Relevant bibliographies by topics / DRAK Theatre

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

Academic literature on the topic 'DRAK Theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "DRAK Theatre"

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Bečica, Jiří. "Income Self-Sufficiency and Profitability of Professional Theatres in the Czech Republic." Review of Economic Perspectives 18, no. 3 (September 1, 2018): 285–99. http://dx.doi.org/10.2478/revecp-2018-0014.

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Abstract The paper assesses the professional theatres operating under the Association of Professional Theatres in the Czech Republic in the period 2011-2015 using the financial analysis, particularly the profitability indicator ratio (ROA, ROCE, ROE, ROS) and the rate of income self-sufficiency. The reason for this economic exploration of theatres is in the fact that the service they provide fall under collectively provided public goods (a common feature of most cultural institutions), and that the market is not able to effectively secure these goods on the profit principle. The J. K. Tyl Theatre in Pilsen, the Drak Theatre in Hradec Králové and the Moravian Slovakia Theatre in Uherské Hradiště have reported the best results of profitability indicators. Whereas the worst results in profitability have been reported for the North Bohemian Theatre of Opera and Ballet in Ústí nad Labem, the Antonín Dvořák Theatre in Příbram and the South Bohemian Theatre in České Budějovice. The rate of income self-sufficiency within 2011-2015 ranges from 12-55% of the total budget volume, and volume and shows a strong dependency of professional theatres on foreign resources, particularly from public resources of the local levels of the government being the most common funder of these cultural institutions. It turns out that, from the economic point of view, it is illogical to transform non-profit contributory organizations in culture with a public funder into a different legal form when the purpose of the establishment and the funder remain preserved. Better results are generally obtained from single-genre theatres and, in terms of the auditorium size, smaller theatres focusing on drama or children's production.
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Samitov, Dmitry G. "THE FIRST REGIONAL THEATRES OF THE UNITED STATES AS AN ALTERNATIVE TO BROADWAY COMMERCIALISM." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 190–96. http://dx.doi.org/10.17223/22220836/40/16.

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The article aims to draw attention to the problem of the emergence and development of creative troupes of a new type. Non-profit theatres became noticeable to the public after a ten-year dominance of Broadway productions played on stages of American the ater. Contrary to Broadway and its commercialism non-profit theatres turned to art, becoming its alternative. The venues mostly performed musicals, uncomplicated comedies, musical shows. Huge halls, high ticket prices led to the fact that the theatre turned to a major business. The desire of theatrical figures to realize their creative powers in the art theatre led many of them to the idea of creating their own companies in opposition to the Broadway theatre in many regions of the United States. It was the nascence of the movement of non-profit theatres that became an alternate to Broadway commercialism, attracted all the new creative forces of the American theatre. Analyzing the activities of number of non-profit theatres such as Cleveland Playhouse, Arena Stage, Alley Theater, the conclusion was made that they all played an important role in the development of the movement of the regional theatres of the United States. The famous “Arena Stage” Theatre, like other regional theaters, developed traditions of non-profit theatres of the USA, including the ideas of “little” and “arti” theatres. The study of non-commercial drama theatres in the United States is relevant for modern Russia. Exploring the process of evolution of noncommercial companies the author concluded that the theatre is primarily a creative, artistic institution, that is to be valued precisely for its contribution and influence on the spiritual life of the audience.
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Bottoms, Stephen. "Putting the Document into Documentary: An Unwelcome Corrective?" TDR/The Drama Review 50, no. 3 (September 2006): 56–68. http://dx.doi.org/10.1162/dram.2006.50.3.56.

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“Verbatim drama,” the current trend in British documentary theatre, capitalizes on the presumed authenticity of the voices represented and on the “unmediated” theatricalization of the truths they ostensibly reveal. The works of Moisés Kaufman and his Tectonic Theater Project present an alternative, appropriating avantgarde theatre techniques and acknowledging the presence of the artist in shaping the representation of the realities depicted.
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Magelssen, Scott. "Rehearsing the “Warrior Ethos”: “Theatre Immersion” and the Simulation of Theatres of War." TDR/The Drama Review 53, no. 1 (March 2009): 47–72. http://dx.doi.org/10.1162/dram.2009.53.1.47.

