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Journal articles on the topic 'European theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Golovlev, Alexander. "Political Control, Administrative Simplicity, or Economies of Scale? Four Cases of the Reunification of Nationalized Theatres in Russia, Germany, Austria, and France (1918–45)." New Theatre Quarterly 38, no. 2 (2022): 107–24. http://dx.doi.org/10.1017/s0266464x22000021.

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In 1917–18, the new republican governments of Russia, Germany, and Austria nationalized their former court property. A monarchic-turned-national heritage of prestigious opera and dramatic theatres weighed heavily on national and regional budgets, prompting first attempts to create centralized forms of theatre governance. In a second wave of theatre reorganization in the mid-1930s, the Soviet government created ‘union theatres’ under a Committee for Arts Affairs; the German and Austrian theatres underwent the Nazi Gleichschaltung (1933–35 and 1938); and France, a ‘democratic outlier’, opted for

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Platelle, Fanny. "Le théâtre populaire viennois des XVIIIe et XIXe siècles, entre marges et centre(s)." Austriaca 81, no. 1 (2015): 17–35. http://dx.doi.org/10.3406/austr.2015.1193.

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The Viennese Folk Theatre in the 18th and 19th centuries : between periphery and centre For a long time, Viennese Folk Theatre was regarded as a regional and minor genre relegated to the margins of legitimate theatre. By underlying the many exchanges between Folk Theatre and European theatre (and literature in general) of the 18th and particularly 19th centuries, this paper demonstrates how the main suburban stages (the Leopoldstädter Theater, then the Carltheater, and the Theater an der Wien) made of Vienna in the 19th century an European centre for vaudeville and operetta, alongside Paris, L

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3

Habel, Ivan. "Implementing Agreements." Canadian Theatre Review 123 (June 2005): 11–14. http://dx.doi.org/10.3138/ctr.123.003.

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In discussing working conditions in the professional theatre in Canada, it is important to understand the diversity of practices that exist in the theatre community. Theatre is produced using a range of models, including the conventional model of a play mounted by a company; but theatre can be created by collectives or by an individual. The theatre, also, no longer reflects just the Anglo-American tradition of drama but has expanded to reflect the storytelling, physical and visual traditions of theatrical practice derived largely from outside the European tradition. This expansion in the metho

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SHESHKEN, Alla. "VAGAPOVA N.M. THREE RUSSIAN DIRECTORS IN EUROPE. UNREAD PAGES IN THE HISTORY OF RUSSIAN ÉMIGRÉ THEATRE: 1920S-1960S. MOSCOW: GOSUDARSTVENNYJ INSTITUT ISKUSSTVOZNANIYA, 2002. 379 P." Lomonosov Journal of Philology, no. 6, 2023 (December 17, 2023): 200–205. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-06-18.

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The review presents a monograph by Natalia Vagapova, a well-known domestic theatre critic, slavist and translator, dedicated to the contribution of Russian emigration to European culture. This study, based on unique factual and archival material, gives a deep and objective idea about fruitful influence that reprsentatives of Russian theatre school exerted on the development of Bulgarian and Yugoslavian Theatres. The most outstanding directors who left Russia - Nikolai Massalitinov, Petr Sharov, Yuriy Rakitin - spread the experience of Moscow Art Theatre and the system of Stanislavsky, and made

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Thorbergsson, Magnus Thor. "Being European." Nordic Theatre Studies 25, no. 1 (2018): 22–33. http://dx.doi.org/10.7146/nts.v25i1.110895.

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During the campaign for Iceland’s independence in the nineteenth and early twentieth centuries, theatre was considered an important site for the representation of the nation. Emphasis was placed on producing and staging local plays dealing with the nation’s folklore, myths and history, thereby strengthening a sense of the roots of national identity. The article examines the longing for a representation of the nation in late nineteenth-century theatre as well as the attempts of the Reykjavik Theatre Company to stage the nation during theso-called ‘Icelandic Period’ (1907-20), before analyzing t

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Thorbergsson, Magnus Thor. "Being European." Nordic Theatre Studies 25, no. 1 (2018): 22–33. http://dx.doi.org/10.7146/nts.v25i1.110895.

