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Journal articles on the topic 'Formative theater'
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1
Tanner-Kennedy, Dana. "Gertrude Stein and the Metaphysical Avant-Garde." Religions 11, no. 4 (March 25, 2020): 152. http://dx.doi.org/10.3390/rel11040152.
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When American metaphysical religion appears onstage, it most often manifests in the subject matter and dramaturgies of experimental theater. In the artistic ferment of the 1960s and 1970s counterculture, theater-makers looked both to alternative dramaturgies and alternative religions to create radical works of political, social, and spiritual transformation. While the ritual experiments of European avant-garde artists like Artaud and Grotowski informed their work, American theater-makers also found inspiration in the dramas of Gertrude Stein, and many of these companies (the Living Theatre and the Wooster Group, most notably) either staged her work or claimed a direct influence (like Richard Foreman). Stein herself, though not a practitioner of metaphysical religion, spent formative years in Cambridge, Massachusetts, at Radcliffe under the tutelage of William James. Cambridge, at the turn of the twentieth century, was a hotbed of spiritualism, theosophy, alternative healing modalities, and James, in addition to running the psychology lab in which Stein studied, ran a multitude of investigations on extrasensory and paranormal phenomena. This article traces a web of associations connecting Ralph Waldo Emerson, Transcendentalism, and liberal Protestantism to Gertrude Stein and landscape dramaturgy to the midcentury avant-garde, the countercultural religious seeking of the 1960s and 1970s, and the Off-Off-Broadway movement.
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SAMMARCO, CRISTIAN. "The Substrate and Urban Transformation. Rome: The Formative Process of the Pompeo Theater Area." Journal of Contemporary Urban Affairs 3, no. 2 (June 1, 2019): 1–7. http://dx.doi.org/10.25034/ijcua.2018.4695.
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Chen, Fei, and Heidi Andrade. "The impact of criteria-referenced formative assessment on fifth-grade students’ theater arts achievement." Journal of Educational Research 111, no. 3 (December 21, 2016): 310–19. http://dx.doi.org/10.1080/00220671.2016.1255870.
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Khubulova, Svetlana. "FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK." History, Archeology and Ethnography of the Caucasus 15, no. 1 (March 19, 2019): 22–27. http://dx.doi.org/10.32653/ch15122-27.
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Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.
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Rennie, Bryan. "Mircea Eliade’s Understanding of Religion and Eastern Christian Thought." Russian History 40, no. 2 (2013): 264–80. http://dx.doi.org/10.1163/18763316-04002007.
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This article introduces Mircea Eliade. His biography and his understanding of religion are outlined and the possibly formative influence of Eastern Orthodoxy is considered, as are recent publications on the issue. His early essays present Orthodoxy as a mystical religion in which, without some experience of the sacred, profane existence is seen as meaningless and he later identified this same basic schema in all religion. Orthodox theologians Vladimir Lossky and Dumitru Stăniloae are inspected for similarities to Eliade. Ten consonances between Eliade’s thought and Orthodox theology are considered. However, dissonances are also noted, and for every potential Orthodox source of Eliade’s theories there is another equally credible source, causing a controversy over the formative influences of his Romanian youth as opposed to his later Indian experience. It is suggested that Eliade gained insight from Orthodoxy, but that this was brought to consciousness by his sojourn in India. Theology in the form of categorical propositions is present in the Eastern Church but exists alongside other equally important expressions in the visual, dramatic, and narrative arts. The Eastern Church as a multi-media performative theater prepared Eliade to apprehend religion as inducing perceptions of the “really real”—creative poesis exercising a practical influence on its audience’s cognitions. Orthodoxy is a tradition in which categorical propositions had never come to dominate the expression of the sacred, and Eliade wrote from a vantage point on the border, not only between East and West, but also between the scholar and the artist.
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M., Yatsiv. "LIGHT IN THE ARCHITECTURE OF MODERN THEATER BUILDINGS." Architectural Studies 6, no. 1 (September 1, 2020): 46–52. http://dx.doi.org/10.23939/as2020.01.046.