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To pre-expose deployment-bound troops to combatants' unconventional tactics, the Army has constructed vast simulations of wartime Iraq and Afghanistan. Termed “Theatre Immersion,” these sites feature entire towns bustling with costumed villagers. The largest facility is at Fort Irwin in the Mojave Desert. It is part of a long tradition of performance and war games, but never before has a military simulation worked to produce an environment with this kind of scale and attention to fidelity.
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Brown, John. "Tomorrow's Theatre – and How to Get There from Today's." New Theatre Quarterly 18, no. 4 (November 2002): 334–42. http://dx.doi.org/10.1017/s0266464x02000441.

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Taking a wide-ranging look at the aesthetics and economics of theatre on both sides of the Atlantic, and highlighting the increasing interest in learning about theatre in the educational sphere at a time when institutional theatre appears to be floundering, John Russell Brown here draws on his own visits over the past decade to traditional and contemporary theatres in China, India, Japan, Korea, and Indonesia to suggest how new approaches to and locations for theatre might build on forms which continue to draw audiences worldwide. John Russell Brown founded the Department of Drama and Theatre Arts at Birmingham University, and for fifteen years was an Associate Director of the Royal National Theatre. His New Sites for Shakespeare: Theatre, the Audience, and Asia was published by Routledge in 1999. His articles on Asian theatres and their influence in Europe and America have appeared in recent years in New Theatre Quarterly and several Indian journals. He edited and contributed to The Oxford Illustrated History of Theatre (1995) and has been General Editor of the ‘Theatre Production Studies’ and ‘Theatre Concepts’ series, both for Routledge. This article is based upon his inaugural lecture at Middlesex University, where he is currently Visiting Professor.
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KATRAK, KETU H. "‘Stripping Women of Their Wombs’: Active Witnessing of Performances of Violence." Theatre Research International 39, no. 1 (February 10, 2014): 31–46. http://dx.doi.org/10.1017/s0307883313000539.

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This essay creates a theoretical frame interweaving Jill Dolan's concept of ‘finding hope at the theatre’ with Michel Foucault's concepts of ‘biopower’ and ‘biopolitics’ to argue that spectators’ affective responses to performed violence in live theatre include hope and imagining social change. I draw upon my own active witnessing of theatrical performances of two works –Ruinedby Pulitzer Prize-winning African-American Lynn Nottage, andEncounterby the Indian-American Navarasa Dance Theater Company. Along with Dolan and Foucault, I draw upon affect scholarship by James Thompson and Patricia T. Clough, and upon theorist Saidiya V. Hartman's discussion of slavery that makes the human into an abject ‘non-human’. Continuing forms of female enslavement and resistances to domination are evident in the representations of sexual slavery in the two works.
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Occheli, Vera. "Польская драматургия рубежа XIX–XX веков на сцене грузинского театра." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 51, no. 2 (August 16, 2021): 165–86. http://dx.doi.org/10.36770/bp.606.

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The article presents findings based on the materials of the Archives of the State Theatre Museum of Georgia and theatrical reviews published in the Georgian periodical press of the designated time. The obtained data allowed to draw a conclusion about the wide popularity of Polish drama on the stages of Tiflis and Kutaisi theatres. Polish drama attracted the audience not only with its high artistic skill, but also with the desire to get acquainted with the Polish theatre system, its ability to pose and solve important life problems. Plays by Stanislaw Przybyszewski, Jerzy Żuławski, Gabriela Zapolska, Michał Bałucki and others were staged in Georgian theatres. The dramatization of the novel Quo vadis? by Henryk Sienkewicz was particularly recognized among the Georgian public. The article also points to the great interest of the Georgian audience in modern Polish drama, especially the plays of Sławomir Mrożek.
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Prentki, Tim. "Any Color of the Rainbow—As Long as It's Gray: Dramatic Learning Spaces in Postapartheid South Africa." African Studies Review 51, no. 3 (December 2008): 91–106. http://dx.doi.org/10.1353/arw.0.0086.