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During the campaign for Iceland’s independence in the nineteenth and early twentieth centuries, theatre was considered an important site for the representation of the nation. Emphasis was placed on producing and staging local plays dealing with the nation’s folklore, myths and history, thereby strengthening a sense of the roots of national identity. The article examines the longing for a representation of the nation in late nineteenth-century theatre as well as the attempts of the Reykjavik Theatre Company to stage the nation during theso-called ‘Icelandic Period’ (1907-20), before analyzing t

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7

Mercer, Wendy S., and Elizabeth Woodrough. "Women in European Theatre." Modern Language Review 92, no. 4 (1997): 985. http://dx.doi.org/10.2307/3734266.

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Nikolić, Sanela. "The opera question in Belgrade as 'staged' by Milan Grol." New Sound, no. 43-1 (2014): 107–22. http://dx.doi.org/10.5937/newso1443107n.

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Writer, politician, and dramaturge Milan Grol can be credited with the most important contribution of an individual to the modernization of the National Theatre in Belgrade. A reformer, legislator, organizer of international theatre cooperation, and manager of the National Theatre, he also played a key role in defining 'the opera question' in Belgrade during the first two decades of the 20th century. Commendable as his activities were in terms of the institutional organization and advancement of South Slavic theatres, it must also be noted that owing to his unfavorable attitude towards the per

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Decheva, Violeta. "Theatre in the Digital World. The Experiment of Theater Treffen 2020." Sledva : Journal for University Culture, no. 41 (August 19, 2020): 8–17. http://dx.doi.org/10.33919/sledva.20.41.2.

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An overview and analysis of Berliner Theater Treffen 2020. Existing already for 56 years, this major European theatre festival and the most representative one for the Germanspeaking world ventured on its first online edition. COVID-19 situation has not only activated the ongoing discussions on the influence of digital technologies on theatre, but has made it a most urgent topic. It has become central because of the isolation, the sudden flood of streamings of concerts, performances, films, etc. Two topics seem especially important in the festival context. First, how to make theatre in a digita

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Pukelytė, Ina. "Reconstructing a Nomadic Network: Itineraries of Jewish Actors during the First Lithuanian Independence." Nordic Theatre Studies 27, no. 1 (2015): 78. http://dx.doi.org/10.7146/nts.v27i1.24241.

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This article discusses the phenomenon of openness and its nomadic nature in the activities of Jewish actors performing in Kaunas during the first Lithuanian independence. Jewish theatre between the two world wars had an active and intense life in Kaunas. Two to four independent theatres existed at one time and international stars were often touring in Lithuania. Nevertheless, Lithuanian Jewish theatre life was never regarded by Lithuanian or European theatre society as significant since Jewish theatre never had sufficient ambition and resources to become such. On the one hand, Jewish theatre o

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Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.

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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität i

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Barzilai, Reut. "Being European: "Hamlet" on the Israeli Stage." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (2020): 27–53. http://dx.doi.org/10.18778/2083-8530.21.03.

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One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more fin

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Barzilai, Reut. "Being European: "Hamlet" on the Israeli Stage." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (2020): 27–53. http://dx.doi.org/10.18778/2083-8530.21.03.

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One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more fin

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Chubrei, Anastasiia. "THE UKRAINIAN PRESS OF GALYCIA OF THE 20–30’s OF THE XXth CENTURY AS THE RESOURCE OF THE INVESTIGATION OF THE PUBLISHING THEATRICAL POLICY OF THE REPERTOIRE." Proceedings of Research and Scientific Institute for Periodicals, no. 11(29) (2021): 291–306. http://dx.doi.org/10.37222/2524-0331-2021-11(29)-13.