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The article discusses the role and functions of light in the space of modern theater buildings outside the auditorium and stage space. The architectural and structural factors of the formation of the lighting environment in modern theater buildings are determined; trends and features of the functioning of light in the space of modern theaters are revealed. The influence of the architectonics of buildings on the nature of the illumination of theatrical spaces is established. The experience of the formation of the lighting environment of theater buildings on the example of modern domestic and foreign theaters is analyzed.
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Duraković, Lada. "Music as a means to accomplish ideological tasks: Pula (Istria, Croatia) in the formative years of Yugoslav socialism (1947–1955)." Studia Musicologica 58, no. 3-4 (December 2017): 431–52. http://dx.doi.org/10.1556/6.2017.58.3-4.9.
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After the signing of the Paris Peace Treaty in September 1947, Pula, a town in the south of the Istrian peninsula in Croatia, became a part of the People’s Republic of Croatia and Yugoslavia. The period after the takeover of the city by the Communist authorities until the mid-1950s was marked by intense emigration, mostly of the Italian population, and also by re-industrialization and urbanization. At the same time, the process of forming art and culture according to the new ideological demands began. The instrumentalization of cultural life by ideology in the period between 1947 and 1955 left a significant trace on Pula’s musical life. One of the main tasks of the authorities in the field of music culture was to promote musical education and popularize musical art, which was to be made available to a wider audience, especially labourers. The choice of music genres was narrowed significantly in order to ensure a close connection between the artist, his work, and the people. In the formative period of socialism in Pula, a music school opened, numerous cultural and artistic societies were established, operas were regularly performed at the theater and the Arena, and the city even had an operetta ensemble.
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Kamenets, Aleksandr Vladlenovich, Irina Aleksandrovna Urmina, Elena Olegovna Kuznetsova, Lyubov Vladimirovna Molina, and Galina Ivanovna Gribkova. "The problems of fulfilling the culture formation potential of modern russian theater." LAPLAGE EM REVISTA 7, Extra-D (July 12, 2021): 252–59. http://dx.doi.org/10.24115/s2446-622020217extra-d1090p.252-259.
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The article focuses on the essential components of the contemporary theatrical process. The problems of drama and its recessionary trends are identified. Special attention is paid to the issue of values and ideals in dramaturgical work and significance for the further activity conducted by theaters. One of the pivotal aspects in the improvement of theaters’ work identified in the article is the task of optimization of the interaction between these institutions with the audience. The authors also examine the problems of modern theater directing that matter in terms of fulfilling the cultural and creative potential of modern Russian theaters. The authors associate the prospects of further improvement of the system of establishing theaters as cultural institutions with taking advantage of the opportunities for creating a more effective interaction between theater professionals and specialists working in the sphere of education.
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Jovanov, Lazar. "Theatre City and Identity: Narodno pozorište-Nepszίnház-KPGT." Issues in Ethnology and Anthropology 11, no. 1 (April 18, 2016): 63. http://dx.doi.org/10.21301/eap.v11i1.3.
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This study considers the concept of Theatre City and its role in the formation of the desired identity of a community. More specifically, the research is at a crossroads of sociological and anthropological use of this theater form, in a function of the reconstruction of the community, examining the relationship between theater and the city, as a functional European theater concept, which has the potential to generate multiple socio-cultural values, participating in the formation of the so-called free spaces, free theater, which rejects the idea of elitism because it is intended for the wider population.In this regard, the subject of this research is the concept of Subotica Theatre City established by National Theater-Nepszίnház-KPGT in the context of creating a (multicultural) identity of the community, while the focus is on socio-anthropological, philosophical and aesthetic analyse of the play Madach, the comments, which was the inaugural project of the new aesthetic and cultural policy of the city of Subotica in the former Yugoslavia in 1985.
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Zer-Zion, Shelly. "Theater for Kindergarten Children in the Yishuv: Toward the Formation of an Eretz-Israeli Childhood." IMAGES 12, no. 1 (October 24, 2019): 70–84. http://dx.doi.org/10.1163/18718000-12340110.