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Abstract:This article addresses the issue of the relationship between contemporary South African politics and the type of socially committed theater that might be capable of mounting a critique of those politics. The author highlights the contradictions between the aspirations of the Freedom Charter and the realities of subscribing to the neoliberal world order. His contention is that any theater form that is seeking cultural intervention must find a way of representing contradiction if it is to remain true to the experiences of its audiences and its participants. Such a representation can be achieved through a combination of Bertolt Brecht's praxis in relation to contradiction and current practices in Theatre for Development, which themselves draw upon aspects of the antiapartheid resistance theater.
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Huntington, Paul. "Cash and Customers: Theatre Revenue and the National Economy." New Theatre Quarterly 4, no. 15 (August 1988): 258–63. http://dx.doi.org/10.1017/s0266464x00002803.

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While statistical information on certain sectors of the British theatre is slowly becoming available – notably from the Arts Council and the Society of West End Theatre, as also from researchers in the Department of Arts Administration at the City University – few attempts have yet been made to draw useful conclusions from these figures, or to deduce how they might be helpful in terms of forward-planning and projections. In the following article. Paul Huntington examines the relationship between theatre revenue and total consumer expenditure, in the context of published figures which illustrate the changing national economic picture of the past decade. He examines not only the way in which these figures tend, naturally enough, to confirm certain expectations – for example, concerning the impact of tourism on the theatre – but also less expected findings, such as the relative upsurge in the fortunes of the regional theatres at a time of slump in the commercial sector of the West End.
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Rosenthal, Rachel. "Animals Love Theatre." TDR/The Drama Review 51, no. 1 (March 2007): 5–7. http://dx.doi.org/10.1162/dram.2007.51.1.5.

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Dissertations / Theses on the topic "DRAK Theatre"

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Kopecká, Aneta. "Divadlo DRAK a jeho vliv na divadlo Spare Parts Puppet Theatre." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2011. http://www.nusl.cz/ntk/nusl-96651.

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This diploma thesis is dealing with two theatres: a Czech Puppet theatre called Theatre DRAK and an Australian theatre called Spare Parts Puppet Theatre. The thesis describes the influence of Czech Puppet Theatre at the Australian Puppet Theatre. The first chapter talks about the development of the DRAK Theatre, including the characteristics of chosen plays for the past few years. The next chapter gathers some information about Australian Puppet Theatre general from the 60s of 20th century. The third chapter outlines development of the Spare Parts Puppet Theatre as well as the plays for the past two years. The final section records relationships and cooperation between the two theatres and main highlights of similarities and contrasts conclude it.
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Lasik, Franklin James. "Documentary theatre: dramatizing history and historicizing dram." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407236436.

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Galipeau, Stephanie Rosa. "Victorian rebellion in drag Cushman and Menken act out celebrity /." Connect to this title online, 2003. http://etd.lib.fsu.edu/theses/available/etd-11182003-224332/.

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DeBoer, John Kenneth. "Camping in the Classroom: Ridiculous Theatre as Serious Drama." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/874.

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My first semester pursuing my MFA in Voice and Speech Pedagogy I vocal-coached an openly gay student playing a straight character who would mask his sexual identity in such a manner that his performance became stiff and uninteresting. Rather than using his personal identity as an asset in the pursuit of a successful performance, his chosen vocal tactics removed any sense of theatricality from his performance. I confronted the student and suggested such extreme vocal suppression diminished the quality of his overall performance. He replied, "So you want me to get the gay out."His use of the phrase, "get the gay out" to describe a fuller adaptation of his sexual identity to suit the character fascinated me and led to me to create a performance seminar course that used open acknowledgment of Camp performance styles as a valuable way to prepare students, gay or straight, for careers on the stage and screen. This thesis is a record of the course taught in the spring of 2007; CAMP: RIDICULOUS THEATRE AS SERIOUS DRAMA.
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Santana, Renato Tavares. "Desenho, teatro e educa??o: interpreta??es da a??o dram?tica atrav?s do tra?o." Universidade Estadual de Feira de Santana, 2014. http://localhost:8080/tede/handle/tede/106.