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The level of the publishing policy for the theatrical repertoire of the professional and amateur theatres according to the points of view of the authors of the Galycia press of the internal period of the theatrical, socio-politicaland other directions is found, the value of the Ukrainian theater in the context of the socio-political situation in the Eastern Galycia and ideological views of the certain edition or appendix is in vestigated. According to the analysis of the messages devoted to the existing theatrical repertoire on the publisher’s market the precedence of the quantity (meaning tha

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Bhuyan, Abul Basher MD Ziaul Haque. "The synthesis of tradition in contemporary theatre of Bangladesh: “The theatre of roots”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 84–104. http://dx.doi.org/10.35852/2588-0144-2022-4-84-104.

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The article examines how the Eastern traditional theatre responded to the Western theatre in the context of the British colonial regime in the Indian subcontinent. From this point of view, the dialogue between cultures was practically not considered. Hence, this study is devoted to understanding the synthesis of European theatre and traditional theatre, which began to be considered a rural art form by the early twentieth century, meaning something simple or low. In contrast, urban theatre of the European type was perceived as something refined or high. Rabindranath Tagore had not been fully su

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Leims, Thomas. "Japanese Theatre: European Performances and European Research." Maske und Kothurn 35, no. 2-3 (1989): 7–10. http://dx.doi.org/10.7767/muk.1989.35.23.7.

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Saro, Anneli. "Building an Ideal Theatre." Nordic Theatre Studies 34, no. 2 (2023): 66–78. http://dx.doi.org/10.7146/nts.v34i2.141663.

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Throughout the course of theatre history, many actors and directors have dreamt about an ideal theatre. Many young European theatre makers in the twenty-first century have preferred working in their own groups with like-minded colleagues instead of joining big institutional theatres or have tried to revolutionize the institutions.Dwelling on theoretical arguments about the terms “ideal”, “idealism”, and “utopia” in theatre, the article investigates what are the ideals of contemporary theatre makers, which ideals/utopias are realizable in theatre practice and how. To answer these questions, the

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18

Matzig, Catherine. "Toronto Playwrights Union of Canada and Playwrights Canada Press: A Profile." Canadian Theatre Review 98 (March 1999): 17–19. http://dx.doi.org/10.3138/ctr.98.005.

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In the late 1960s, Canada’s regional theatres – those established by the federal government to celebrate the 1967 Centennial – had a general reputation for offering few opportunities for Canadian work to appear. Artistic directors of these houses tended to be primarily European-born – Christopher Newton at Theatre Calgary and Heiner Piller at Neptune Theatre, for example – and were inclined to produce remounted Broadway hits and musicals or popular foreign-stage classics. Theatre companies like Edmonton’s Citadel Theatre, Winnipeg’s Manitoba Theatre Centre and Nova Scotia’s Neptune Theatre wer

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Stefanova, Kalina. "Eastern European theatre: theatre in search of a face." South African Theatre Journal 14, no. 1 (2000): 174–84. http://dx.doi.org/10.1080/10137548.2000.9687707.

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Haddad, Naif Adel, Leen Adeeb Fakhoury, and Talal S. Akasheh. "Notes on anthropogenic risks mitigation management and recovery of ancient theatres’ heritage." Journal of Cultural Heritage Management and Sustainable Development 8, no. 3 (2018): 222–56. http://dx.doi.org/10.1108/jchmsd-11-2016-0062.

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Purpose Ancient theatres and odea are one of the most significant and creative socio-cultural edutainment centres of human history that are still in use. They stood and served as huge multi-functional structures for social, religious, propaganda and political meeting space. Meanwhile, ancient theatres’ sites have an intrinsic value for all people, and as a vital basis for cultural diversity, social and economic development, they should continue to be a source of information for future generations. Though, all places with ancient theatre heritage should be assessed as to their potential risk fr

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21

Korsberg, Hanna. "Geographies of Theatre: the Finnish National Theatre in Stockholm in 1956." Nordic Theatre Studies 28, no. 1 (2016): 27. http://dx.doi.org/10.7146/nts.v28i1.23970.

