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Demeshchenko, Violeta. "Oriental Motives in the Aesthetics of the New Theater of Gordon Craig." Culturology Ideas, no. 14 (2'2018) (2018): 68–78. http://dx.doi.org/10.37627/2311-9489-14-2018-2.68-78.
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The article is an attempt to rethink the creativity of a well-known English director, artist, screenwriter and journalist Gordon Craig who, in his professional work, preferred the traditions of the Eastern Theatre (China, India, and Japan) and their aesthetics. The director also was fond of the ideas of symbolism, which made it possible to use the forms of figurative poetic and associative thinking effectively in theatrical performances being the means of transferring an emotional idea. The article also reveals the creative stages of the prominent English director Gordon Craig emphasising his theatrical experiments through the prism of oriental art, as well as how the director’s work as a whole influenced the formation of a new aesthetic tradition of the European theatre of the twentieth century. Undoubtedly, in the tradition of oriental art and theatre, Craig sought to borrow those living forms that could serve the creation of a new theatre; traditions verified by time could become a solid foundation for creative experimentation. Craig believed that new independent theatre art could arise only based on innovation, which includes the living knowledge of the theatrical past and the synthesis of all the achievements of European and Eastern culture. Craig’s experiments, conducted in the early twentieth century, his theoretical concepts of spatial construction of a spectacle, a new stage design, acting game and the philosophy of the super-puppets entirely influenced the entire theatre art of the twentieth century.
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Cizek, Erin, Patrick Kelly, Kathleen Kress, and Mildred Mattfeldt-Beman. "Factors Affecting Healthful Eating Among Touring Popular Musicians and Singers." Medical Problems of Performing Artists 31, no. 2 (June 1, 2016): 63–68. http://dx.doi.org/10.21091/mppa.2016.2013.
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Maintaining good health is essential for touring musicians and singers. The stressful demands of touring may impact food choices, leading to detrimental effects on health and performance. This exploratory pilot study aimed to assess factors affecting healthful eating of touring musicians and singers. A 46-item survey was used to assess food- and nutrition-related attitudes, knowledge and behaviors, and environmental factors, as well as lifestyle, musical background, and demographic data. Participants (n=35) were recruited from a musicians’ assistance foundation as well as touring musical theater productions and a music festival. Results indicate that touring musicians and singers had positive attitudes regarding healthful foods. Of 35 respondents, 80.0% indicated eating healthful food was important to them. Respondents reported feeling confident selecting (76.5%) and preparing (82.4%) healthful foods; however, they showed uncertainty when determining if carbohydrate-containing foods should be consumed or avoided. Respondents indicated environmental factors including availability and cost of healthy food options and tour schedules limited access to healthful foods. Venues (73.5%), fast food restaurants (67.6%), and airports (64.7%) were the most frequently identified locations in need of offering more healthful food choices. Respondents (52.9%) indicated more support from others while touring would help them make healthier food choices. More research is needed to develop mobile wellness programs as well as performance-based nutrition guidelines for musicians and singers that address the unique demands associated with touring.
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Bulman, Gail A. "Katherine Ford. The Theater of Revisions in the Hispanic Caribbean." Symposium: A Quarterly Journal in Modern Literatures 73, no. 4 (October 2, 2019): 247–49. http://dx.doi.org/10.1080/00397709.2019.1658405.
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Stevens, Camilla. "The Theater of Revisions in the Hispanic Caribbean by Katherine Ford." Latin American Theatre Review 52, no. 1 (2018): 226–27. http://dx.doi.org/10.1353/ltr.2018.0041.
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Ravas, Tammy. "THE NINA VANCE ALLEY THEATRE PAPERS AT THE UNIVERSITY OF HOUSTON LIBRARIES SPECIAL COLLECTIONS." Theatre Survey 49, no. 1 (May 2008): 119–28. http://dx.doi.org/10.1017/s0040557408000070.
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The University of Houston (UH) Libraries' Special Collections possesses several groups of papers and other items related to theatre and the performing arts, one of which is the Nina Vance Alley Theatre Papers. These items were donated to Special Collections in 2000. What follows is a brief biography of Nina Vance and history of the Alley as well as some highlights of items contained within this collection. Nina Vance was the Alley's first artistic director, from 1947 until her death in 1980. Along with Margo Jones and Zelda Fichandler, she helped shape the American regional-theatre movement in the later twentieth century. During her tenure at the Alley she directed 102 plays, produced 245 shows, and was awarded major grants, including significant funding from the Ford Foundation. Despite Vance's achievements in these areas, as well as in establishing the Alley as a respected theatre in the United States and across the world, few works of scholarship exist on her career. This could be partially due to the fact that many primary sources on the Alley Theatre and its founder, such as those found at the UH Libraries' Special Collections, have not been well publicized.
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OKUTOMI, Toshiyuki. "A STUDY ON THE FOUNDATION OF IREKO STYLE'S NOH THEATER." Journal of Architecture and Planning (Transactions of AIJ) 74, no. 637 (2009): 675–80. http://dx.doi.org/10.3130/aija.74.675.
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NICHOLSON, RASHNA DARIUS. "On the (Im)possibilities of a Free Theatre: Theatre Against Development in Palestine." Theatre Research International 46, no. 1 (March 2021): 4–22. http://dx.doi.org/10.1017/s0307883320000553.
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The focus of this article is a critical evaluation of the impact of international development and conflict-resolution funding on theatre in the Occupied Palestinian Territories. The article complicates the predominant narrative of theatre as ‘cultural resistance’ in conflict zones by historicizing the Ford Foundation's role in the institutionalization of Palestinian drama; delineating the effects of neo-liberal state building and development on Palestinian modes of performance; and subsequently, analysing the Freedom Theatre's imbrication in a normative, humanitarian logic. Aid, while ensuring the material conditions for the growth of the Palestinian performing arts, promoted a structural dependency that emptied the language of anti-colonial resistance of emancipatory potential, generating a soft, phantom sovereignty for the audience of the international community. By reimagining ‘freedom’ as liberation from a backward, conservative society, the language of the human rights industry and its attendant cultural economy spawns a spectral ‘cultural resistance’ where freedom and nationhood appear real and unreal – visions refracting, but not existing in, reality.
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Kurmalasari, Tety, Abdul Rahim Hamdan, and Satria Agust. "The Role of Mantra in Theater Makyong." Asian Culture and History 9, no. 2 (August 10, 2017): 71. http://dx.doi.org/10.5539/ach.v9n2p71.
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The research is based on the study of literature. The problem of this research was uses of the spell in theater makyong. The study of uses of the spell in theater makyong is assumed so interesting, because until now theater makyong has still been using spell used by the Panjak chairman to chase away the evil and averse evil before the show begins which is well-known as the ceremony of the"discard wet" or "open land". The spell in theater makyong consists of swearing, the evil, and averse evil spells related to ceremonies open land or discard wet, installing fabric spell, advanced series spell, make-up spell, perindang voice spell and pembungkam (speechless) spell. The sources of the data in this research were obtained from litelature and the Tanjungpinang Art Conservatory Foundation which has kept preserving Theater Makyong till now. The technique of collecting data was done by using the observation technique, interview, and recording elicited from the Panjak chairman, especially about the spell. The data were analyzed by using the collecting data technique. Relating to the research findings, there were seven spells associated with the stage opening ceremony and wet soil or waste opening ceremony and five spells associated with inner preparations existing in theater makyong. The use or the role of spell was as a protection.
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Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.
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Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
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Zhang, Xiaomeng, Wenting Liu, Yilun Zhou, and Ziao Liu. "Basic Selection and Analysis of Harbin Ice and Snow World Theater Project." E3S Web of Conferences 248 (2021): 03044. http://dx.doi.org/10.1051/e3sconf/202124803044.
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Harbin Ice and Snow World Project totals 98,000 square meters, consisting of Iceberg Pavilion, Dream Ice and Snow Pavilion, Ice and Snow Show, and Ice and Snow Art Museum.This project mainly introduces the foundation selection and structural design of the Harbin Ice and Snow World Show, verifies the feasibility of the project implementation, and analyzes the rationality of the structural foundation layout through structural design and structural calculation analysis.
