary information, consisting of press archives, audios of radio theater scripts and the few studies on radio and radio theater, three stages can be elucidated: the golden age (1940-1970); the rebirth of radio theater (2003-2015) and the genre current boom period (2016 to present). While there are certain continuities between the first and second period, despite the temporary and technological breakthrough, in the third stage there is a new way of creating and designing these productions, with plots that respond to social and political struggles of groups that are invisible or discriminated in the public space, as well as in the way of circulating and disseminating them, without the radio being the key place par excellence for transmission as happened with the old radio soap operas. Keywords: Radio Drama; Fiction; History; Chile; Podcast.

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17

Forenza, Brad, and Lorin Tredinnick. "Individual actors in community theater: Implications for sense of community." Community Development 51, no. 4 (June 16, 2020): 344–60. http://dx.doi.org/10.1080/15575330.2020.1777177.

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18

Rybalko, Svetlana. "Costume Art in the Noh Theater Community." Intercultural Relations 3, no. 2(6) (February 16, 2020): 95–108. http://dx.doi.org/10.12797/rm.02.2019.06.05.

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The article examines costumes in the context of the Noh theater community. The author proposes an understanding of these costumes as part of theatrical practice, as well as a means of sociocultural self-identification, and analyzes representative samples; the most typical motifs, compositional schemes, design approaches are determined. The article also focuses on accessories that make up the ensemble, both for the stage (mask, fan) and off-stage (netsuke, fan, obidome).

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19

McInerney. "Directing Shaw Plays for Community Theater Audiences." Shaw 38, no. 1 (2018): 41. http://dx.doi.org/10.5325/shaw.38.1.0041.

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20

Christina Eiko Guenther. "Julya Rabinowich's Transnational Poetics: Staging Border-Crossings in Theater and Fiction." Women in German Yearbook 33 (2017): 128. http://dx.doi.org/10.5250/womgeryearbook.33.2017.0128.

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21

He, Chengzhou. "Theater‐fiction and hallucinatory realism in Mo Yan’s The Sandalwood Death." Orbis Litterarum 76, no. 4 (July 20, 2021): 169–79. http://dx.doi.org/10.1111/oli.12300.

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22

Forenza, Brad. "Sustained Community Theater Participation as Civil Society Involvement." Nonprofit and Voluntary Sector Quarterly 46, no. 3 (July 20, 2016): 549–66. http://dx.doi.org/10.1177/0899764016660385.

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Community theaters proliferate in every state in the nation, yet they are rarely considered in civil society research. Participation in civil society is capable of producing individual (psychological empowerment) and community-level outcomes, yet less is known about how community theaters might be capable of producing the same. Guided by the empirically tested dimensions of intra-organizational empowerment, this qualitative study interrogates four internal processes of voluntary membership in a community theater (shared beliefs, opportunity role structure, social support, and leadership). Directed content analysis of 14 in-depth interviews support and extend our understanding of existing theory for this less examined population. Implications for policy, practice, and future research are discussed.

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23

Lelek, Noah. "Performing Loss: Rebuilding Community through Theater and Writing." Text and Performance Quarterly 30, no. 4 (October 2010): 478–80. http://dx.doi.org/10.1080/10462937.2010.508288.

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24

Wolf, Stacy Ellen. "Staging America: Cornerstone and Community-Based Theater (review)." Theatre Journal 56, no. 2 (2004): 328–30. http://dx.doi.org/10.1353/tj.2004.0080.

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25

Greaney, Michael, and Kenneth Womack. "Postwar Academic Fiction: Satire, Ethics, Community." Yearbook of English Studies 34 (2004): 269. http://dx.doi.org/10.2307/3509512.

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26

Paul, Alison. "Fact and Fiction in Community Health." Australian Journal of Primary Health 3, no. 3 (1997): 110. http://dx.doi.org/10.1071/py97031.

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In July 1996, La Trobe University's Schools of English, Nursing and Public Health joined forces to produce a unique program for three Writers-in-Residence. For six weeks the writers spent one day a week teaching writing techniques to clients from two Community Health Centres. In response, the clients and staff drew on their experiences of illness and health, producing autobiographical and fictional works. The Writers-in-Residence Program was funded by the Literature Board of the Australia Council. Financial support was also provided by the Public Health Branch of the Victorian Department of Health and Community Services. The writers involved were author Andrea Goldsmith, playwright Ray Mooney and poet Earl Livings. Projects involving two of these authors are described here.

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27

Roberts, Robin. "Performing Science Fiction: Television, Theater, and Gender in Star Trek: The Experience." Extrapolation 42, no. 4 (January 2001): 340–56. http://dx.doi.org/10.3828/extr.2001.42.4.340.