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During the Cold War, the Finnish National Theatre actively sought possibilities for international visits and co-operation. It wanted to showcase its work abroad and especially connect itself with Western European theatres. In 1956, the Finnish National Theatre visited Stockholm. In terms of politics, it was interesting that the Finnish National Theatre chose to perform Aleksis Kivi’s The Seven Brothers and especially interesting that it performed Anton Chekhov’s The Three Sisters. It seems to be the case that there was a national border between the Finnish National Theatre and Anton Chekhov’s

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Brett, Margaret, and Sue Vincent. "European developments in theatre nursing." Nursing Standard 7, no. 3 (1992): 53–54. http://dx.doi.org/10.7748/ns.7.3.53.s60.

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23

Balme, Christopher. "European Theatre and Performance Studies." Forum Modernes Theater 28, no. 2 (2013): 103–4. http://dx.doi.org/10.1353/fmt.2013.0013.

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Modreanu, Cristina. "Elements of Ethics and Aesthetics in New Romanian Theatre." New Theatre Quarterly 29, no. 4 (2013): 385–93. http://dx.doi.org/10.1017/s0266464x13000705.

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Young Romanian theatre artists are very concerned to address issues from the recent past and in using collaborative art to educational and therapeutic ends. The implications of the increased ethical consciousness in their work is addressed here by Cristina Modreanu, who focuses on the productions of directors Gianina Cӑrbunariu and David Schwartz. She analyzes the relationship between ethics and aesthetics in contemporary work against the backdrop of post-Communist Romanian society and in a global context, as well as the dynamics connecting the new wave of Romanian theatre to internationall te

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Seymour, Jasmine. "From Armenia to Poland ‘with love’s light wings’." Cahiers Élisabéthains: A Journal of English Renaissance Studies 104, no. 1 (2021): 95–104. http://dx.doi.org/10.1177/0184767821991553.

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On 30 July 2019, Yerevan State Chamber Theatre’s unconventional version of Romeo and Juliet was performed at the annual Gdańsk Shakespeare Theatre Festival in Poland, after successfully premiering in Yerevan, Armenia, in 2017. Following the overwhelming success of the production with local and international audiences and critics, invitations from other European festivals followed. When the current devastating restrictions imposed on theatres worldwide by the Covid-19 pandemic are finally lifted, the journey of the world’s best-known love story retold by this innovative theatre troupe will resu

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Kušnírová, Eva. "Divadelná poetika inonárodného tvorcu (Henryk Rozen)." ESPES. The Slovak Journal of Aesthetics 4, no. 2 (2015): 16–26. https://doi.org/10.5281/zenodo.6387852.

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In the contribution, theatre art works and theatre directing conception of Henryk Rozen, the Polish author whose poetics is rather well-known in the context of Slovak theatre culture to the scholars as well as wider public, is discussed. The proof of these activities is rendered by a series of directing expressions on stages of professional theatres at eastern part of Slovakia (&Scaron;D Ko&scaron;ice, DJZ Pre&scaron;ov, Scéna Jorik, Puppet Theatre Kosice, DAD Presov) as well as by several years of his lecturing during theatre workshops within the festival Academic Presov

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Nezirović, Senada, Denis Krdžalić, and Lejla Žunić. "The production process and organization of the international cultural event: European Theatre Night in Bosnia and Herzegovina." Journal for Geography 19, no. 2 (2024): 61–78. https://doi.org/10.18690/rg.19.2.3669.

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The European Theatre Night is a one-day event that takes place every year in European countries, and since 2010, Bosnia and Herzegovina has also participated. The program includes theatre performances and other forms of performing arts. The European Theatre Night is the largest and most extensive theatrical manifestation and one of the most significant cultural manifestations in post-war Bosnia and Herzegovina. The work mainly deals with the analysis of this manifestation, that is, the main actors of the organization and cooperation, artistic institutions in which various theatre institutions,

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Wong, Stanley, Elise Pauzé, Farah Hatoum, and Monique Potvin Kent. "The Frequency and Healthfulness of Food and Beverage Advertising in Movie Theatres: A Pilot Study Conducted in the United States and Canada." Nutrients 12, no. 5 (2020): 1253. http://dx.doi.org/10.3390/nu12051253.