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Submitted by Verena Bastos (verena@uefs.br) on 2015-07-27T22:11:48Z No. of bitstreams: 1 Renato Tavares Santana. DESENHO TEATRO E EDUCACAO.pdf: 4147917 bytes, checksum: 129812850cc37a09e0c5a3b857886564 (MD5)
Made available in DSpace on 2015-07-27T22:11:48Z (GMT). No. of bitstreams: 1 Renato Tavares Santana. DESENHO TEATRO E EDUCACAO.pdf: 4147917 bytes, checksum: 129812850cc37a09e0c5a3b857886564 (MD5) Previous issue date: 2014-08-13
The proposal of this work involves the interaction-integration between Design and Theatre and its implication to Education, recognizing and exploiting the potential of these knowledge transformers. Art, Education, Art and Theatre are more than words, are powerful concepts that are completely interwoven in a world that is not fragmented but dynamic and interactive. The prospect of Edwards (2000), Ferreira and Santos (2000), Gomes (1996), Moreira (2009) and Tiburi and Chui (2010), identified the drawing as poetry and mystery, but also as language, creating, thinking, intention and design (which materializes in the mind of every individual or in outer reality) and therefore is present in all areas of knowledge and human experience. The ideas of Pavis (2008) reveal a theater living experience, that enables a collective design, an ongoing dialogue between tasks, knowledge and various individuals. The research has developed an analysis of drawings produced by students of high school volunteers, on the proposal theatrical scene, in the search for understanding how this viewer perceives and interprets the dramatic action. The empirical part of the research selected qualitative approach as methodology searching contributions of various pathways for field investigation and the interpretation of drawings, consistent with the dialogic, dynamic and interdisciplinary Art function. The theme of the research is a look on the look of the viewer. In the exercise of drawing a theatrical scene i discovered in the viewer, a designer. The viewer is a co-creator, a producer of meanings, not a mere discoverer. There is no passivity at reception. Perception-representation, reception-creation are integrated actions. Through the interpretation of the drawings was possible to see the viewer on her sensitive, symbolic dimension, far from merely explaining and rationalizing discourses of the verbal language. Theatre and design do not end in themselves, are ways to interpret, explore and experience the world. Mobilize the subjects to awaken its ability to designate, draw and design yourself, ordering, viewing and reviewing themselves, to explore, alone or in groups, their designs and drawings of the world and of themselves. Awareness of the importance and power of these knowledge can consolidate educational processes, investigations, actions and activities that add significant knowledge and can bring great leaps in human development in all its dimensions. The alliance between the theoretical framework and the interpretation of the material collected some significant conclusions about the interpretation of the viewer-designer were obtained, comprising a multiplicity of meanings expressed, the emphasis on specific aspects, the more distanced stance or identified with theatrical scenes, symbolic links with the elements and images present in the context of the scene and how the drawings reveal their creators and their sociocultural context.