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28

Ronda, Bruce A. ""The Theater of Feelings": Psychodrama and Historical Context in American Children's Fiction." Children's Literature Association Quarterly 20, no. 4 (1995): 191–93. http://dx.doi.org/10.1353/chq.0.0881.

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29

Robertson. "Robot Theater (Rohotto engeki) in Japan: Staging Science Fiction Futures." Mechademia: Second Arc 14, no. 1 (2021): 93. http://dx.doi.org/10.5749/mech.14.1.0093.

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30

Sayers, David Selim. "SOCIOSEXUAL ROLES IN OTTOMAN PULP FICTION." International Journal of Middle East Studies 49, no. 2 (April 20, 2017): 215–32. http://dx.doi.org/10.1017/s0020743817000022.

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AbstractThe sociosexual world of the premodern Middle East has been studied through a variety of sources ranging from legal documents to shadow theater. Most such sources are either prescriptive or transgressive: they uphold or subvert a normative framework, telling us more about the framework itself than about how it was inhabited by subjects in everyday life. This study introduces the Tıfli stories as a descriptive source that transcends the prescriptive–transgressive dichotomy. An Ottoman-Turkish genre of prose fiction produced at least from the 18th to the 20th century, the Tıfli stories were a protorealist form of “pulp fiction.” Where most sources sought to stabilize specific sociosexual roles, the Tıfli stories explored the ambiguities inherent in these roles. This study employs the Tıfli stories to interrogate understandings of the Ottoman sociosexual world that rely strongly on normative sources and to stage an approximation of how norms were negotiated in practice.

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Conway, Stephen. "Ageing and Imagined Community: Some Cultural Constructions and Reconstructions." Sociological Research Online 8, no. 2 (May 2003): 27–37. http://dx.doi.org/10.5153/sro.788.

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This paper develops Anderson's (1983) concept of ‘imagined community’ to explore the social meaning of popular images of ageing and the beliefs of older people. Popular iconography and texts are examined in relation to the representation of ‘normal’ or ‘positive’ ageing in areas including the marketing of seaside towns as places for retirement through the emphasis upon heritage, British holiday brochures for old people, lifestyle magazines, and the general sites of death, dying, funerals and bereavement ‘therapy’. These are seen as prescriptive representations that are sanitised and fictional. Emphasising communalism and homogeneity, they ignore the realities of history, and the differences and inequalities to be found amongst the old as a social group. This ‘vocabulary of motive’ (Mills 1940) of imagined community is found to be predominant within positive images of ageing, especially those found in ‘consumer culture’. The paper also considers how ageing can become a theatre for the interpretation and performance of imagined community in autobiographical context.

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Cantemir, Alexandra-Ioana. "HostelLand. Boardgame Theatre and Social Dialogue." Theatrical Colloquia 8, no. 2 (December 1, 2018): 371–79. http://dx.doi.org/10.2478/tco-2018-0028.

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Abstract HostelLand. Boardgame teatral is one of the most recent productions at Teatru Fix in Iaşi, a project that has been made in collaboration with Asociaţia Addarta. This paper will focus on the work methods used in the creative process and the performance form that has resulted – a form that is based on several rules that belong both to the principles of the boardgame that has been created, and to the way in which we interact with the audience. Director Alex Iuraşcu’s decision to structure the performance as a game generates a context in which audience participation is a factor that doesn’t only determine the way in which the performance takes place, but the very possibility of it taking place. A risky endeavour, one might say, but one that, up to this moment, has proven functional every time. The spectators have to become actants, alike the performers, and they gradually go from their role as (active or passive) players to that of citizens who are involved in a debate on the new laws of a state – the fictive, independent state HostelLand, a community formed by the boardgame players.

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33

Kułakowska, Katarzyna, Katarzyna Kalinowska, Olga Drygas, and Michał Bargielski. "Individual and Community Crises in a Pandemic: The Social Theater of Ambulatory Care." Pamiętnik Teatralny 69, no. 4 (December 31, 2020): 63–84. http://dx.doi.org/10.36744/pt.455.