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The marketing of unhealthy foods and beverages contributes to childhood obesity. In Canada and the United States, these promotions are self-regulated by industry. However, these regulations do not apply to movie theatres, which are frequently visited by children. This pilot study examined the frequency and healthfulness of food advertising in movie theatres in the United States and Canada. A convenience sample of seven movie theatres in both Virginia (US) and Ontario (Canada) were visited once per month for a four-month period. Each month, ads in the movie theatre environment and before the sc

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Harbuziuk, Maiia. "“We Could Have Ventured in the Opposite Direction”: Exploring the Legacy of Polish Theatre on the Festival Map of Independent Ukraine." Pamiętnik Teatralny 72, no. 4 (2023): 57–80. http://dx.doi.org/10.36744/pt.1550.

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This article examines the representation of Polish theatre on the Ukrainian festival map. This study includes key stages, events, and trends, and aims to uncover both positive developments and underlying problems. The research is based on sources such as published material, information resources, and my experience as a theatre critic. The periods of individual “breakthroughs” (1992–2000), “local encounters” (2001–2011), and “dramaturgical and performative landing forces” (from 2011) are identified and briefly characterized. The article outlines a broad geographical and genre-specific range of

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Sibińska, Maria. "The Sami Theatre from Kauotokeino: On the Trace of Nomads." Przegląd Wschodnioeuropejski 9, no. 2 (2018): 263–74. http://dx.doi.org/10.31648/pw.3211.

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Beaivváš Sámi Našunálateáhter from Kautokeino (Norway) is an institutional theatre with Sami (Lappish) as the main stage language. Sami institutional theatres in Scandinavia have a relatively brief history which reflects the tension between the Sami people’s sociopolitical aspirations and Sami theatre artists’ freedom of expression. The theatre from Kautokeino is based upon a robust tradition (e.g. such pre-theatrical modes as the yoik, the art of storytelling, the shamanistic séance), and at the same time it is open to impulses from other cultures and theatrical traditions (both European and

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Jovanov, Lazar. "Theatre City and Identity: Narodno pozorište-Nepszίnház-KPGT". Issues in Ethnology and Anthropology 11, № 1 (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 p

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Paget, Derek. "Theatre Workshop, Moussinac, and the European Connection." New Theatre Quarterly 11, no. 43 (1995): 211–24. http://dx.doi.org/10.1017/s0266464x0000909x.

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This article investigates the influence of a French communist writer on Joan Littlewood's Theatre Workshop. Joan Littlewood celebrated her eightieth birthday in 1994 – a year which also saw an ‘Arena’ programme about her life and the publication of her memoirJoan's Book. Critics and commentators are agreed that Littlewood was a charismatic director, her Theatre Workshop a ground-breaking company which in the late 1950s and early 1960s acquired an international reputation only matched later by the RSC. However, the company's distinctive style drew as much from a European as from a native Englis

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Berlova, Maria. "The Transnationalism of Swedish and Russian National Theatres in the Second Half of the Eighteenth Century: How Foreign Performative Art Sharpened the Aesthetics of National Identity." Nordic Theatre Studies 27, no. 1 (2015): 104. http://dx.doi.org/10.7146/nts.v27i1.24243.

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In this article, I consider the formation of national theatres in Sweden and Russia under the guidance of King Gustav III and Empress Catherine II. Both Swedish and Russian theatres in the second half of the eighteenth century consolidated their nationalism by appealing to various national cultures and absorbing them. One of the achievements of the Enlightenment was the rise in popularity of theatre and its transnationalism. Several European countries, like Russia, Sweden, Po- land, Hungary and others, decided to follow France and Italy’s example with their older traditions, and participate in

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Krylovskaya, Izabella I. "Amateur Musical Theatre of the Russian Far East (1940s – 1980s)." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 34–64. http://dx.doi.org/10.35852/2588-0144-2022-2-34-64.