O Desenho e o Teatro fornecem oportunidades educativas transformadoras, no entanto, ainda muito pouco reconhecidas e exploradas. A presente pesquisa tem por objetivo investigar uma intera??o-integra??o entre os dois campos e sua rela??o com o processo educativo. Arte, Educa??o, Desenho e Teatro s?o mais que palavras, s?o conceitos potentes que est?o completamente imbricados num mundo que n?o ? fragmentado, mas din?mico e interativo. A perspectiva de Edwards (2000), Ferreira e Santos (2000), Gomes (1996), Moreira (2009) e Tiburi e Chu? (2010), apontam o desenho como poesia e mist?rio, mas tamb?m como linguagem, cria??o, pensamento, inten??o e projeto (que se materializa na mente de cada indiv?duo ou na realidade exterior) e, por isso, est? presente em todas ?reas do conhecimento e da experi?ncia humana. J? as ideias de Pavis (2008), revelam um teatro experi?ncia-viva, que possibilita um desenho coletivo, um di?logo permanente entre fun??es, saberes e indiv?duos diversos. A pesquisa desenvolveu uma an?lise de desenhos produzidos por educandos-volunt?rios do ensino m?dio, sobre uma cena teatral proposta, na busca por compreender como esse espectador percebe e interpreta a a??o dram?tica. A proposta metodol?gica alia a abordagem qualitativa e a inspira??o hermen?utica ? bricolagem de caminhos diversos para a investiga??o de campo e interpreta??o dos desenhos, coerentes com a fun??o dial?gica, din?mica e interdisciplinar da Arte. O mote da pesquisa ? o olhar sobre o olhar de quem olha. No exerc?cio de desenhar uma cena teatral descobri no espectador, um desenhador. N?o h? passividade na recep??o. O espectador ? um co-criador, um produtor de significados, n?o um mero descobridor. Percep??o-representa??o, recep??o-cria??o s?o a??es integradas. Atrav?s da interpreta??o dos desenhos foi poss?vel enxergar o olhar do observador em sua dimens?o sens?vel, simb?lica, longe dos discursos meramente explicativos e racionalizantes da linguagem verbal. Desenho e Teatro n?o se encerram em si mesmos, s?o formas de interpretar, explorar e conhecer o mundo. Mobilizam os sujeitos para que eles despertem sua capacidade de designar, projetar e projetar-se, de ordenar, ver e rever-se, de explorar, sozinhos ou em grupo, seus desenhos e os desenhos do mundo e de si pr?prios. Dessa forma, esses campos podem consolidar processos educativos, investiga??es, a??es e atividades significativas que podem trazer grandes saltos qualitativos para o desenvolvimento humano em todas as suas dimens?es e complexidade. Com a interpreta??o dos desenhos da pesquisa obtive algumas conclus?es significativas sobre as interpreta??es do espectador-desenhador, compreendendo a multiplicidade dos significados expressos, a ?nfase dada a aspectos espec?ficos, a postura mais distanciada ou identificada com as cenas teatrais, as articula??es simb?licas com os elementos e imagens presentes no contexto da cena e o quanto os desenhos revelam sobre os indiv?duos e seu contexto sociocultural.
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Davenport, Jeremiah Ryan PhD. "From the Love Ball to RuPaul: The Mainstreaming of Drag in the 1990s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1499363704491381.