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This article offers a preliminary diagnosis of Polish social theaters with regard to the crises of the individual and the community during the Covid-19 pandemic. The interpretive framework is Lidia Zamkow’s concept of the theater of ambulatory care, which allows us to locate the activity of social theaters in the context of Michel de Certeau’s tactics and Jack Halberstam’s low theories. The theater of ambulatory care recognizes the needs of individuals and communities in a pandemic crisis and reacts to them in different ways. We distinguish and describe three ideal types of diagnoses and the resulting treatments that theaters of ambulatory care use in a pandemic: therapy, conjuring, and revolution. The article is based on materials collected during two studies: a funded research project on the anthropological and social activity of the Węgajty Theater, carried out at the Institute of Art of the Polish Academy of Sciences, and a survey among theater staff during the pandemic, initiated by the Zbigniew Raszewski Theater Institute in Warsaw. (Trans. K. Kułakowska)

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Santos, Luis Alberto Brandão. "O corpo no teatro." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 279–85. http://dx.doi.org/10.17851/2317-2096.7..279-285.

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Resumo: O teatro exige a presença de corpos. É necessário, no entanto, repensar a concepção de que o corpo, numa encenação, subordina-se à imagem, ou seja, a seu caráter explícito de representação; é necessário levar em conta que o contato de corpos no espaço cena-platéia não visa apenas a veicular uma convenção ficcional: há, no teatro, um excesso de corpo que transvaza da ficção. A relação entre ator e personagem é necessária – o teatro só existe através de um pacto ficcional –, mas não é suficiente – a significação do corpo do ator não se esgota no fato de ser personagem. Como pensar, então, as relações entre as camadas de signos que agem no espaço teatral? Como se dá a semiose que torna possível uma ficção gerada pelo contato de corpos?Palavras-chave: corpo; semiótica; teatro.Abstract: Theater requires the presence of bodies. However, it’s necessary to check the conception that body, in staging, is subordinated to image, to its explicit feature of representation; it’s necessary to take into account that the contact of bodies in stage-audience space doesn’t just intend to transmit a fictional convention: in theater, there is an excess cífbody that draws off fiction. The relationship between actor and character is necessary – theater only exists through a fictional pact –, but it's not sufficient the meaning of the actor’s body is not limited to its being character. How to think the relationships between the layers of signs that actuate in theatrical space? How is the semiosis that makes a fiction created by the contact of bodies possible?Keywords: body; semiosis; theater.

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Nuraeni, Iin, and Fahrus Zaman Fadhly. "CREATIVE PROCESS IN FICTION WRITING OF THREE INDONESIAN WRITERS." Indonesian EFL Journal 2, no. 2 (September 12, 2017): 117. http://dx.doi.org/10.25134/ieflj.v2i2.644.

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This research investigates the creative process in fiction writing employed by three writers of different writing genres: short story, novel, and poem. This study applied a qualitative method that involved one male and two female writers in Kuningan and Majalengka. The data collected from document analysis, observation, and interview were analyzed through descriptive qualitative method. The results of the analysis revealed that there were five creative processes of writing fiction used by the writers in writing fiction, namely preparation, incubation, insight, evaluation, and elaboration. Besides, it also revealed that novel writer is more creative than short story and poem writers since he uses all steps of creative process. In addition, the researcher found that there were some ways of exploring imagination in writing fiction, including drawing and deepen characters in the film or theater, making mind mapping to write, developing a shorter text, and expecting that the writing will be read by younger generation.Keywords: creative process, writing fiction, fiction writers, imagination process

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Gontarski, Stanley. "The theater is always dying." Acta Universitatis Lodziensis. Folia Litteraria Polonica 59, no. 4 (December 30, 2020): 191–209. http://dx.doi.org/10.18778/1505-9057.59.11.

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The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or whether you’ve had a sense that you’ve been part of, participated in a community ritual, a Dionysia, or whether or not you’ve felt that you’ve been affected by a performative, an embodied intellectual and emotional human experience may determine how you judge the state of contemporary theater. You may not always know the answer to those questions immediately after the theatrical encounter, or ever deliberately or consciously, but something, nonetheless, may have been taking its course. You may emerge “more human than when you went in”.

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Wolfe, Graham. "Theatrical Extraneity: John Irving’s A Prayer for Owen Meany and Dickensian Theater-Fiction." Dickens Quarterly 35, no. 4 (2018): 350–72. http://dx.doi.org/10.1353/dqt.2018.0035.

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Head, Randolph C., and Glenn Ehrstine. "Theater, Culture, and Community in Reformation Bern, 1523-1555." Sixteenth Century Journal 33, no. 4 (2002): 1103. http://dx.doi.org/10.2307/4144141.

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Kramer, Michael W. "Communication and Social Exchange Processes in Community Theater Groups." Journal of Applied Communication Research 33, no. 2 (May 2005): 159–82. http://dx.doi.org/10.1080/00909880500045049.

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GREER, MARGARET. "Authority and Theatrical Community: Early Modern Spanish Theater Manuscripts." Renaissance Drama 40 (January 2012): 101–12. http://dx.doi.org/10.1086/rd.40.41917502.