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Kultys, Konrad. "Body and camera in motion — a dialogue between film and contemporary dance theater based on the experience gained in the making of the experimental art documentary Tensity." Dziennikarstwo i Media 15 (June 29, 2021): 51–64. http://dx.doi.org/10.19195/2082-8322.15.5.
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The paper presents the relationship between the worlds of film and dance theater, and the ways in which the medium of the performing body can be translated onto the screen by the director and cinematographer. By analyzing his own experiences and related artistic decisions made during the realization of the experimental documentary Tensity, the author looks at the clash of two different media and the relations that may result from the effort to translate dance theater performance into traditional film medium. Along with the change of medium, the nature of the work also changes and a completely new artistic value is created, enriched with elements unknown to theater, such as film editing, camera work and, finally, screen time. A film work based on the theatrical medium becomes a separate artistic creation, allowing the director and the cinematographer to build upon the foundation of the performative art of the actor/dancer.
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Zhu, Wujia, Yi Lin, Guoping Du, and Ningsheng Gong. "Modern system of mathematics and special Cauchy theater in its theoretical foundation." Kybernetes 37, no. 3/4 (April 11, 2008): 458–64. http://dx.doi.org/10.1108/03684920810863426.
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Zhu, Wujia, Yi Lin, Guoping Du, and Ningsheng Gong. "Modern system of mathematics and general Cauchy theater in its theoretical foundation." Kybernetes 37, no. 3/4 (April 11, 2008): 465–68. http://dx.doi.org/10.1108/03684920810863435.
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Gupta, Shakti Kumar, S. Kant, and Vijaydeep Siddharth. "Integration in Operation Theater: Need of the Hour." International Journal of Research Foundation of Hospital and Healthcare Administration 3, no. 2 (2015): 123–28. http://dx.doi.org/10.5005/jp-journals-10035-1048.
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ABSTRACT Integration in operation theater (OT) usually refers to systems integration, which means functionally connecting the OT environment. It includes integration of patient information system, audio, video, surgical lights and room lights, building automation (HVAC), medical equipment, telemedicine, videoconferencing, etc. When integrated, all technology can be manipulated from a central command console by single operator. Integration in OT holds the key for effective application of minimally invasive surgery, robotic surgery and functioning of hybrid OT. Apart from the conventional planning team for an OT, bringing on board an IT professional is a must for planning IT requirements. Integration in OT requires 15% more space than the conventional OT in order to accommodate the IT gadgets, i.e. walk-in technology room that would house teleconferencing and A/V equipment, blade-server computers, fiberoptic network electronics, teleconferencing and video conferencing equipment, audio-visual racks, etc. the level of integration can vary within an OT depending upon the user requirement. Space requirement for a general I-OT is about 60 m2, a cardiovascular I-OT or one that includes robotics may come up to 80 m2 or more, and I-OT with in-room imaging equipment requires at least 100 m2. Integration in OT not only increases the efficiency and patient safety in delivery of healthcare but can significantly increase efficiency and effectiveness both in teaching and research. How to cite this article Siddharth V, Kant S, Chandrashekhar R, Gupta SK. Integration in Operation Theater: Need of the Hour. Int J Res Foundation Hosp Healthc Adm 2015;3(2):123-128.
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Shea, Christine M., Mary Fran Fran T. Malone, Justin R. Young, and Karen J. Graham. "Interactive theater: an effective tool to reduce gender bias in faculty searches." Equality, Diversity and Inclusion: An International Journal 38, no. 2 (March 11, 2019): 178–87. http://dx.doi.org/10.1108/edi-09-2017-0187.
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Purpose The purpose of this paper is to describe the development, implementation and impact evaluation of an interactive theater-based workshop by the ADVANCE program at the University of New Hampshire (UNH). The workshop is part of a larger institutional transformation program funded by the National Science Foundation. Design/methodology/approach This institutional transformation program relied upon a systems approach to diagnose potential causes for the underrepresentation of women faculty in certain disciplines. This revealed that increasing awareness of, and reducing, implicit gender bias among members of faculty search committees could, in time, contribute to increasing the representation of women faculty at UNH. A committee charged with developing a faculty workshop to achieve this change identified interactive theater as an effective faculty training approach. The committee oversaw the development of customized scripts, and the hiring of professional actors and a facilitator to implement the workshop. Findings The workshop’s effectiveness in fulfilling its goals was assessed using faculty hiring and composition data, program evaluations, participant interviews and questions in an annual faculty climate survey. Findings indicate that the representation of women faculty increased significantly at UNH since the implementation of the interactive theater workshop. Analysis of the multiple sources of data provides corroborating evidence that a significant portion of the increase is directly attributable to the workshop. Originality/value This paper demonstrates the effectiveness of interactive theater-based workshops in an academic environment and of the systems approach in diagnosing and solving organizational problems.
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Smith, Jacob. "Travels with Jack." Resonance 1, no. 1 (2020): 94–115. http://dx.doi.org/10.1525/res.2020.1.1.94.
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Nonprofit arts organization the ZBS Foundation began as a “media commune” in the early 1970s and continues to the present day: a period that spans dramatic changes in American radio culture and audio technology. The key creative figure at ZBS is the writer and producer Thomas Lopez, whose work serves as a case study in a “post-network” style of radio drama, one shaped by multitrack editing, field recording, and the ethos of the 1960s counterculture. The ZBS aesthetic comes into sharpest focus in the Jack Flanders adventure series, which demonstrates how ZBS adapted a “theater of the mind” approach to radio drama to create a “theater of the mind-body” that re-accentuated earlier conventions of the radio adventure serial for a countercultural audience. Lopez’s increasing use of field recordings to structure his narratives established a formal tension between the inner exploration of the hero’s psyche and an encounter with different cultures. I chart the development of this formal tension in ZBS’s theater of the mind-body and argue that Lopez’s work with ZBS is a bridge across multiple eras of radio, an archive of enduring characters and distinctive styles of storytelling, and a sonic laboratory for the fostering of cultural dialogue through sound.
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Tomé, Patricia. "The Theater of Revisions in the Hispanic Caribbean. New Directions in Latin American Culture by Katherine Ford." Hispanófila 186, no. 1 (2019): 150–52. http://dx.doi.org/10.1353/hsf.2019.0042.
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Jaesuk Kim. "The Study on Yoo Chijin's Training for American Theater by the Rockefeller Foundation Fellowship." Journal of Korean drama and theatre ll, no. 61 (September 2018): 143–87. http://dx.doi.org/10.17938/tjkdat.2018..61.143.
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Fedenko, Alevtyna. "The importance of M. Kropyvnytskyi’s children’s theater for the formation of a professional musical children’s theater in Ukraine." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 332–45. http://dx.doi.org/10.34064/khnum2-19.19.