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Lyle, Timothy Scott. ""Check with Yo' Man First; Check with Yo' Man": Perry Appropriates Drag as a Tool to Recirculate Patriarchal Ideology." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/english_theses/52/.

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Thesis (M.A.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed June 8, 2010) Shirlene Holmes, Kameelah Martin Samuel, committee co-chairs; Chris Kocela, committee member. Includes bibliographical references(p. 85-87).
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Prince, Lindy-Lee. "Above gender : doing drag, performing authentically, and defying the norms of gender through performance in Cape Town." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80074.

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Thesis (MA)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: The thesis that is to be presented discusses the performance of drag and gender in Cape Town – namely Bubbles Bar. I argue that the performance of gender on stage through the performance of drag challenges the norms and ideas of gender in South Africa. Through the act of non-normative staged gendered performance, the participants of this study also challenge stereotypes and stigma around this in relation to the social norms and regulations that are asserted on the individual presentation and performance of gender and sexuality. I argue that the performance of gender in relation to the stage asserts the situational character of gender performance through the staged performance of drag. I assert that the staged performance of gender is made authentic by the audience who views and understands the performance as a performance of drag, and a performance of gender. The performance of drag is considered an act of transgression. Transgression in South African society is policed through acts of oppression, social and sometimes physical violence. This act of transgression is performed through drag which is viewed as an act of nonnormative gender performance. The perception of transgression places those who perform gender in a non-normative fashion upon the margins. However, that the performers are acting above gender places the performance on a higher plain. The theatrical methods, and inclusion of the audience in the performance that are used as a form of entertainment allows the participants in this research project to humanize the gendered performance of non-normativity by education through the art of their performance.
AFRIKAANSE OPSOMMING: Die tesis wat aangebied word bespreek die vertoning van “drag” en geslag in Kaapstad - naamlik in Bubbles Bar. Ek voer aan dat die opvoering van geslag deur “drag” op die verhoog normes en idees van geslag in Suid-Afrika uitdaag. Deur hierdie nie-normatiewe geslagsopvoering daag die deelnemers van hierdie studie ook stereotipes en stigma rondom geslag uit, met spesifieke betrekking tot die sosiale normes en regulasies wat op die individuele aanbieding en vertoning van geslag en seksualiteit geplaas word. Ek argumenteer dat die uitbeelding van geslag in verhouding tot die verhoog die situasionele karakter van geslag deur die opgevoerde vertoning van “drag” handhaaf. Ek voer aan dat die verhoogvertoning van geslag eg gemaak word deur die gehoor wat die vertoning aanskou en verstaan as 'n vertoning van “drag”, en ook 'n vertoning van geslag. Die opvoering van “drag” word beskou as 'n daad van oortreding. Oortreding in die Suid- Afrikaanse samelewing word gepolisieër deur dade van onderdrukking, sosiale en soms fisiese geweld. Hierdie daad van oortreding wat opgevoer word deur middel van “drag” word beskou word as 'n daad van nie-normatiewe geslagsgedrag. Die persepsie van oortreding plaas diegene wat geslag opvoer op 'n nie-normatiewe wyse, op die kantlyn. Deurdat die deelnemers/kunstenaars optree buite die normatiewe idee van geslag, plaas dit die vertoning op 'n hoër vlak. Die teatriese metodes, en die insluiting van die gehoor in die opvoering wat gebruik word as 'n vorm van vermaak, laat die deelnemers aan hierdie navorsingsprojek toe om die geslagtelike vertoning van nie-normatiwiteit te vermenslik met opvoeding deur middel van die kuns van hul vertoning.
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Steck, Rachel Kinsman 1974. "Laughing lesbians: Camp, spectatorship, and citizenship." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10532.

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xi, 158 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
This study, set in the context of the feminist sex wars, explores the performances of Holly Hughes, Carmelita Tropicana, and Split Britches throughout the 1980s and early 1990s. The purpose of this study is to better understand the implications of a specific style of lesbian comedic performance, found at the WOW Café and defined here as lesbian camp, throughout a contentious era in feminist politics. The motivating questions for this study are: How can a performance inspire an activated spectatorship? How have lesbian comedic performance practices provoked feminist theory and practice? Chapter II defines lesbian camp and attempts to trace a dialogue among lesbian performance critics and academics ruminating over lesbian camp and its existence. It also explores lesbian camp's relationship to drag and butch-femme as well as how lesbian camp functions within specific performances of Holly Hughes, Split Britches, and Carmelita Tropicana. Chapter III argues that it is the very element of lesbian camp that brings forth the potential for an activated spectatorship. It is a chaotic, unstable environment that exposes and disassembles deep-seated fears, ideals, and practices seemingly inherent, although pragmatically constructed, to our communities and cultures throughout the 1980s and early 1990s. It presents a climate of resistance through the disruption of identificatory practices. This, in turn, provokes an activated spectatorship. Chapter IV examines the effects these artists had on the larger stage of the feminist sex wars and culture wars. Holly Hughes, for example, became a national figure, defunded from the National Endowment for the Arts due to her subject of the queer body, then deemed obscene and pornographic. Split Britches were popularized by feminists in the academy not only for their creative techniques but also for their (de)construction of butch-femme coupling. Carmelita Tropicana brought drag to a whole new level with incorporation of male and female drag into her hybrid performances.
Committee in charge: John Schmor, Chairperson, Theater Arts; Sara Freeman, Member, Theater Arts; Theresa May, Member, Theater Arts; Ellen Scott, Outside Member, Sociology
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Oliveira, Felipe Henrique Monteiro. "Corpos diferenciados e o processo de cria??o da performance Kahlo em Mim Eu E(m) Kahlo." Universidade Federal do Rio Grande do Norte, 2013. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12454.

