Relevant bibliographies by topics / Epic Theatre

Contents

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

Academic literature on the topic 'Epic Theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 January 2023

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Journal articles on the topic "Epic Theatre"

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Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre." Journal of English Language and Literature 1, no. 3 (June 30, 2014): 61–64. http://dx.doi.org/10.17722/jell.v1i3.19.

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Of all the contemporary dramatists, Howard Brenton is surely the most prolific, marked by breadth and variety,his plays mainly tackling moments of great political upheavals of the time. Many of his plays are turned out at speed as quickresponses to events in public life. Brenton, as a man of political conviction, exposes contemporary consciousness. The theatreserves as a platform for his political revolt expressive of disillusionment at the failure of socialism. Following the trend ofBrechtian Epic Theatre, Brenton used the basic principles in matters of setting, characterization, empathy and dramaticstructure and the techniques of socialist realism creating a fable with characters capable of change showing the light ofdawn in the darkest night. He evolved a large-scale ‘epic’ theatre dealing in complex political issues, an attempt to constitutea British Epic theatre. Since 1965, Brenton committed himself to a career as a playwright with his first play Ladder of Foolstill the recent play Drawing the Line (2013), he has widely moved through different phases of his career as a politicaldramatist with the portrayal of England in terms of a violent political landscape. But of late, there is transmutation frompolitical theatre to absurd theatre. In his recent play Drawing the Line Brenton faces an epic task himself in distilling theturmoil of India-Pakistan partition into two hours on stage. He makes the audience realize the absurdity of decisions made bythe intelligent principled political leaders that end up in tumultuous violence and conflicting demands.
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Rokem, Freddie. "‘Suddenly a Stranger Appears’." Nordic Theatre Studies 31, no. 1 (March 13, 2019): 8–21. http://dx.doi.org/10.7146/nts.v31i1.112998.

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My contribution to the the NTS issue on Theatre and Continental Philosophy discusses a particular aspect of the complex intellectual and creative dialogue between the work and thinking of Walter Benjamin and Bertolt Brecht, beginning in 1929, the year they became close friends. Benjamin is no doubt the first critic of Brecht’s epic theatre, even planning to write a book about his artistic contributions. By examining the notion of the “Interruption” (Die Unterbrechung) and the sudden appearance of a stranger in three of Benjamin’s texts about Brecht’s epic theatre, I want to draw attention to Benjamin’s philosophical understanding of this ‘critical’ figure’ (the interrupting stranger), as one of the central aspects of the epic theatre. The essay is a prolegomenon for a more comprehensive study of this topic.
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Liu, Yao-Kun. "Brecht's Epic Theatre and Peking Opera." Journal of the Australasian Universities Language and Literature Association 2011, no. 116 (November 2011): 65–81. http://dx.doi.org/10.1179/000127911804775305.

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Desmond, Brian. "Alfred Jarry and the epic theatre." Studies in Theatre and Performance 32, no. 2 (June 21, 2012): 151–63. http://dx.doi.org/10.1386/stap.32.2.151_1.

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Gatti, Luciano. "Choreography of Disobedience: Beckett's Endgame." Journal of Beckett Studies 23, no. 2 (September 2014): 222–43. http://dx.doi.org/10.3366/jobs.2014.0105.

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The article discusses Beckett's staging of Endgame at the Schiller Theater in Berlin in 1967. The starting point is the debate between the reassertion of the autonomy of drama, proposed by Christoph Menke's theory of tragedy, and Hans-Thies Lehmann's theory of post-dramatic theatre. The article argues that neither of these positions provides a proper understanding of Beckett's work as a theatre director because his stagings demand the analysis both of the stage materiality, which does not appear in studies on the autonomy of drama, as the elements of epic and dramatic genres, which are hardly discussed by the theory of post-dramatic theatre. The article seeks to demonstrate that Beckett's work as a theatre director, besides its relevance to Beckett's studies, has much to contribute to the debate on contemporary theatre.
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Murray, Paul. "The Epic theatre workshop: a facilitator's Manifesto." Research in Drama Education: The Journal of Applied Theatre and Performance 20, no. 3 (July 3, 2015): 353–56. http://dx.doi.org/10.1080/13569783.2015.1060121.

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Chandra Uniyal,, Dr Bipin. "Grotowski´s Poor Theatre: An Experiment in Theatre." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 14. http://dx.doi.org/10.24113/ijellh.v7i12.10240.