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Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of professional theater for children, take in account its growing popularity, both in the world and in Ukrainian musical culture. The lack of scientific research that fully and comprehensively cover the scientific and practical significance of musical children’s plays by Marko Kropyvnytskyi for the development of musical children’s theater in Ukraine indicates the need for more in-depth researching of the chosen topic. In our research, we rely on the works and articles of authoritative experts – in particular, I. Franko (1910), M. Voronyi (1913), D. Antonovich (1925), P. Rulin (1929), I. Mar’ianenko (1953), P. Kyrychok (1985), N. Yosipenko (1958), P. Perepelitsa (1956), A. Novikov (2007; 2011), L. Moroz (1990). The vast majority of researchers noted the great merits of the artist to the national drama in particular and Ukrainian culture in general. Among the scientific works devoted to Kropyvnytskyi as a children’s playwright, one can distinguish the research by A. Novikov (2007), which focuses on the history of creation of the first children’s troupe in the country, which had no analogues in the history of the world theater, since the actors in it were peasant children. In mentioned critical and scientific works, the innovative features of the playwright’s creative heritage are outlined, attention is focused on the specifics of the genre and problem-thematic range, literary-aesthetic, socio-political, and pedagogical views. The literary and theatrical activity of M. Kropyvnytskyi has been thoroughly studied. However, there is still no work that comprehensively reveal his musical and dramatic creativity for children. The purpose of the article is to show the significant role of M. Kropyvnytskyi in the development of children’s musical theater in Ukraine based on the research of children’s musical and dramatic creativity by the artist. The research methodology is integrative. The work uses knowledge of various fields of art history and related sciences: history and theory of theater, music theory, music and theater psychology, vocal and theater pedagogy. Presentation of the main material. A great pride of the playwright is the foundation by him on the territory of his village Zatyshok of the children’s theater, “actors” in which were his own and peasant children. This event was and remains unprecedented, since nothing like this has been observed in the history of Ukrainian and European culture. The troupe consisted of peasant children aged 10–13. For performances, Kropyvnytskyi assigned the largest room (hall) in the old house, where, as in a real theater, the stage was equipped. The first performance, “Goat-Dereza” (“Koza-dereza”), took place on Christmas day, 1906. The playwright drew the scenery himself, and prepared the costumes together with the children. The play was a great success. A few days later, the children’s troupe was invited to a “tour” in the neighboring village, and the entire theater with the scenery on five carts went on a journey of six versts (Novikov, 2007: 33). In the children’s repertoire at that time, there was, in fact, only one work – the opera by M. Lysenko “Goat-Dereza” (“Koza-dereza”) (libretto by Dniprova Chaika). Ukrainian children’s repertoire did not exist at that time, and in 1907, Kropyvnytskyi created two plays for young performers based on folk tales – “Ivasyk-Telesyk” and “At the behest of the pike” (“Po shchuchomu velinniu”). The performances included vocal numbers composed by M. Kropyvnytskyi on the themes of Ukrainian folk melodies. In a letter to his good friend entrepreneur A. Suslov in January 1908, the writer, in particular, notes: “I have assembled a troupe of peasant children and I am staging in the villages: Goat-dereza, IvasykTelesyk, and At the behest of the pike (the latter both are my)” (Kropyvnytskyi, 1960: 530). Based on the plot of folk tales of the same name, he wrote original musical and dramatic works for children of great educational value. The plays are quite simple in meaning and clearly depict the images of all the negative and positive characters. The first represent such social vices as lies and insincerity, and the second are carriers of eternal positive qualities – sincerity, candor, hard work. The plays are written in an exquisite Ukrainian language, close to the oral poetic creativity. All this, as M. Yosypenko rightly notes, is evidence of “a serious approach of M. Kropyvnytskyi to the business of writing plays for children, a deep knowledge of the psychology of the young audience and its cultural and educational needs and demands” (Yosypenko, 1958: 265). The performances require participation of music, which organic include into the language range of the play itself. Music explains and complements the true meaning of the situation to the young audience. Ukrainian musical folklore material formed the basis of the musical solution of M. Kropyvnytskyi’s children’s performances. Most often, folk songs served as a means to create the image and were introduce before the dramatic action mainly by the method of self-presentation: performing a particular song, the characters showed certain traits of their nature. The songs help to reveal the inner world of the characters, to express their state of mind and moods; often they contributed to the creation of the necessary stage atmosphere: festivities, fun and jokes. A significant part of the characters could not be imagined without songs. Using some folk melodies, Kropyvnytskyi mainly wrote original music, close in melody to the folk-song sources. Solo numbers, ensembles, and choirs are organically woven into the dramaturgy of these plays. A clear reflection of the integrity and unity of the musical and dramatic process is the principle of end-to-end development of the main musical idea of performances. In preparation for productions of his children’s plays, Kropyvnytskyi wrote an orchestration for them also. Intending to put these plays on the professional stage, Kropyvnytskyi wrote down advice to future directors regarding the production of their children’s plays. He began to think of broader horizons for them. In the spring of 1910, small artists had to show their art to the audience of the neighboring county town Kupyansk. However, the premature death of the Ukrainian playwright did not allow this plan to be realized. The children’s troupe soon ceased to exist. Kropyvnytskyi children’s troupe and the repertoire he created for it became a prologue to the development of the Ukrainian theater’s creativity for young viewers. In nowadays from the repertoire do not go off the pearls of drama for children “Ivasik-Telesik’ and “At the behest of the pike”. Conclusions. Marko Kropyvnytskyi’s creative heritage and practical activities wrote the gold pages to the history of Ukrainian musical children’s drama and Ukrainian children’s theater. Children’s musical and dramatic works of the writer based on song folklore are the effective mean to educate positive attitude of young Ukrainians to folk tradition as well as to form positive nature traits: generosity, hospitality, goodwill, charity.
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Osipova, L. V. "CONTEMPORARY THEATER ARTS IN THE EDUCATIONAL ACTIVITY OF THE TEACHER." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 23, no. 77 (2021): 34–39. http://dx.doi.org/10.37313/2413-9645-2021-23-77-34-39.
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Contemporary theatrical art is considered in the article in two aspects: as a way to solve the problems of educating students (education by means of theatrical art) and as a means of preparing future teachers to solve educational problems (theatrical pedagogy). At the same time, educational activity is understood from the standpoint of a culturological approach as a purposeful activity of a teacher acting as an intermediary between a child and culture, to include students in modern culture context. The ideas about the peculiarities of contemporary theatrical art that influence the educational tasks solution are concretized: brightness and originality, which create motivation for moral problems discussion; minimalism, allowing you to focus on moral conflict; a large selection of genres, taking into account the students individual capabilities; interactive nature, allowing students to formulate, substantiate and defend their own moral position; combination of artistic and creative activity and computer technology, adequate to modern schoolchildren worldview. Theatrical art, removing the contradictions between the emotional-figurative and the emotional-logical, contributes to the personal holistic development, individuality and subjectivity of the child, allows him to experience the various situations of modern world. The scientific knowledge about the possibilities of theatrical pedagogy in the process of preparing future teachers for educational activities has been clarified: the use of theatrical pedagogy elements contributes to the students' communicative abilities development, the rejection of the stereotypical solution of professional tasks, the ability for improvisation, emotional self-regulation, flexible and productive conflict resolution. The preparation of future teachers for educational activities by means of theatrical pedagogy is considered as one of the conditions for the effectiveness of their professional activities in solving education problems. The study was carried out with the financial support of the Russian Foundation for Basic Research within the framework of scientific project No. 20-013-00809.
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Kuptsova, O. N., and E. K. Sozina. "Chekhov’s Plays as the Basis of Metatheatral Performances in the 2010s." Critique and Semiotics 39, no. 1 (2021): 280–97. http://dx.doi.org/10.25205/2307-1737-2021-1-280-297.
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Chekhov’s drama has retained its constant popularity throughout the twentieth century and the first two decades of the twenty-first century and has an unbroken scenic history. In modern theater it performs several functions: 1) of a literary basis for the-atrical action, carefully preserved by the director (traditionalist approach); 2) of a kind of material that can and should be adapted, modernized, adjusted to the urgent range of acute problems and to today’s scenic language (avant-garde, post-dramatic approach). One might argue that Chekhov’s drama transitions into the category of “proto-text” or “metatext”. Productions of Chekhov’s plays are often the ones that become the realm of the most radical theatrical experiments when their “familiar” “proto-text”, their basis and foundation are, so to speak, factored out from them: his drama remains in the domain of literature, of reader’s attention while the theater moves ahead – into the area of new scenic opportunities which are only tangentially
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Nining Sholikhah. "Pendampingan Anak Korban Kekerasan dan Eksploitasi Seksual Melalui Trauma Healing dengan Media Teater di Kota Surakarta." Engagement: Jurnal Pengabdian Kepada Masyarakat 4, no. 1 (May 31, 2020): 14–30. http://dx.doi.org/10.29062/engagement.v4i1.71.
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Child is a person who is not yet 18 (eight) years old. Sexual violence is a crime of humanity. Violence and sexual exploitation of children must be stopped, because it is a crime against humanity and harms the dignity of children. Sexual violence against children in Indonesia has been classified as an extraordinary crime. The fact of the high sexual violence against children occurred in almost all of Indonesia and also occurred in the city of Surakarta. KAKAK Foundation carries out prevention and trauma healing (recovery) programs for child victims, as a form of contribution in creating the best life order for children. Through the Program, KAKAK Foundation conducted outreach and assistance to 152 victims of sexual exploitation of children in 1999-2004, 110 children, in 2005-2008, and 76 children in 2008-2011. The choice of children participation methods was very important in the prevention and trauma healing program (recovery) of children victims of sexual violence. For this reason, the program "Theater, As a Form of Child Participation in the Prevention and Trauma Healing of Children Victims of Violence and Sexual Exploitation" is carried out. Through theater children victims are actively involved (participative) in expressing their feelings and can voice children's aspirations to others.