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This article undertakes the first systematic study of the amateur music and theatre art of the Soviet Far East. Based on a wide range of unknown sources, the author traces the development and creative activity of the amateur music and theatre groups in the Magadan Region, Khabarovsk and Primorsky territories. Such theatre activity is considered by the author as one of the non-stationary form of the Far Eastern music theatre. As a result of the study, the author identifies general trends in the development of amateur musical theatres in all regions of the Far East: the heyday of activity is con

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Lanchak, Yaroslav, Andrii Maslov-Lysychkin, Iryna Maslova-Lysychkina, and Butko Butko. "Physical Theatre as a Form of Theatrical Art: Ukrainian Context." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 6, no. 2 (2023): 127–40. https://doi.org/10.31866/2616-759X.6.2.2023.288151.

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The article is devoted to the consideration of one of the newest experimental forms of performing arts – physical theatre. Physical theatre is a theatrical form that emerged and spread in the late twentieth and early twenty-first centuries in several European countries and the United States and is little studied in Ukrainian art history. <strong>The purpose of the study </strong>is to analyse the artistic and social experience of physical theatre in the context of artistic practices of the late twentieth and early twenty-first centuries, and identify its achievements and problem areas. This ph

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Andres, Rok. "The Repertoires of Slovak and Slovenian Theatre Houses and their Productions of the Western European and American Authors (1945 – 1970)." Slovenske divadlo /The Slovak Theatre 65, no. 3 (2017): 283–301. http://dx.doi.org/10.1515/sd-2017-0016.

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Abstract This article is a comparative review of performances of Western European and American authors in Slovak and Slovenian theatres in the two decades after World War II. First, we present a short historical context, comparing the political systems and cultural policies of both states. We define the importance of the selection of works for the repertoire(s) and then parallel them to the main characteristics, authors, and dramatic texts prevalent in that period. Second, we highlight the particularities of staging of the Western European and American authors in both cultural spaces, evaluate

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Fiebach, Joachim. "Cultural Identities, Interculturalism, and Theatre: On the Popular Yoruba Travelling Theatre." Theatre Research International 21, no. 1 (1996): 52–58. http://dx.doi.org/10.1017/s0307883300012700.

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Intercultural processes have become a major concern of European theatre people and critics since the 1970s. They serve to bolster the postmodern discourse marked by endlessly alterable and changing cultures and, therefore, by essentially elusive cultural identities. But the aggressive global expansion of audiovisually mediated performing culture, primarily American television, film, and video, is being viewed as a menace to received cultural identities. There are fears that European cultures are being submerged and disfigured by an ever increasing inundation of overpowering American cultural p

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ZUR NIEDEN, GESA. "The internationalization of musical life at the end of the nineteenth century in modernized Paris and Rome." Urban History 40, no. 4 (2013): 663–80. http://dx.doi.org/10.1017/s0963926813000357.

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ABSTRACT:This article examines the relationship between the processes of urban renovation in European capitals and the internationalization of musical theatre productions, using the example of theatres constructed in Paris and Rome at the end of the nineteenth century. Due to the limited availability of governmental and municipal funding, the more popular theatres in both capitals came to provide an important space for musical productions on an avant-garde level, with international repertoires and casts.

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Petković, Ivana I. "SIMEON POLOTSKY’S DRAMA NEBUCHADNEZZAR THE TSAR AND ITS WESTERN-EUROPEAN DRAMA SOURCES." Филолог – часопис за језик књижевност и културу 14, no. 28 (2023): 436–59. http://dx.doi.org/10.21618/fil2328436p.