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This research paper is about Grotowski´s poor theatre. Before Grotowski´s there were many theatre, but these theatre were not suitable for Grotowski´s purpose. Before Grotowski´s theatre there were Schechner´s Environmental theatre, Stainslavaski´s Experimental theatre, Meyerhold´s Avant-grade theatre, Alexander Tiraov´s Kamerney theatre, Brecht´s Epic theatre, Judith Malina and Tulian Beck´s Living theatre, Bread and Puppet theatre by Peter Schumana. During the 1960´s a voice of deploration came by a number of persons, who demanded the abandonment of every element of the theatre borrowed from other media and not really required. This leading exponent was Jerzy Grotowski´s Poor theatre.
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Rodosthenous, George. "“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind." Arts 9, no. 2 (April 30, 2020): 56. http://dx.doi.org/10.3390/arts9020056.

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Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.
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Trubotchkin, Dmitry. "The Iliad in Theatre: Ancient and Modern Modes of Epic Performance." New Theatre Quarterly 30, no. 4 (October 21, 2014): 379–90. http://dx.doi.org/10.1017/s0266464x14000712.

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In this article Dmitry Trubotchkin focuses on Homer's Iliad as directed by Stathis Livathinos and premiered in Athens on 4 July 2013 as part of the Athens and Epidaurus Summer Festival – as far as is known, the first production of the complete Iliad in world theatre. It was performed by fifteen actors, each of whom played several roles and also acted the role of the ancient rhapsode, or narrator of epics. Livathinos's Iliad restored the original understanding of ‘epic theatre’, which differs from what is usually meant by this term in the light of Brechtian theory and practice with its didactic and distancing emphases. In the Greek performance, the transformation of an actor from one role to another and from acting to narration is constant, and the voice of Homer as a ‘collective author’ can be heard through all these transformations. Livathinos's Iliad may well be a landmark, indicating a new way of presenting epics on the stage. Dmitry Trubotchkin is Professor of Theatre Studies at the Russian University of Theatre Arts (GITIS) and an invited Professor at the Faculty of Arts of the Moscow State University. He heads the Department of Ancient and Medieval Art at the State Institute for Art Studies in Moscow. His publications include ‘All is Well, the Old Man is Still Dancing’: Roman Palliata in Action (2005), Ancient Literature and Dramaturgy (2010), and Rimas Tuminas: the Moscow Productions (forthcoming).
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Trethewey, John. "La Mort de Pompeéand Lucan: Epic into Theatre." Romance Studies 9, no. 1 (December 1990): 21–33. http://dx.doi.org/10.1179/026399091786620778.

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Dissertations / Theses on the topic "Epic Theatre"

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Rice, Andrea. "Rebooting Brecht: Reimagining Epic Theatre for the 21st Century." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555688903742283.

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Desmond, Brian. "From the Theatre de l'Oeuvre to Fast Eddies : understanding contemporary Irish story theatre by re-reading epic theatre." Thesis, University of Liverpool, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.539911.

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Xing, Jia. "Ting Ling." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1084912718.

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Ghosh, Yashowanto Narayan. "Bertolt Brecht's Leben des Galilei: a Mythic Dimension in Epic Theatre." Thesis, Portland State University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10843558.

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The history of Bertolt Brecht’s play Leben des Galilei extends through the writing of its three versions during 1938 to 1955—a period of two decades that also encompassed the entirety of the Second World War. The period also covers the atom bomb from its development to America’s use of the bomb in Hiroshima and Nagasaki, as well as the beginning of the Cold War, which included the sustained threat that nuclear weapons might be used any day. This thesis traces, and offers interpretations of, changes in Brecht’s Leben des Galilei from its inception in 1938–1939—when the protagonist, a scientist, is portrayed in a positive light—through the play’s American version in 1947, where it bitterly accuses science and scientists of having betrayed society and humanity, and finally to its last version in 1955, where the protagonist struggles to prevent the normalization—the familiarization—of the threat of nuclear warfare.

Next to the writing of the Leben des Galilei, the thesis also focuses on the main critical readings of the play. A large fraction of the critical readings, but not all of them, interpret the play either as a judgment of science or as an invitation to pass judgment on science.

The thesis compares Leben des Galilei with three different groups of other texts. The first comparison is with two other plays that also address the problem of science in the age of nuclear weapons, and the second comparison is with other work of Brecht himself. The first comparison leads to the observation that the muted note of optimism in the final version of Leben des Galilei is exceptional, and the second comparison to the apparently unrelated observation that it was uncharacteristic of Brecht to make explicit a certain literary allusion in Leben des Galilei. The two observations converge to a possible common explanation from a comparison with a still third group of texts, a cycle of Native American myths which appear in the oral traditions of various Native American tribes spread throughout the New World.