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Li, Lian Xiang, Xue Bo Hu, Xi Xiang Dong, and Guang Lei Hu. "The Calculation Analysis of Supporting Structure with No-Load CFG Composite Foundation." Applied Mechanics and Materials 501-504 (January 2014): 796–800. http://dx.doi.org/10.4028/www.scientific.net/amm.501-504.796.
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This paper introduces the design selection and implementation program of the supporting structure of no-load side-direction excavated CFG composite foundation, in the case of the foundation pit excavation of stage bin of the Jinan Cultural Arts Center Grand Theater. The monitoring data shows that the lateral reinforcement effect of no-load CFG composite foundation can not be discounted. Based on composite foundation and rock mechanics, consider the no-load CFG composite foundation as the composite soil, build its mechanics index system and calculation method. Calculating and analyzing of the supporting structure that placing a row of anchor cable in cantilever double-row pile and double-row pile by means of applying composite soil parameters and using the pit design software and numerical simulation, and comparing the result with actual monitoring data. Therefore, we can further prove that lateral reinforcement effect on soils by considering CFG composite foundation.
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Saraswati, SV. "An Evidence-based Study on Traffic Flow in Operation Theater." International Journal of Research Foundation of Hospital and Healthcare Administration 4, no. 2 (2016): 70–78. http://dx.doi.org/10.5005/jp-journals-10035-1063.
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ABSTRACT Introduction An unusual amount of brisk and continuous traffic of people as well as goods crisscrossing every zone of the theater was noticed at an operation theater (OT) of a cardiothoracic center. Many storage areas were filled with cartons of various sizes which are good media for fungi and bacteria. Interactions with the theater staff and a study of the stores revealed that the traffic of people and goods was interconnected, and improper stores management was the root cause of the increased traffic. The focus of this study was to identify possible reasons for unusual traffic in the OT and to arrive at solutions in an objective manner for optimizing it. Aim The aim was to assess the traffic flow in an OT with the purpose to devise and implement measures for optimal and even flow of traffic during surgery and to create an additional operating room (OR) and instrument room and to improve the overall indoor air quality (IAQ). Materials and methods Scholarly articles regarding ventilation, traffic flow, and inventory management were reviewed along with information available onsite. The method of descriptive study was adopted. Data were collected after analyzing the traffic flow charts, prestudy questionnaire, nonstructured interview results, and nonparticipant observation study. Tools for the study included: (1) Anecdotal evidence, (2) checklists, and (3) rating scales of three different groups. Compliance levels of five different categories of people in the OT were assessed. Air efficiency microbial culture studies and wound swab cultures were carried out during and postimplementation. Results The process also resulted in generation of optimal traffic of staff and goods inside the ORs and decreased air turbulence, collateral benefits, such as (1) creating space for an additional OR, (2) creating a sterile area for storage of instrument packs, (3) optimal space management by segregation of bulk stores, (4) organized inventory control and indenting, and (5) good ventilation in ORs. Changes made in administration and training program increased awareness and compliance levels among staff. No surgical site infection was reported during poststudy observation period. Conclusion The study has resulted in improvisations originally conceived, planned, and implemented by the author at the work station. This study facilitated optimizing traffic of people and goods in OT and stores and in improving IAQ. Excellent cooperation among staff, clean and pleasant ambience, peaceful work situation, laid out standard operating procedures, segregated stores, and well-designed work hours boosted the morale of the entire staff. Clinical significance One of the main sources of airborne contamination in ORs is dead skin cells called “squames,” each around 15 μm or less in diameter shed by staff and patients. A proportion of these may carry harmful bacteria. The rate of shedding increases with movement. This study focused on optimizing traffic of people and goods in the OT and thereby resulted in improving overall IAQ. How to cite this article Saraswati SV. An Evidence-based Study on Traffic Flow in Operation Theater. Int J Res Foundation Hosp Healthc Adm 2016;4(2):70-78.
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Gaivoronskiy, I. V., and M. V. Tvardovskaya. "To the history of the creation of anatomical theaters in the Medical and Surgical (Military Medical Academy)." Bulletin of the Russian Military Medical Academy 22, no. 2 (June 15, 2020): 256–61. http://dx.doi.org/10.17816/brmma50083.
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Was established that the prototype of anatomical theaters in Russia was the anatomical theater of Leiden University (Holland), built in 1575. This theater is shown in color engraving of Cornelius Woodan, created in 1610. In St. Petersburg, at the Department of Anatomy and Physiology of the Imperial Medical and Surgical Academy, this engraving was received in 1805 as part of the collection of the anatomist V. Kruikshenk, acquired for the academy with the direct assistance of Emperor Alexander I. In Russia, the first anatomical theater appeared only in 1708. It was created at the Moscow Medical and Surgical Academy. Historians connect his appearance with a visit in 1697 by Emperor Peter the I of Leiden University. In St. Petersburg, the history of anatomical theaters dates back to the PetrovskayaKunstkamera, built in 1722. It demonstrated rarities - freaks, and also heard scientific reports. Russian anatomical theaters as an arena for the production of public spectacular autopsy did not receive their development but became an integral part of the anatomy department at higher educational institutions. Such an anatomical training theater was built at the foundation of the Imperial Medical and Surgical Academy on the right bank of the Neva in a stone two- story building. The first head of the Department of Anatomy and hysiology, P.A. Zagorsky took part in its design and equipment. Zagorsky. There was a table in the center of the amphitheater, the dimensions of which made it possible to demonstrate a whole corpse at a lecture, to conduct physiological experiments. In this amphitheater, lectures were given by Professor P.A. Zagorsky, I.V. Buyalsky, P.A. Naranovich. It lasted until 1871. The creation of a new anatomical theater in Imperial Medical and Surgical Academy is associated with the name of Professor V.L. Gruber, who after N.I. Pirogov headed the Anatomical Institute. In 1857, V.L. Gruber visited 13 anatomical institutes in Germany and in his trip report substantiated the idea of building a new anatomical building - a specialized Anatomical Institute. V.L. Gruber report was approved by the Academy Conference, headed by its head - P.A. Dubovitsky. In 1864, the building was laid, the construction of which was completed only in 1871. The construction was carried out under the guidance of an engineer - captain of the academician of architecture K.Ya. Sokolova. In this three-story building, the current Anatomical building, two classrooms were built in each wing - № 1 and № 2. They look like an amphitheater and are a prototype of the best European anatomical theaters. Currently, overhaul has been carried out in this building; the design of the anatomical theater has been preserved in classrooms 1 and 2. These auditoriums, which are a historical monument of the Imperial Medical and Surgical Academy, are equipped with modern technical training aids. It is in these classrooms that cadets and students of the S.M. Kirov Military Medical Academy are currently starting their journey into medicine.
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Maslennikova, Anzhela. "Opera and Choral Performance in Mykhailo Krechko’s Work." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 131–42. http://dx.doi.org/10.31318/2522-4190.2021.130.231220.
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The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko.
Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of the multitasking of choir artists in a wide range of synthesis of arts in the opera house.Conclusions and prospects for further exploration in this direction. The article explores for the first time the theme of opera and choral performance in the works of the outstanding Ukrainian choirmaster — People's Artist of Ukraine, Professor Mykhailo Krechko. The above facts from archival materials and analysis of the maestro's artistic activity allow to learn more about the master's contribution to the choral art of Ukraine and its important role in the formation of the vector of development of the State Children's Musical Theater. Emphasis is placed on the specifics and universalism of the theatrical choir. Summarizing all the above, we can say that the modern creative life of the choir Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth is fundamentally based on the high artistic principles laid down by the founder of the choir — Mykhailo Krechko. The Maestro’s great love for the Theater Choir, which he called his “swan song”, high performing skills and a wide range of genres of repertoire, education of followers and like-minded people, and deep traditions established by the choirmaster are a strong foundation and guide to new artistic victories.
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Kolisnyk, Liudmyla. "THE INFLUENCE OF NON-TRADITIONAL METHODS AND TECHNOLOGIES ON THE PSYCHO-EMOTIONAL STATE OF OLDER PRESCHOOLERS WITH APHASIA." Psychological and Pedagogical Problems of Modern School, no. 1(5) (May 27, 2021): 161–68. http://dx.doi.org/10.31499/2706-6258.1(5).2021.235979.