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Bennett, Claire-Louise. "Embodying Individualism, Re-Imagining Community: Irish Theater in 2005." New Hibernia Review 10, no. 3 (2006): 137–44. http://dx.doi.org/10.1353/nhr.2006.0048.

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Szmedra, Philip, Anand Chand, Mohit Prasad, Thomas DeTitta, and Cathy Rozmus. "Using community theater to improve diabetes education in Fiji." International Journal of Diabetes in Developing Countries 38, no. 4 (February 8, 2018): 502–8. http://dx.doi.org/10.1007/s13410-018-0610-9.

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Butler, Robert, and Phillip Page. "Reclaiming Community in Contemporary African American Fiction." African American Review 34, no. 3 (2000): 533. http://dx.doi.org/10.2307/2901398.

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Rothfork, John. "Race and Community in Sam Selvon's Fiction." Caribbean Quarterly 37, no. 4 (December 1991): 9–22. http://dx.doi.org/10.1080/00086495.1991.11671737.

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House, E. B. "Reclaiming Community in Contemporary African American Fiction." American Literature 72, no. 2 (June 1, 2000): 441. http://dx.doi.org/10.1215/00029831-72-2-441.

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Lock, Helen, and Philip Page. "Reclaiming Community in Contemporary African American Fiction." South Atlantic Review 65, no. 2 (2000): 190. http://dx.doi.org/10.2307/3201826.

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Mahmalji, Wasim, Gaurav Mukerji, Paul Abel, and Asif Raza. "A COMMUNITY UROLOGY SERVICE: FACT OR FICTION?" BJU International 106, no. 10 (October 13, 2010): 1428–30. http://dx.doi.org/10.1111/j.1464-410x.2010.09731.x.

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Jovanov, Lazar. "Theatre City and Identity: Narodno pozorište-Nepszίnház-KPGT." Issues in Ethnology and Anthropology 11, no. 1 (April 18, 2016): 63. http://dx.doi.org/10.21301/eap.v11i1.3.

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This study considers the concept of Theatre City and its role in the formation of the desired identity of a community. More specifically, the research is at a crossroads of sociological and anthropological use of this theater form, in a function of the reconstruction of the community, examining the relationship between theater and the city, as a functional European theater concept, which has the potential to generate multiple socio-cultural values, participating in the formation of the so-called free spaces, free theater, which rejects the idea of elitism because it is intended for the wider population.In this regard, the subject of this research is the concept of Subotica Theatre City established by National Theater-Nepszίnház-KPGT in the context of creating a (multicultural) identity of the community, while the focus is on socio-anthropological, philosophical and aesthetic analyse of the play Madach, the comments, which was the inaugural project of the new aesthetic and cultural policy of the city of Subotica in the former Yugoslavia in 1985.

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Keith, Lindsay, and Wyn Griffiths. "“Space Plague”: an investigation into immersive theatre and narrative transportation effects in informal pandemic science education." Journal of Science Communication 19, no. 07 (December 14, 2020): N01. http://dx.doi.org/10.22323/2.19070801.

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Stories are fundamental to human history, culture and development. Immersive theatre has created a landscape where participants have agency within stories, and within this landscape the concept of narrative transportation provides a framework where change within stories creates change in real life. “Space Plague” is a co-designed, fully immersive theatrical experience for young people and families about a fictional pandemic. It was developed using community-based participatory action research (CBPAR) employing a novel model for engaging underserved and under-represented audiences, “SCENE”. Results confirmed that indications of narrative transportation effects were achieved, demonstrating enhanced learning and understanding alongside changing attitudes and indicated positive change when negotiating the COVID-19 crisis.

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Sutton, Timothy. "Avatar, Tar Sands, and Dad." International Review of Qualitative Research 11, no. 2 (May 2018): 178–97. http://dx.doi.org/10.1525/irqr.2018.11.2.178.

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This is an (auto)ethnographic performance inspired by a conversation with my father while leaving the theater after watching Avatar back in 2009. It is intended to be performed as readers’ theater. In it, I examine the role anthropology plays in the performance of imperialist nostalgia across the stories of James Cameron's film Avatar, Ursula K. Le Guin's novella The Word for World Is Forest, and Theodora Kroeber's Ishi in Two Worlds: A Biography of the Last Wild Indian in North America. I see a performance of alternative possibilities in Le Guin's utopian speculative fiction and in recent Indigenous-led activism opposing megaresource extraction projects such as Alberta's tar sands and the pipelines that snake out from it.

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