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Тhis paper aims to reconsider the influences of Western-European drama of the XVII century on the creation of Russian baroque and the first drama writer in Russia Simeon Polotsky. During the initial period, Russian theatre, especially during the XVI and XVII centuries, was under the strong influences of Western theatre culture. This paper reconsiders the influence of German, French, English and Polish theatre plays. Plots of his playwright were popular and well known in Western European literature from the XII century. In this paper, we tried to reconsider those influences on the example of hi

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Imre, Zoltàn. "Staging the Nation: Changing Concepts of a National Theatre in Europe." New Theatre Quarterly 24, no. 1 (2008): 75–94. http://dx.doi.org/10.1017/s0266464x08000079.

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In this article, Zoltán Imre investigates the major changes in the concept of a national theatre, from the early debates in Hamburg in 1767 to the 2006 opening of the National Theatre of Scotland. While in the eighteenth and nineteenth centuries the notion of a national theatre was regarded in most of Western Europe as a means of promoting national – or even imperial – integration, in Eastern Europe, the debates about and later the realization of national theatres often took place within the context of and against oppressive imperiums. But in both parts of Europe the realization of a national

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Shem-Tov, Naphtaly. "The Hegemonic Ashkenaziness of Hebrew Theatre." New Theatre Quarterly 40, no. 2 (2024): 177–91. http://dx.doi.org/10.1017/s0266464x24000071.

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This article argues that Hebrew theatre is defined by a hegemonic Ashkenaziness that has been present from its beginning and which continues today. It identifies four main components of this hegemony, each of which is examined in turn. The first two components, Hebrew culture and Eurocentrism, are analyzed in relation to the repertoire of plays presented at such theatres as Habima, Ohel, and Cameri. This repertoire combines Yiddish plays and translations of European plays, while also reproducing Orientalist attitudes towards Mizrahi culture. The third component, privileged citizenship, centres

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Păunescu, Dragoș-Mihai. "MILITARY MOBILITY IN THE EUROPEAN THEATRE." STRATEGIES XXI - Security and Defense Faculty 17, no. 1 (2021): 208–12. http://dx.doi.org/10.53477/2668-2001-21-25.

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To ensure its defense and deterrence posture, NATO has to prove the ability to quickly deploy, reinforce and sustain its forces across the entire SACEUR Area of Responsibility. To ensure the end-state of free deployment of forces across Europe, the Alliance identified the need to abolish legal and administrative barriers and to improve the infrastructure status and transportations capacity. Both NATO and the European Union recognized the military mobility deficiencies as a strategic vulnerability for Europe in case of a peer-to-peer conflict scenario.

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Abrams, Josh, and Marvin Carlson. "Writing Theatre History: New European Perspectives." PAJ: A Journal of Performance and Art 28, no. 2 (2006): 103–9. http://dx.doi.org/10.1162/pajj.2006.28.2.103.

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Almuwail, Fadhel. "Theatre Tradition in Islamic Culture." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 5, no. 2 (2022): 84–91. https://doi.org/10.31866/2616-759X.5.2.2022.266507.

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The purpose of the article is to identify the features of the theatrical tradition and to characterise the main forms of manifestation of theatre in Islamic culture. Research methodology. The author has applied the historical-cultural, historical-typological and historical-genetic methods, which helped to understand the peculiarities of formation and development of theatrical traditions within Islamic culture, as well as to consider the phenomenon of theatrical forms in Muslim countries over time; typological method, which revealed the features of traditional theatrical forms in Isla

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Singleton, Brian. "Introduction: The Pursuit of Otherness for the Investigation of Self." Theatre Research International 22, no. 2 (1997): 93–97. http://dx.doi.org/10.1017/s0307883300020496.

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In his introduction to Culture and Imperialism, Edward Said lays to rest my fears of political incorrectness and of being orientalist in my teaching and research of Asian as well as European theatre practices and proto-theatrical forms. Said empowers me by locating my nationality (Irish) and the locus of my vision of the Orient in the very realm of the Orient: amongst the colonized peoples of the world. Theatre historians in recent years have embraced Said's modernist dichotomies of Orientalism, and mistakenly divided the theatrical manifestation of culture into West/East, first world/third wo

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Cueva, Edmund P. "The Idea of the Theater in Latin Christian Thought: Augustine to the Fourteenth Century." Theatre Survey 47, no. 1 (2006): 127–29. http://dx.doi.org/10.1017/s0040557406290094.