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In the article, the author reveals the positive impact of non-traditional methods and technologies on the psycho-emotional state of older preschool children with speech disorders, which is called aphasia. The research is done on the author’s advanced pedagogical experience. The advantages of introducing non-traditional technologies into the educational process are clarified. The author shares the experience of implementing the most effective non-traditional methods and technologies for the correction of speech disorders in aphasia (information and communication technologies, sand-play technology, Sujok therapy, oral folk art, theater) and the results of their positive impact on behavior, well-being, attention, memory, and psycho-emotional state of the preschooler.The author shares the results of the introduction of shadow theater as the most effective means of speech development of older preschoolers with motor aphasia. The finger theater of shadows removes the tightness of children, shyness, and evokes positive emotions. Theater often helps when a child is capricious, and loses his temper, and also encourages to provide speech activity spontaneously.The article reveals the advantages of sand-play technology among other non-traditional methods and technologies, which liberates inner feelings and encourages creativity; children get great emotional satisfaction and lays the foundation for further development of positive communication skills.The author shows the necessity and expediency of the innovative method of Sujok therapy in correctional work with older preschool children with aphasia, as the development of fine motor skills of the fingers stimulates the development of the central nervous system and speech development of preschool children.The article presents the important role of folk art and information-communicative technologies at the organization of correction of phonemic disturbances at children of senior preschool age. Such tools are close and accessible to children, relieve stiffness, isolation, depression, evoke positive emotions, faith in their strength and desire to cooperate.The author displays the need to continue the study of a number of innovative methods of speech correction and further education of older preschool children with aphasia.
Keywords: aphasia, non-traditional methods, technologies, psycho-emotional state, sand-play technology, Sujok therapy, correction, speech disorders.
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Voigts, Eckart. "Tom Stoppard: European Phantom Pain and the Theatre of Faux Biography." Humanities 10, no. 2 (June 1, 2021): 80. http://dx.doi.org/10.3390/h10020080.
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The paper reads Stoppard’s work in the 21st century as further testimony of the gradual politicisation of his work that began in the 1970s under the influence of Czech dissidents, and particularly as a result of his visits to Russia and Prague in 1977. It also provides evidence that Stoppard, since the 1990s, had begun to target emotional responses from his audience to redress the intellectual cool that seems to have shaped his earlier, “absurdist” phase. This turn towards emotionalism, the increasingly elegiac obsession with doubles, unrequited lives, and memory are linked to a set of biographical turning points: the death of his mother and the investigation into his Czech-Jewish family roots, which laid bare the foundations of the Stoppardian art. Examining this kind of “phantom pain” in two of his 21st-century plays, Rock’n’Roll (2006) and Leopoldstadt (2019), the essay argues that Stoppard’s work in the 21st century was increasingly coloured by his biography and Jewishness—bringing to the fore an important engagement with European history that helped Stoppard become aware of some blind spots in his attitudes towards Englishness.
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Mullan, Kelly Jean. "Forgotten “New” Dancer of New York City's Gilded Age: Genevieve Lee Stebbins and the Dance as Yet Undreamed." Dance Research Journal 52, no. 3 (December 2020): 97–117. http://dx.doi.org/10.1017/s0149767720000327.
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In the Gilded Age, Genevieve Lee Stebbins (1857–1934) became a dance soloist admired in New York City's theater world. Stebbins created a foundation from which a new “serious” dance aesthetic emerged and notably inspired the early dance work of Ruth St. Denis and Isadora Duncan; however, she remains an overlooked figure within American dance history. This article chronicles Stebbins's innovations and clarifies misrepresentations of her work in recent scholarship. Unlike other American dance pioneers, there is no public archive dedicated to Stebbins, therefore this article draws upon newly available primary sources to explore Stebbins's foundational work.
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Magos, Tiarnan, Sofronis Loizides, Michalis Panteli, Georgios Pafitanis, Pauline Whitehouse, and Krishna K. Singh. "UK Foundation-Year 1 Doctors—A Survey Uncovering Infrequent Theater Experience Regardless of Time, Place, or Surgical Specialty." Journal of Surgical Education 72, no. 3 (May 2015): 515–21. http://dx.doi.org/10.1016/j.jsurg.2014.11.006.
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Ossipova, Erika V. "Culture and Theater as Foundation for National Identity Formation in the Russian Far East: Where Europe Meets Asia." Nationalities Papers 33, no. 1 (March 2005): 59–70. http://dx.doi.org/10.1080/00905990500053770.
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For several centuries the overall trend in the world development has been along the way paved by Western civilization. Hence, the predominant flow has been based on borrowed Western cultural features. The issue of cultural interaction among nations with different culture types became fairly topical in contemporary society. Humankind now faces the legacy of moral decline of the past century and is trying to find a way out of its ideological dead end through other cultures and civilizations. In addition, the globalization processes that developed towards the end of the last century have also embraced the nations' cultural ties, turning the cross-cultural communication into an integral part of humankind's existence. The unique role of Russia in Northeastern Asia calls for an answer to the following question: Is there any cultural interaction between the Russian Far East, on the one hand, and the East Asian nations, on the other? And if so, what are its manifestations and how big are they?
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Yudina, Antonina. "Defects in the hydro-insulation of the underground part of the building of Tovstonogov Bolshoi Drama Theater after the reconstruction." E3S Web of Conferences 164 (2020): 02017. http://dx.doi.org/10.1051/e3sconf/202016402017.
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The paper presents the study of defects in the hydro-insulation of the underground part of the BDT building (“The Russian State Bolshoi Drama Theater named after Tovstonogov G.A.”) after the reconstruction. Within the reconstruction of such buildings, work is often performed to deepen the floor below the existing level of the foundation to create the additional area. During excavation works for deepening, demolition of the old concrete floors and after arrangement of a new floor slab in the basement, as a result of poorly executed hydro-insulation works, capillary moisture is raised along the body of the wall. As a result, wall structures are in conditions of high humidity, which leads to their gradual destruction.
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이주영. "Study on Theater Supporting Business of Culture Foundation. - With Priority Given to Culture Foundations in Seoul and Busan Metropolitan Areas." Institute for Humanities and Social Sciences 18, no. 1 (February 2017): 77–93. http://dx.doi.org/10.15818/ihss.2017.18.1.77.
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Goldman, Leah. "Negotiating “Historical Truth”." Journal of Musicology 33, no. 3 (2016): 277–331. http://dx.doi.org/10.1525/jm.2016.33.3.277.
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In 1925, when Soviet composer Iurii Shaporin began writing his first opera, Polina Gebl’, about the Decembrist Ivan Annenkov and the French emigrée shopgirl who followed him into exile, he had no idea how tumultuous its journey would be. It took twenty-eight years and countless revisions for the opera to gain official approval. When it finally premiered at the Bolshoi Theater in 1953, with the title The Decembrists, the love story had been backgrounded and the historical plot line vastly expanded; scenes, characters, and arias had been added, dropped, or altered; and Polina herself had been written out entirely. The negotiated process by which Polina became The Decembrists reveals much about the evolving relationship between music and power in the Soviet Union, especially in the high-stakes realm of Socialist Realist opera, in which a suitable exemplar had yet to be produced. Amidst the pressures of the late-Stalinist state’s assault on the creative intelligentsia, and in the wake of major opera scandals in the 1930s and 1940s, the Bolshoi Theater saw in Shaporin’s work an ideal candidate to fill this void: a historical opera with an unimpeachable subject, the Decembrist Revolution, understood as the foundation point of the revolutionary legacy to which the Bolsheviks laid claim. This article analyzes the intense negotiations among Shaporin, the Bolshoi and its consultants, and official censors to ensure The Decembrists’ historical accuracy, which they believed would guarantee its acceptance. Yet, as the article demonstrates, while Soviet musical authorities upheld “historical truth” as their standard, in the end the Socialist Realist ideal of “artistic truth” was far more important for The Decembrists’ success.
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Semmes, Clovis E. "Charitable Collaborations in Bronzeville, 1928-1944." Journal of Urban History 37, no. 6 (October 12, 2011): 975–91. http://dx.doi.org/10.1177/0096144211418434.