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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
The dissertation intends to develop an investigation on the artistic existence in human beings with different bodies in society at different historical moments. In this regard and based on this scenario, the study develops a description of the stigmas production and how they are established, spread and interfere with the sociability among human beings regarded as normal and those with different bodies. Regarding the scenic arts, the text describes about the participation of artists with different bodies in the scene, specifically the freak show and postdramatic theater. The text also investigates aspects of the biography and the work of mexican artist Frida Kahlo, which underpin methodological proceedings and produce contribution to the creative process of performance Kahlo em mim Eu e(m) Kahlo , which is to investigate the practice of the scene in this dissertation
A disserta??o tem como objetivo realizar uma averigua??o sobre o fazer art?stico na exist?ncia dos seres humanos com corpos diferenciados na sociedade, em diferentes momentos hist?ricos. Neste sentido e com base neste panorama, o estudo elabora uma descri??o sobre a produ??o de estigmas e a forma como eles se instauram, se propagam e interferem na sociabilidade entre os seres humanos considerados normais e os com corpos diferenciados. No que tange as artes c?nicas, o texto faz uma descri??o acerca da participa??o dos artistas com corpos diferenciados na cena, especificamente do freak show e no teatro p?s-dram?tico. O texto tamb?m investiga aspectos da biografia e da obra da artista pl?stica mexicana Frida Kahlo, os quais fundamentam os procedimentos metodol?gicos e produzem aportes para o processo criativo da performance Kahlo em mim Eu e(m) Kahlo , que consiste na investiga??o da pr?tica da cena na disserta??o
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Books on the topic "DRAK Theatre"

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Alliance, Assessment and Qualifications. Drama and theatre studies: Unit DRA2 Approaches to text, unit DRA3 Theatre in practice : Advanced subsidiary subject code [5241]. Leeds: AQA, 2001.

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The changing room: Sex, drag, and theatre. London: Routledge, 2000.

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Drake Bell & Josh Peck. Edina, Minn: ABDO Pub. Co., 2009.

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1968-, Bottoms Stephen J., ed. Sex, drag, and male roles: Investigating gender as performance. Ann Arbor, Mich: The University of Michigan Press, 2010.

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Torr, Diane. Sex, drag, and male roles: Investigating gender as performance. Ann Arbor: University of Michigan Press, 2010.

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6

Roger, Baker, and Roger Baker. Drag: A history of female impersonation in the performing arts. Washington Square, N.Y: New York University Press, 1994.

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Baker, Roger. Drag: A history of female impersonation in the performing arts. London: Cassell, 1994.

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Ullberg, Hans. Riksteater i krig och fred: Några drag ur teaterns utveckling i Sverige 1940-1958. [Norsborg, Sweden]: Entré, 1994.

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Akademik Milli Dram Teatrı (Azerbaijan). Azärbaycan Dövlät Akademik Milli Dram Teatrının foto-salnamäsi. Bakı: Letterpress, 2010.

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Üç äsrin yüz otuz ili: Akademik Milli Dram Teatrı bu gün. Bakı: Qapp-Poliqraf, 2003.

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Book chapters on the topic "DRAK Theatre"

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"Marburg liebt sein Theater." In Maribor/Marburg an der Drau, 128–35. Wien: Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205791560.128.

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"Sturm Und Drag : The fabulous camp-pains of Miss Joan JettBlakk." In Electoral Guerrilla Theatre, 133–76. Routledge, 2005. http://dx.doi.org/10.4324/9780203401033-8.

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"Sturm und Drag: the fabulous camp-pains of Miss Joan JettBlakk." In Electoral Guerrilla Theatre, 141–84. Routledge, 2016. http://dx.doi.org/10.4324/9781315645360-9.

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Plaza Velasco, Marta. "Traducciones del teatro español del Siglo de Oro al lituano Breve repaso histórico." In Biblioteca di Rassegna iberistica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-490-5/010.

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This essay offers a brief historical overview of the translation process of Golden Age Spanish theatre into Lithuanian, presenting translations into this Baltic language available today organized in order by publication date. Finally, an attempt is made to draw a series of conclusions in relation to the characteristics and conditions of the translation process of Golden Age Spanish theatre into Lithuanian.
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Kroker, Arthur. "Contingencies: Nietzsche in Drag in the Theater of Judith Butler." In Body Drift, 29–62. University of Minnesota Press, 2012. http://dx.doi.org/10.5749/minnesota/9780816679157.003.0002.