Finally, the thesis addresses the question of why a modern-day literary text, addressing the essentially modern problem of nuclear warfare, and addressing that problem using the essentially modern techniques of Brechtian theatre, might have structures parallel to the structures of primitive mythology.

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Santos, Michael Aaron. "Fed to the Teeth: The Creation of the Title Role in Brecht's Baal." ScholarWorks@UNO, 2005. http://louisdl.louislibraries.org/u?/NOD,205.

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Thesis (M.F.A.)--University of New Orleans, 2005.
Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in Drama and Communication"--Thesis t.p. Vita. Includes bibliographical references.
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Rawlings, Cara E. "The Civil War: A Collaboration in Direction and Choreography." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/751.

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This text is a partial record of the development of the Virginia Commonwealth University production of The Civil War: A Musical that opened on April 7, 2005 for a three-week run ending April 28, 2005. The greater part of the text is devoted to the evaluation of the underlying principles of direction and choreography applied in the creation of an artistically aid financially successful production of this size. Included in the evaluation of The Civil War: A Musical are analyses of the directors' --Patti D'Beck and David Leong --individual creative processes, aesthetics, and working styles. The result of this evaluation and analysis is a compilation of the fundamental principles of direction and choreography applied The Civil War: A Musical as a methodology for the creation of theatre. Further reflections on collaboration and artistry serve as the culmination of lessons inherent in both the creation of the Theatre VCU production of The Civil War: A Musical and in the author's three years of study in the VCU Master of Fine Arts program in Theatre Pedagogy with an emphasis in Movement Direction and Choreography.
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Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/19238/1/Angela_Betzien_Exegesis.pdf.

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My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.
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Betzien, Angela Jane. "Hoods : creating political theatre for young audiences." Queensland University of Technology, 2007. http://eprints.qut.edu.au/19238/.

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My first exposure to Brecht and his theories was as a high school drama student. One of our year twelve assessment tasks was to write and perform our own Brechtian drama using three or more alienation techniques. I wrote a piece about Religion and Fundamentalism, an issue that I felt strongly about at the time. By carefully following my teacher’s instructions and adhering to the assessment criteria I received a VHA. I concluded from this experience that political theatre could be made by following a simple recipe and combining key ingredients. As my knowledge of theatre and my own creative practice developed I came to understand the great complexity of Brechtian theory and the extreme difficulty of creating effective political theatre, that is, theatre that changes the world. Brecht’s theories have been so thoroughly absorbed into contemporary theatre practice that we no longer identify the techniques of Epic Theatre as necessarily political, nor do we acknowledge its radical origins. I have not yet seen a professional production of a Brechtian play but I’ve absorbed on countless occasions the brilliant reinterpretations of Brecht’s theories within the work of contemporary dramatists. My approach to creating political drama is eclectic and irreverent and I’m prepared to beg borrow and steal from the cannon of political theatre and popular media to create a drama that works, a drama that is both entertaining and provocative. Hoods is an adaptation for young audiences of my original play Kingswood Kids (2001). The process of re-purposing Kingwood Kids to Hoods has been a long and complex one. The process has triggered an analysis of my own creative practice and theory, and demanded an in-depth engagement with the theories and practice of key political theatre makers, most notably Brecht and Boal and more contemporary theatre makers such as Churchill, Kane, and Zeal Theatre. The focus of my exegesis is an inquiry into how the dramatist can create a theatre of currency that challenges the dominant culture and provokes critical thinking and political engagement in young audiences. It will particularly examine Brecht’s theory of alienation and argue its continued relevance, exploring how Brechtian techniques can be applied and re-interpreted through an in-depth analysis of my two works for young people, Hoods and Children of the Black Skirt. For the purposes of this short exegesis I have narrowed the inquiry by focusing on four key areas: Transformation, Structure, Pretext, Metatext.
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Capuani, Maria Lucia Damato. "A trilogia de folheto de cordel de Chico de Assis." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-01122010-095450/.