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In the twentieth century, race-based residential and commercial segregation that supported racial oppression and inequality became an elemental characteristic of urban black communities. Conflict-ridden, black-white relationships were common. However, the Chicago Defender Charities, Inc., the entity that sponsors the largest African American parade in the country and that emerged in 1947, embodied a tradition of charitable giving, self-help, and community service initiated in 1921 by Chicago Defender newspaper founder and editor, Robert S. Abbott. The foundation of this charitable tradition matured as a result of an early and sustained collaboration between Chicago’s white-owned Regal Theater and the black-owned Chicago Defender newspaper. Thus, in segregated African American communities, black and white commercial institutions, under certain conditions, were able to find important points of collaboration to uplift the African American communities of which they were a part.
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Fedenko, A. Yu. "Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 73–92. http://dx.doi.org/10.34064/khnum1-56.05.
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Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orientation, a benevolent understanding of the child’s inner world and its highly artistic reflection in word and music – is a unique cultural phenomenon. During her lifetime, only three of her twelve plays for children were published. However, every play was put on the school stage. The author herself usually directed performances. The writer’s awareness of musical folklore formed the foundation for the creation of children plays. The author interweaves melodies in the texts of plays (“Melodies for singing”, as Pchilka called it) as an organic component of the child’s very existence, they sound in a dance, game or some imaginary action of children, thereby “feeding” and directing the Grand vector of the stage action. There is the information that Olga Petrovna became the author of some songs. The writer outlined the creative directions of her future children theater: 1) dramatizations of a “suitable” literary work; 2) a children musical play; 3) an original dramatic work with a wide use of poems, fables, folk songs, ritual dances with singing, children games with toys, and the like. “Honor your native...”, “...it is good to know your own folk language, song...” – expressions from Olena Pchilka’s article “Work of upbringing” formulate the dominant of her creativity, pedagogy, social and scientific activities and, to a high degree, her children drama. Olena Pchilka considered the life and work of Taras Shevchenko one of the most influential sources of education of conscious Ukrainians. Therefore, in her children theater, the theme of his life and creativity is a leitmotif (the play “Spring morning of Taras” etc.). Olena Pchilka was convinced that the Ukrainian language, song and native nature are a necessary and irreplaceable environment for a child. Folk art and folk mythology reign in a number of her children plays. In one of them (“Dreamdreamy, or a Fairy tale of a Green Grove” – “Son-Mriya, Kazka Zelenogo Gayu”) we meet a Forest Mouse, a Cuckoo-a girl, a Nightingale-a boy, a Crow-a girl, a Sparrow-a boy, children-Quail, Forest Mermaid, Goblin (Lisovik), Field Mermaid. For this play the author introduced the row of various songs, from the song of field workers to lullaby. The play “Bezyazykiy” (“Without tongue”) touches on the theme of refugees, the psychology of the child, his behavior in the school team, and at the same time the ethical problems of teaching. The play also includes the songs. The operetta “Two Sorceresses” (1919) is the pinnacle of Olena Pchilka’s children drama. The writer repelled from folk melodies and poems; games, ceremonies, festivals; from children’s naturalness, clarity, rainbow imagination, playfulness, organically weaving into the fabric of their works their own verses and melodies to them. The play contains a variety of numbers: solo (“Singing of the Earth”, “Singing of Santa Claus” and others), choral (“Choir of boys and girls”, “Spring-Beauty is coming”, etc.), conversational and vocal scenes (“I’m Winter, Winter”, “Girl, Fish”, “We are the clear rays of the sun”, “Lala, bobo”, etc.). Another title of the work is “Winter and Spring”, so the names of the main characters who oppose each other are placed in the title. The presence of conversational and vocal scenes, folk games and dances, comedy episodes allows us to consider the play as the predecessor of the modern genre of “musical” for children. The festive theme continues in the one-act play “A Christmas tale”. The play traces the process of becoming a person as a person. A large amount of ethnographic musical material has been introduced into the artistic structure of the work. The writer meant the “Christmas fable” as a dramatic action. To “AChristmas Fable” the author has included Ukrainian folk songs: the Christmas Carol “New joy”, a Christmas caroling girls “Oh red, plentiful viburnum”, the dance song “Dance of the groom” (“Kozachok”), the refrain “At the house of Pan Semen” etc. In 1920, in Mogilev-Podolsk, Olga Petrovna Kosach, a teacher of Ukrainian language and literature, organized a children’s drama Studio at the Ivan Franko school, where almost all the plays of her “Ukrainian children theater” were staged: “Peace-Peace!” (Mir-Mirom), “Kiselik” and “Treasure” (“Skarb”). The play “MirMirom!” is based on the games of preschool children: the song “Go, go, rain”, the game for friendship “Peace-Peace!”, the song “My mother gave me a cow” and other. Among Olena Pchilka’s children plays, there are “tales” of Patriotic content. “Treasure” performance in one action, which also include the songs, is teaching for responsibility and patriotism. In her play “Out of captivity”, where the Ukrainian childhood during the October revolution shows, the children sing the choral “liberated singing” – the singing of the Ukrainian anthem. Conclusions. It is concluded that Olena Pchilka contributed to the creation of the foundations for the formation of children musical theater in Ukraine with her creative heritage and practical activities, developing a new literary genre of musical children play, which we can call the genre of musical in modern times. After all, Olena Pchilka’s plays, written in a form accessible to children, are examples of Patriotic and cultural education, full of music, singing, folk and household melodies, folk songs, carols, poems, games, dances, rituals, celebrations. This problem is poorly understood and requires further research.
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Barnes Lipscomb, Valerie. "“The play’s the thing”: theatre as a scholarly meeting ground in age studies." International Journal of Ageing and Later Life 7, no. 2 (April 12, 2013): 117–41. http://dx.doi.org/10.3384/ijal.1652-8670.1272a6.
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Addressing three current critical turns in gerontology, this article proposes the theatre as a fertile ground for various theoretical angles in age studies - including the performative on and off stage, the narrative in the script and the critical questioning of age and ageism in the multiple realities of performance. Beginning from a shared site in the theatre, researchers may be able to establish greater common ground, resulting not only in multi-disciplinary efforts but also in truly interdisciplinary work. With a foundation in performance studies, this article suggests promising directions for age studies and theatre scholarship by examining three aspects of theatrical production: a play script, Jan de Hartog’s popular The Fourposter (1951); a collaborative development of a script and production, Jeanette Mathewes Stevens’ 2010 senior drama ElderSpeak; and a performance, a 2011 song-and-dance revue staged by an established senior theatre troupe, the Sarasota Senior Theater.
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Cozzolino, Marilena, Luigi Maria Caliò, Vincenzo Gentile, Paolo Mauriello, and Andrea Di Meo. "The Discovery of the Theater of Akragas (Valley of Temples, Agrigento, Italy): An Archaeological Confirmation of the Supposed Buried Structures from a Geophysical Survey." Geosciences 10, no. 5 (April 29, 2020): 161. http://dx.doi.org/10.3390/geosciences10050161.
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The theater of the ancient city of Akragas has been researched for centuries and, in 2016, a multidisciplinary and multi-scale research work that involved topographic studies, analysis of satellite images, geomorphological characterization of the land, archaeological surveys, and non-invasive geophysical surveys led to its discovery. In this work, a comparison between the archaeological structures hypothesized by geophysical results and the archaeological structure excavated is presented. The area of about 5.500 m2 was investigated using electrical resistivity tomography (ERT). The survey highlighted a series of resistivity highs arranged on concentric semicircles defining perfectly the presence of an articulate building attributable to a theatrical complex of imposing dimensions (diameter of about 95 m). Archaeological excavation led to the identification of the summa cavea with the discovery of foundation-level structures arranged on a semicircle, on which the tiers were located, and cuts in the rock with seat imprints. The overlap of the technical layouts obtained from the documentation of archaeological excavation on the modelled resistivity maps shows the perfect correspondence between the features of the resistivity highs and the ancient structures actually found.
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Popper, Frank. "Art, Science, Technology: Six Exhibitions 1966–1998." Leonardo 52, no. 2 (April 2019): 194–95. http://dx.doi.org/10.1162/leon_a_01163.