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This is an unusual but good and sensible book. I write that it is unusual because The Idea of the Theater in Latin Christian Thought does not follow the predictable pattern of looking at the “materiality of medieval theater practices and historiography” (2). It instead looks at theatre as it appears in medieval thought and as “moments in European intellectual history” (4). Dox leads the reader through a thorough and erudite survey of the writings of some of the Latin Christian authors. She begins with Saint Augustine of Hippo and ends with Bartholomew of Bruges. The text has three major goals.

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Graver, David, and Loren Kruger. "South Africa's National Theatre: the Market or the Street?" New Theatre Quarterly 5, no. 19 (1989): 272–81. http://dx.doi.org/10.1017/s0266464x00003341.

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The original Theatre Quarterly devoted a large portion of one issue-TQ28 (1977—78) to the theatre of South Africa. It is, of course, important to relate new developments in the theatre of that troubled nation to the context of its changing political situation – considering, for example, how far a reflection of the realities of the urban black experience is now more typical than the ‘acceptable’ face represented by the once-popular ‘tribal musicals’. Here. David Graver and Loren Kruger contrast two approaches to the theatre of anti-apartheid. The internationally known (and now relatively stable

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Balogun, Shola, та Abiodun John Macaulay. "ÒGBÓJÚ ỌDẸ NÍNÚ IGBÓ IRÚNMỌLẸ̀ (THE FOREST OF A THOUSAND DAEMONS: A HUNTER’S SAGA) AND LÁNGBÒDÓ (THE INDESCRIBABLE MOUNT): PERFORMING CULTURE IN AFRICA". Филолог – часопис за језик књижевност и културу 13, № 25 (2022): 279–93. http://dx.doi.org/10.21618/fil2225279b.

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The study of theatre culture in Africa provides a significant background to reassess the emphasis on orthodox ideologies and inﬂuence of European aesthetics on the development of African theatre. The tradition of locating the worldview of dramatic characters within a culture which the audience within the culture can emphathise with is universal. And in most instances it is the misinformation about what is stylistically diﬀerent across cultures that is instrumental in isolating non-Western people's experiences. Thus the contextualisation of D. O. Fágúnwà’s novel, Ògbójú Ọdẹ Nínú Igbó Irúnmọlẹ̀,

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Sepsi, Enikő, and Attila Szabó. "Reception Studies in the Sociology of the Theatre : Directions and Possibilities of Research." Uránia 2, no. 1 (2022): 28–44. http://dx.doi.org/10.56044/ua.2022.1.2.eng.

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The study briefly summarises the position of sociological research on theatre reception in Hungary and its findings to date, outlining the main research activities of the new Research Group on Theatre Education and the Sociology of the Theatre at the Károli Gáspár Reformed University. In the second section, we will present the report of an international questionnaire-based survey conducted on a large sample, which can serve as a methodological and theoretical basis for subsequent research. In 2005, the STEP (Project on European Theatre Systems) international Sociology of the Theatre research g

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Houlihan, Barry, and Grace Vroomen. "A Stage of Transition: Locating European Identity, Culture and Memory at the Gate Theatre: Frank McGuinness’ ‘The Thrupenny Opera’ and Peer Gynt and Hugo Hamilton’s The Speckled People." Review of Irish Studies in Europe 4, no. 1 (2021): 99–120. http://dx.doi.org/10.32803/rise.v4i1.2634.

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This paper explores contemporary Irish-European identity as staged at the Gate Theatre, Dublin. The selected plays challenge contemporary Irish perspectives on form, style, politics and scenography and as the paper argues, highlight the interconnected influence of European theatre, culture, and identity as performed at the Gate Theatre. This paper examines European and Irish memory and identity with specific attention to the ‘language’ of performance as it is transposed cross-culturally and as performed to Irish audiences. Questions explored include the adaptation of memoir for/in performance,

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