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Este estudo pretende levantar as influências contidas na trilogia de Folheto de Cordel de Chico de Assis. Para tanto combinou a pesquisa sobre o folheto de cordel de modo geral com o estudo da formação do Teatro de Arena, do Seminário de Dramaturgia (SEMDA) conduzido pelo então diretor do grupo Augusto Boal, ambos em São Paulo e, a fundação do CPC da UNE no Rio de Janeiro. O autor, além de ter passado por todas essas atividades como integrante ativo, escreveu os três textos durante esses período (1954-1964). Foi também levantado o aproveitamento das propostas contidas no teatro épico de Brecht, utilizadas nos dois primeiros textos da trilogia; O Teatamento do Cangaceiro e As Aventuras de Ripió Lacraia e, por fim o levantamento das características do terceiro texto, a comédia de costumes Farsa com Cangaceiro, truco e Padre (Xandú Quaresma), todos esses elementos criaram um referencial possível para a análise da trilogia, que vai dos nomes dos episódios à função da música no trabalho de entrelaçamento das peças.
This survey wishes to raise the influences gained in these sustained cheap literature (Cordel) trilogy. In order to produce, it combined a survey on Brazilian cheap (Cordel) literature in general, with the formation of Teatro de Arena and the Drama seminary (SEMDA) conducted by the director of the group Augusto Boal, in São Paulo. And, studying of the settlement of the CPC- da UNE foundation (Popular Cultural Center of National Students Union) in Rio de Janeiro. The author besides passing through all these actions as an active member, created the three plays during this period (1954-!964). At last, the utilization of the purposes enclosed in Brecht epic theatre, in the first two plays; O Testamento do Cangaceiro and As Aventuras de Ripió Lacraia. Also raised the main characteristics of the third play Farsa com Cangaceiro, truco and Padre, (Xandú Quaresma). All these elements created a possible condition to analyze the trilogy, which goes from the name of the episodes to the music function interlacing the work of the plays.
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Deus, Marcio Aparecido da Silva de. "Análise dos recursos épicos em Angels in America, de Tony Kushner (Part I, \'Millennium Approaches\', e Part II, \'Perestroika\')." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-06112014-105506/.

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Esta dissertação tem como objetivo exclusivo a análise do uso de recursos formais épicos na estrutura dramatúrgica da peça Angels in America (Part I, Millennium Approaches, e Part II, Perestroika), do dramaturgo norte-americano Tony Kushner [1956- ]. Trata-se, portanto, de uma análise voltada ao texto dramatúrgico das duas partes da peça, e não às suas encenações e à adaptação televisiva. Nesse texto, são tratadas algumas questões históricas, políticas e sociais dos Estados Unidos da América nos anos de 1980, momento esse em que o ex-ator norte-americano Ronald Reagan estava cumprindo seu segundo mandato como presidente estadunidense e uma doença sem precedentes a AIDS abatia principalmente a comunidade gay. Levando em consideração que esse conteúdo, dada a sua natureza histórica, não pode ser representado pela estrutura do drama convencional, e que por sua vez se insere na esfera formal do épico, procuramos evidenciar e problematizar criticamente os recursos épicos usados no arcabouço formal da peça e, por meio dessa análise, definir qual é o tratamento dado ao épico neste trabalho, que é um marco da dramaturgia kushneriana
This thesis aims at analyzing the use of epic resources in the dramaturgical structure of the play Angels in America (Part I, \"Millennium Approaches\" and Part II, \"Perestroika\"), written by the American playwright Tony Kushner [1956 -]. It is an essentially dramaturgical analysis focused on the text of the two parts of the play, and not on their stage productions or television adaptation. Kushners play deals with historical, political and social issues in the context of the United States in the decade of the 1980s, when Ronald Reagan, formerly an actor, was serving his second term as U.S. president and AIDS, a disease of unprecedented severity, spread and decimated the gay community mainly. Since the historical nature of this type of subject cannot be represented within the structure of conventional drama, and since it is characteristic of the epic sphere, we propose to examine the epic resources used in the formal structure of the play and, in the analysis, discuss Kushners approach to the epic in this play, which is a landmark of his dramaturgy
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Books on the topic "Epic Theatre"

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Folk theatre Pandwani: Based on the epic Mahabharata. New Delhi: Abhinav Publications, 2013.

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Printing, London College of. BA Graphics thesis 1985: A study of epic theatre. London: LCP, 1985.

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Leitmotiv and drama: Wagner, Brecht, and the limits of 'Epic' theatre. Oxford: Clarendon Press, 1991.

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Reinelt, Janelle G. After Brecht: British epic theater. Ann Arbor: University of Michigan Press, 1994.

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Sicilian epic and the Marionette theater. Jefferson, North Carolina: McFarland & Company, Inc., Publishers, 2014.