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From the late 1960s until the end of the twentieth century, the author organized, or helped organize, six exhibitions throughout Europe that saw artists integrate and alter the collective destinies of science, art and technology. The works of art presented at these exhibitions: KunstLichtKunst at the Stedelijk Van Abbe Museum in Eindhoven; the Lumière et Mouvement exhibition at the Musée d’Art Moderne de la Ville de Paris; Cinétisme, Spectacle, Environnement, held at the Mobile theater of the Maison de la Culture in Grenoble; Interventions and Environments in the Streets of Paris and in Its Suburbs and Electra at the Museum of Modern Art of the City of Paris; and the Virtual Art show in Boulogne-Billancourt in 1998, did more than just lay a formal and theoretical foundation for new media art to follow—they challenged the perceptions of both the spectator of the art as well as other artists working in this area. This article chronicles the aesthetic and societal ramifications, particularly within the artistic community, that the works in these exhibitions created.
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Rosenberg, Tiina. "The Soundtrack of Revolution Memory, Affect, and the Power of Protest Songs." Culture Unbound 5, no. 2 (June 12, 2013): 175–88. http://dx.doi.org/10.3384/cu.2000.1525.135175.
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All cultural representations in the form of songs, pictures, literature, theater, film, television shows, and other media are deeply emotional and ideological, often difficult to define or analyze. Emotions are embedded as a cultural and social soundtrack of memories and minds, whether we like it or not. Feminist scholarship has emphasized over the past decade that affects and emotions are a foundation of human interaction. The cognitive understanding of the world has been replaced by a critical analysis in which questions about emotions and how we relate to the world as human beings is central (Ahmed 2004: 5-12).
It is in this memory-related instance that this article discusses the unexpected reappearance of a long forgotten song, Hasta siempre, as a part of my personal musical memory. It is a personal reflection on the complex interaction between memory, affect and the genre of protest songs as experiences in life and music. What does it mean when a melody intrudes in the middle of unrelated thoughts, when one’s mind is occupied with rational and purposive considerations? These memories are no coincidences, I argue, they are our forgotten selves singing to us.
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Kant, Sunil, Shakti Kumar Gupta, and V. Siddharth. "Planning Premises and Design Considerations for Hybrid Operating Room." International Journal of Research Foundation of Hospital and Healthcare Administration 2, no. 1 (2014): 50–56. http://dx.doi.org/10.5005/jp-journals-10035-1015.
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ABSTRACT The hybrid operating room can be defined as the combination of imaging system and operating table installed in an operating theater room for, e.g. use of an angiography imaging system and operation table in an operation theatre or use of an operating table in angiography room. Shorter patient recovery time, decreased length of stay, streamlined care delivery, improvement in cross-specialty communication, minimized risk for communication-related errors across clinical specialties and lower overall cost of care are some of the advantages of the hybrid operating room. Although no/limited data exists in the literature, the potential disadvantages of hybrid operating suite are cost, infection, prolonged anesthesia and radiation exposure. The primary components of a hybrid operating suite are an imaging system and imaging compatible operation table. Area required for hybrid operating suite varies from 80 to 150 m2. The most common configuration of hybrid operating suite includes a flat panel angiographic X-ray imaging system and surgical equipment for cardiac surgery. How to cite this article Siddharth V, Kant S, Chandrashekhar R, Gupta SK. Planning Premises and Design Considerations for Hybrid Operating Room. Int J Res Foundation Hosp Healthc Adm 2014;2(1):50-56.
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Kirillova, Anna Nikolaevna, and Arsenii Anatolevich Belomytsev. "Semantic oscillations of supporting music of the ancient cult as the foundation of metamodernism elements in the works of contemporary opera directors." Культура и искусство, no. 8 (August 2021): 11–19. http://dx.doi.org/10.7256/2454-0625.2021.8.36335.
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In recent decade, modernism as one of the varieties of post-postmodernism, draws interest of the researchers. It is suggested that modern culture has transgressed the situation of postmodernism, gravitating towards conceptual and semantic sustainability. As a language of self-description of the new era, the foundations of metamodernism are reflected in various forms of art. The opera house, overcoming the inertia of conservatism, perceives these trends, refracting them in a characteristic oscillation between the extreme semantic poles, which formed during the period of antiquity. The subject of this research is the correlation between the ancient musical heritage and metamodernistic trends in the modern opera theater. It is determined that translation of the principles of musical score of the ancient cult within the framework of the works of modern opera directors implies the characteristic to the supporting music of the cult forms of Ancient Greece and Rome oscillation between the poles of monophony – polyphony, instrumentality of accompaniment – a cappella, improvisational – preset of musical pieces. Paradigmatic assimilation of the fluctuations inherent to the cult of antiquity, as well as the absence of intentionality in their manifestations (which partially reflects the religious-ecstatic procedurality of art), largely determine the specific attributes of metamodernism, emphasized in the works of R. Castellucci, P. Sellars, R. Wilson, and D. Chernyakov.
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Korniy, Lidiya. "Ukrainian School Christmas Drama of the XVIIth–XVIIIth Centuries and Puppet Nativity Play Theatre: Problem of Adaptation and Interpretation of a Musical Factor." Folk art and ethnology, no. 2 (July 30, 2021): 5–14. http://dx.doi.org/10.15407/nte2021.02.005.
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The article states that the Ukrainian baroque art has become differentiated into the high, middle and lower stylistic levels. There were certain connections between them, and new art genres appeared on the verges of these levels. The problem of the connection between distinct stylistic levels of the Ukrainian musical baroque has not yet attracted the attention of researchers. The study examines the links between the Ukrainian school Christmas drama of the XVIIth– XVIIIth centuries and the puppet Nativity play theatre. It is noted that for the first time a comparison of these two kinds of theatrical art is drawn in terms of the use of a musical factor in them. It is established that the first act of the Nativity play drama is related to the high style of Ukrainian Christmas school drama. This is revealed on the basis of analysing the dramatic functions of a Choir in both school drama and Nativity play drama. A choir in these spectacles took an active part in revealing the Christmas story, playing the role of a character. What they had in common was the genre of spiritual chant with the syllabic versification. Despite its association with the high style of school drama, the Nativity play drama was a quite new theatrical genre that belongs to the middle stylistic level. Focusing on the folk environment, authors of the Nativity play drama intelligibly conveyed to a wide audience the sacred plot. It is noted that in the second act of the Nativity scene were adapted interludes of school dramas, which represented the lower stylistic level of the Baroque. In this act, a funny line came to the fore, and a musical component is marked by influences of the Ukrainian musical folklore with a predominance of its dancing variety. The interaction of folklore with the lower version of the Baroque had a great potential for the further development of the Ukrainian national theatre. Due to the fact that music was an integral part of the puppet Nativity play drama and played an important dramatic function, this theatrical spectacle, like some school dramas, had the features of the drama with music genre. Thus, school drama and Nativity play drama created the foundation, on which in the XIXth century, the Ukrainian dramaturgy emerged, with a significant role of the musical factor in it, which was essentially a drama with music.
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Cohen, Matthew Isaac. "Voices of the Puppet Masters: The Wayang Golek Theater of Indonesia. By Mimi Herbert. Jakarta: Lontar Foundation; Honolulu: University of Hawai'i Press, 2002. 254 pp. $49.00 (cloth)." Journal of Asian Studies 61, no. 4 (November 2002): 1436–38. http://dx.doi.org/10.2307/3096519.
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Kalinina, Larisa Yurievna. "Contests of concept «art-composition» in context of XXI century art education." Samara Journal of Science 5, no. 2 (June 1, 2016): 162–65. http://dx.doi.org/10.17816/snv20162306.
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The article discusses the concept of art composition, that functioning in practice music teachers, teachers of fine arts and literature, teachers of choreography and theater. However, the theoretical foundation of art-composition and content of the concept has not yet been the subject of a special study. At the same time, comprehension of innovative approach in educating to the art, maintenance of artistic education characterized by an orientation on studying - man with a modern world view, it is necessary. A necessity of enriching of thesaurus of school pedagogics was clear, actual terms, art composition behaves to the number of that. This study contributes to the problem of a more general nature - the possibility of using polyart creative activities as a means of identification and learning of gifted children. The originality of the art-composition - in the innovative thinking of the modern author, whose seeking to portray the world is not the way it sees, but the way it understands. Results of the creative work can be presented in different art forms, not excluding sketches, improvisations, postmodern games with the text. The pedagogical value of the art-composition: the teacher can visually track the progress of the child in the field of aesthetic perception, associative thinking and the work with the material.