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Chávez, Karma R., and Hana Masri. "The Rhetoric of Family in the U.S. Immigration Movement." In Queer and Trans Migrations, 208–25. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043314.003.0017.

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This reflection describes the author’s experiences organizing with the National Queer Asian Pacific Islander Alliance (NQAPIA) to build deeper solidarities between marginalized queer and trans Asian/Pacific Islanders and Black Lives Matter agendas. The author details a series of actions and campaigns to draw attention to shared experiences of policing, surveillance, and profiling. These actions involved storytelling, guerrilla street theater, and political education.
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"Warriors in Drag: Performing Gender and Remaking Men in Prisoner of War Theater." In Entertainment Among the Ottomans, 225–56. BRILL, 2019. http://dx.doi.org/10.1163/9789004399235_012.

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Garrison, John S. "Medea’s Afterlife: Encountering Ovid in The Tempest." In Ovid and Adaptation in Early Modern English Theatre, 113–28. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474430067.003.0007.

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Scholars continually return to Shakespeare’s debt to Ovid in order to draw new insight into the playwright’s work. However, the relationship between The Tempest and Ovid has received relatively little critical attention. In the play’s final act, Prospero delivers a powerful speech that is taken from the sorceress Medea’s incantation in Book 7 of Metamorphoses. With these two iterations of the speech in mind, this chapter explores how performativity and literary history intertwine in the play. This line of inquiry calls into question the distinctions that scholars have previously seen between Prospero and the witch Sycorax, as well as opens opportunities to explore the effects of casting a female lead as “Prospera” in Julie Taymor’s recent film adaption The Tempest (2010).
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Cruz, Gabriela. "The Poetics of Sensation in L’Africaine and Tristan und Isolde." In Grand Illusion, 142–71. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190915056.003.0006.

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Chapter 5 investigates Meyerbeer’s and Wagner’s treatments of operatic perception and sensation in L’Africaine, Lohengrin, and Tristan und Isolde. The discussion highlights the preoccupation with pleasure and innervation that the two composers shared during the late 1850s and 60s. The music dramaturgies of Wagner and Meyerbeer centered on exotic tress and poisonous blossoms are discussed in parallel, not to show, as others have done, what Wagner learned from Meyerbeer and improved upon, but rather to draw attention to the works’ shared preoccupation with enhanced perception and the role of dreamlike experience in the theater. This shared preoccupation is considered in light of Charles Baudelaire’s poetics of modernity.
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Meilinger, Phillip S. "Second Fronts." In Thoughts on War, 67–86. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178899.003.0006.

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War colleges often discuss what are termed “peripheral operations.” Unfortunately, it is a poor term because it connotes secondary military operations using expendable or auxiliary forces. Yet, some of these campaigns were major actions employing large numbers of troops and which had major strategic effects. Indeed, such maneuvers were often termed “the British Way of War.” “Second front operations” is a far more useful term to describe assaults occurring outside the main theater using major forces. This chapter discusses four such campaigns—two were successful and two were not. The intent is to address why such operations were launched, and then to draw lessons to guide future strategists.
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Conference papers on the topic "DRAK Theatre"

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Ayala, Susana. "Becoming the Puppeteer: Reflections on Global Language and Culture by Puppetry Students in Yogyakarta, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-6.

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Puppet theater on the island of Java is an ancient art which has maintained some of its characteristics considered traditional, but has also been transforming innovations such as the wayang with hip-hop music among other popular expressions. The art of puppetry has also been institutionalized and is itself a degree program at the National Institute of Arts of Indonesia. In this paper, I show the outcomes of my research among students and shadow puppet art teachers in Java, Indonesia. There are two special characteristics in training puppeteers: The main use of Jawanese language and the development of communities of practice as ways of working in the teaching and learning process. As such, these contexts motivate students to be constantly reflecting on the Javanese language and culture. I note the process and the reflections of the participants on the Javanese language shift, and the uses of language in puppet performances which consider the reception of young Javanese. To analyze the data, I draw from fieldwork and interviews, I use the theoretical concepts of discursive genres and dialogism proposed by Bakhtin and I propose that the art of puppetry is a social field that encourages vitality and linguistic diversity on the island of Java.
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