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Bastianini, Guido, Walter Lapini, and Mauro Tulli, eds. Harmonia. Scritti di filologia classica in onore di Angelo Casanova. Florence: Firenze University Press, 2012. http://dx.doi.org/10.36253/978-88-6655-173-7.

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The volume contains 77 original papers on classical philology, Greek and Latin literature, papyrology, written especially – upon invitation – by authoritative scholars from Italian and foreign universities. The topics range from Homer to the Late Antique period and include epic literature, epigrams, philosophy, historiography, theatre and critical-textual theory. As well as a homage to the Florence Greekist Angelo Casanova on occasion of his adieu to university teaching, the work is also – both owing to the prestige of the authors and the variety of the topics dealt with – an extremely loyal picture of the 'state of the art' of current antiquities studies.
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Space and time in epic theater: The Brechtian legacy. Rochester, NY: Camden House, 2000.

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Homer's Trojan theater. Cambridge: Cambridge University Press, 2011.

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The Redgraves: A family epic. London: Robson, 2012.

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Chaucer's Dante: Allegory and epic theater in The Canterbury tales. Berkeley: University of California Press, 1991.

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Book chapters on the topic "Epic Theatre"

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Burwick, Frederick. "Epic Time." In Time in Romantic Theatre, 247–68. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96079-7_10.

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Wallert, James. "What is Epic Theatre?" In Citizen Artists, 31–35. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003079835-4.

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Figueira, Jorge Louraço. "Epic Theatre and Theatre of the Oppressed." In The Routledge Companion to Theatre of the Oppressed, 51–57. Abingdon, Oxon ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315265704-6.

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Hirst, David L. "Epic Theatre: Dramatising the Analysis." In Edward Bond, 123–58. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-17983-1_5.

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Stevens, Lara. "From Epic to Dialectical Theatre." In Anti-War Theatre After Brecht, 19–50. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53888-8_3.

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Wang, Shou-ren. "Thomas Hardy: Epic Drama." In The Theatre of the Mind, 171–200. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20388-8_7.

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Frost, Anthony. "Timor Mortis Conturbuit Nos: Improvising Tragedy and Epic." In Theatre Praxis, 151–73. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26996-9_8.

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Leach, Robert. "The Christian epic." In An Illustrated History of British Theatre and Performance, 28–35. First edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019–: Routledge, 2018. http://dx.doi.org/10.4324/9780429463686-6.

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Leffler, Elliot. "Mythical Play: Embodying the Epic." In Applied Theatre and Intercultural Dialogue, 99–130. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98515-8_5.

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Lynn-George, Michael. "The Epic Theatre: the Language of Achilles." In Epos Word, Narrative and the Iliad, 50–152. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-07335-1_2.

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Conference papers on the topic "Epic Theatre"

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Broomfield, Rebecca, Hannah Murch, and Huw Williams. "P35 Using simulation teaching to increase confidence in paediatric emergencies, within the emergency, pre-hospital and immediate care (EPIC) intercalated BSc." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.127.

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"IMAGES OF ANTAGONISTS IN THE RELIGIOUS AND MYTHOLOGICAL REPRESENTATIONS OF THE YAKUTS." In Культура, наука, образование: проблемы и перспективы. Нижневартовский государственный университет, 2021. http://dx.doi.org/10.36906/ksp-2021/36.

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Yakuts in religious beliefs and heroic epics (olonkho) retain the idea of the highest deities of the cult of ayyy, who act in the image and role of positive heroes together with the heroes of the middle world. The main antagonists are evil spirits (abaaahs) and restless souls (uor). They are also an integral part of Yakut traditionalism. The article presents the traditional classification of antagonistic images in religion and the heroic epic as the main components in the representation of the Yakuts (based on the materials of researchers of the XVIII–XX centuries). In modern society, culture (mass and elite) reflects and forms the idea and worldview of people about a particular image. Accordingly, the study presents images in the mass and elite culture of modern Yakuts, namely in the field of painting, theater and cinema. In the course of our work, we came to the conclusion that the images of the lower mythology (the lower world) are more stable than the images of the upper mythology (the upper world), and, accordingly, are the main actors in the folklore of the people. The traditional images of antagonists in the folklore and religion of the Yakuts appear to us as evil, cold, and also directing misfortunes, diseases, and epidemics at people.
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Reports on the topic "Epic Theatre"

1

Ghosh, Yashowanto. Bertolt Brecht's Leben des Galilei: A Mythic Dimension in Epic Theatre. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.6442.

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