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Cusack, Carole M. "The Contemporary Context of Gurdjieff’s Movements." Religion and the Arts 21, no. 1-2 (2017): 96–122. http://dx.doi.org/10.1163/15685292-02101004.
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The “sacred dances” or “Movements” were first revealed by George Ivanovitch Gurdjieff (c. 1866–1949) in 1919 in Tiflis (Tblisi), the site of the first foundation of his Institute for the Harmonious Development of Man. The proximate cause of this new teaching technique has been hypothesized to be Jeanne de Salzmann (1889–1990), an instructor of the Eurhythmics method of music education developed by Émile Jaques-Dalcroze (1865–1950). Jeanne and her husband Alexandre met at Jaques-Dalcroze’s Institute at Hellerau in 1913, and became pupils of Gurdjieff in 1919. It was to her Dalcroze class that Gurdjieff first taught Movements. Esoteric systems of dance and musical education proliferated at the time. Gurdjieff was deeply interested in music, theater, and art. When Pyotr Demianovich Ouspensky (1878–1947) met him in 1915 he spoke of dances he had seen in Eastern temples, and was working on a never-performed ballet, The Struggle of the Magicians. This article argues that body-based disciplines introduced by esoteric teachers with Theosophically-inflected systems are a significant phenomenon in the early twentieth century and that Gurdjieff’s Movements, while distinct from other dance systems, emerged in the same esoteric melting-pot and manifest common features and themes with the esoteric dance of Rudolf Steiner, Rudolf von Laban, Peter Deunov, and others.
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Perepelytsia, Oleksandr O. "Innovations of Genre-Related Form in Karmella Tsepkolenko’s Piano Music." ICONI, no. 3 (2020): 46–55. http://dx.doi.org/10.33779/2658-4824.2020.3.046-055.
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The article is devoted to the innovations in the piano compositions of Karmella Tsepkolenko. The presentation of the present theme demonstrates the complex-dialogical character of the interrelations between the composer and artistic space in contemporary music, which requires a broad contextual approach upon analysis and study of the latter. By the example of Tsepkolenko’s children’s pieces and concert piano pieces, disclosure is made of the main parameters of innovations, such as artistic stimulation, the emotional-energetic context of the composition, the scenary development of the musical material, the principle of synthetic mastery of art, and theatricalization of non-theatrical musical genres. Scenary development (the composer’s expertise) becomes the foundation on which the theatricalized events in the piano pieces are unfolded. At the same time the eventful groundwork of the music does not wedge itself into the Procrustean bed of the traditional, historically developed forms and genres, but directs the composer’s thinking towards innovation, towards the creation of new forms and genres appropriate to the scenario. In the children’s pieces and in the concert piece the narrative unfolds according to the principle of “the theater of representation,” when the narration is stated from the third person. One of the manifestations of the “theater of representation” is the inner theatricalization, based on the dialogic relations between separate structural modules, thematic germs, juxtapositions both within each of the musical structures and between them. An important particularity of inner theatricalization is the presence of the element of play, bringing in the role principle into the development of the musical material, fi lling the composition with “images” of the protagonists. Outward theatricalization is also broadly used, and a special role in outward theatricalization belongs to plastic forms — these are gestures of the musicianactors, their behavioral roles. It is shown that the use of the principles of synthetic mastery of art, relying on the phenomenon of play in its inseparable integrality, theatricalization as the main principle of the unfolding of artistic form and scenary development of the musical material directs the composer towards the creation of new aesthetic models, activates the composer’s subconscious structures for the creation of semantic complexes which are new in their new in their form and content, and fi lls the musical composition with complex dialogic connections and play energy.
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Bemis, Michael F. "Book Review: Conflict in Ancient Greece and Rome: The Definitive Political, Social, and Military Encyclopedia." Reference & User Services Quarterly 56, no. 3 (April 3, 2017): 215. http://dx.doi.org/10.5860/rusq.56n3.215c.
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Classical civilization represents the foundation upon which rests all of modern-day Western society. The English language, in particular, is larded with allusions to the Greeks and Romans of yesteryear, from “Achilles’s heel” to “deus ex machina” to “Trojan Horse,” which make reference to the many influences that these cultures have had on our art, literature, theater, and, unfortunately, war and military (mis)adventures. For all these reasons, it behooves the modern reader to have at least a passing familiarity with what transpired all those thousands of years ago. The editors would appear to agree with this assessment, as they state in the “Preface” that this three-volume work “is intended to fill a gap in current reference works. It meets the need for a standard reference work on Greek and Roman military history and related institutions that is accessible to nonspecialists” (xxiii). Just what criteria the editors used in framing this statement is unknown; however, a literature search reveals many well-regarded titles covering this subject matter. From the topic-specific, such as John Warry’s Warfare in the Classical World: An Illustrated Encyclopedia of Weapons, Warriors, and Warfare in the Ancient Civilizations of Greece and Rome (University of Oklahoma Press 1995) to the more general, such as the venerable Oxford Classical Dictionary (Oxford University Press 2012), now in its fourth edition, there is certainly no shortage of print reference materials concerning warfare during the time of the Greek and Roman empires.
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Наталія Семергей. "ЛІТЕРАТУРА ТА МИСТЕЦТВО В УКРАЇНСЬКОМУ НАЦІОНАЛЬНО-КУЛЬТУРНОМУ ВІДРОДЖЕННІ ДРУГОЇ ПОЛОВИНИ ХІХ – ПЕРШОЇ ТРЕТИНИ ХХ СТОЛІТТЯ: НОВІТНЯ ІСТОРІОГРАФІЯ." International Journal of Innovative Technologies in Social Science, no. 3(24) (March 31, 2020): 31–34. http://dx.doi.org/10.31435/rsglobal_ijitss/31032020/7015.
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The article is devoted to the analysis of modern historiography concerning the place and the role of literature and art in the rise of Ukrainian national and cultural revival of the second half of the ХІХth – the first third of the ХХth century. It has been found out that historians consider the works of writers, poets, linguists, artists of Ukrainian theater, music, fine arts as a key factor and simultaneously a manifestation of the rise of Ukrainian national and cultural movement. It has been revealed that consideration of the literary and artistic component of national revival in close relation to social and political processes is common to modern historiography. Historians believe that Ukrainian artists formulated the slogans of state and national independence of the Ukrainians in a figurative and metaphorical form, and ensured these slogans dissemination to the general public. Attention is drawn to the fact that in the historiographical discourse particular attention has been paid to the study of the place and the role of literature and arts in disseminating the Ukrainian language, Ukrainianization of the social, cultural and everyday spheres of life of contemporary Ukrainian nation. Conclusions are drawn that the spread of the Ukrainian language by means of literature and art has played a significant role in the development of Ukrainian self-awareness and the formation of value and cultural foundation of national identity.
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RAKA, Anak Agung Gede, Novi ANOEGRAJEKTI, Putu Ngurah Suyatna YASA, Sudartomo MACARYUS, and Anak Agung Gede Raka GUNAWARMAN. "Bali is Dressing-Up: Ritual as an Identity." Journal of Environmental Management and Tourism 11, no. 6 (September 13, 2020): 1560. http://dx.doi.org/10.14505/jemt.v11.6(46).26.
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Barong Landung in Bangli is recognized as one of the former relics of Bali-China contact. This visibly appears from character of its face and narrow lines of eyes. The contact between Balinese and Chinese culture is intertwined through trade channels. With an ethnographic method, the provision of library data of the present study was complemented by field data collected through observation, participation, and in-depth interview with selected participants. Interpretation was done semiotic, by placing each data as a phenomenon of interconnected culture as a whole. The results showed that Sacred Barong Landung was purified and stored in the temple and used in ritual activities that took place inside and outside the temple, such as walking around the village where the temple is located. Sacred Barong Landung is located at Pura Pusering Jagat, Pejeng, Gianyar and at Penataran Sima Siladan Temple, Taman Bali. Profane Barong Landung is situated in Gurukula Foundation, Kubu Sub-district, Bangli and in Sukawati, Gianyar. Traditional theater Calonarang play as a ritual brought in audiences from all levels of the society, including children, teenagers and elderly. Every person coming into the temple follows the activity until the end at the early hours. All the activities are a series of procession of religious activities as a form of benediction to God and as a medium to plead with Him to enable the whole community to always be in a harmonious state in the future.