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Abstract “The Children’s Theatre by the Kindergarten Teachers Center,” that was founded in 1928, was the first Hebrew repertory theatre exclusively addressing the audience of children attending kindergarten and the first grades of elementary school. This article explores how The Children’s Theater conveyed a set of performative practices that consolidated a habitus of Eretz-Israeli childhood. The theater articulated the embodied repertoire of Eretz-Israeli childhood and established it on two pillars. First, it epitomized the concept of an innocent and secure childhood. The world performed on the stage created a utopian notion of childhood. Second, it encouraged the children to participate in the world of adults, but in a way suited to their age and psychological needs. The ability of this theatre to create an enriching and a secure environment for children was deeply needed in the Jewish settlement of Palestine of the 1930’s and 1940’s, which was constituted of immigrants struggling to build a future in the land.
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Marra, W. A., S. J. McLelland, D. R. Parsons, B. J. Murphy, E. Hauber, and M. G. Kleinhans. "Groundwater seepage landscapes from local or distal sources in experiments and on Mars." Earth Surface Dynamics Discussions 3, no. 1 (February 19, 2015): 129–71. http://dx.doi.org/10.5194/esurfd-3-129-2015.
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Abstract. Theater-headed valleys can form due to groundwater sapping, but these valleys could also be the result of knick-point (waterfall) erosion generated by overland flow. This morphological ambiguity hampers the interpretation of such valleys on Mars, especially due to insufficient knowledge of material properties, but the climate implications are quite different. Instead of single-valley morphology, metrics of the entire landscape may provide diagnostic insight in the formative hydrological conditions. However, flow patterns and the resulting landscapes are different for different sources of groundwater and poorly understood. We aim to increase our understanding of the formation of the entire landscapes by sapping from different sources of groundwater and to provide a framework of landscape metrics of such systems to aid interpretation of such landscapes. We study sapping from local and distal sources of groundwater in sandbox experiments and combine our results with previous experiments. Key results are that groundwater piracy acts on distally-fed valleys, which results in a sparsely dissected landscape of many small and a few large valleys while locally-fed valleys result in a densely dissected landscape. In addition, distally-fed valleys grow into the direction of the groundwater source while locally-fed channels grow in a broad range of directions and have a strong tendency to bifurcate, particularly on flat horizontal surfaces. As an example, we apply these results to two Martian cases. The valleys of Louros Valles show properties of sapping by a local source and Nirgal Vallis shows evidence of a distal source, which is likely groundwater from Tharsis.
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Man Hong, Dao. "The Stanislavsky system plays an important role in the theater of Vietnam." Voprosy kul'turologii (Issues of Cultural Studies), no. 3 (February 18, 2021): 238 (280)—243 (285). http://dx.doi.org/10.33920/nik-01-2103-04.
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K.S. Stanislavsky plays an important role in the theater of Vietnam. Konstantin Sergeevich Stanislavsky (real name Alekseev; 1863–1938) — actor, director, theater teacher, founder and director of the Moscow Art Theater (Moscow Art Theater). People's Artist of the USSR (1936). An activist, thinker and major theater theorist, he, on the basis of modern science, created a school of theatrical art — the Stanislavsky generation. In addition to a successful psychological approach to the performing arts, he also contributed greatly to the formation of progressive art and art for the people. English version of the article on pp. 280-285 at URL: https://panor.ru/articles/stanislavskis-system-plays-an-important-role-in-vietnamese-theatre/65897.html
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Marra, W. A., S. J. McLelland, D. R. Parsons, B. J. Murphy, E. Hauber, and M. G. Kleinhans. "Groundwater seepage landscapes from distant and local sources in experiments and on Mars." Earth Surface Dynamics 3, no. 3 (August 4, 2015): 389–408. http://dx.doi.org/10.5194/esurf-3-389-2015.
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Abstract. Valleys with theater-shaped heads can form due to the seepage of groundwater and as a result of knickpoint (waterfall) erosion generated by overland flow. This ambiguity in the mechanism of formation hampers the interpretation of such valleys on Mars, particularly since there is limited knowledge of material properties. Moreover, the hydrological implications of a groundwater or surface water origin are important for our understanding of the evolution of surface features on Mars, and a quantification of valley morphologies at the landscape scale may provide diagnostic insights on the formative hydrological conditions. However, flow patterns and the resulting landscapes produced by different sources of groundwater are poorly understood. We aim to improve the understanding of the formation of entire valley landscapes through seepage processes from different groundwater sources that will provide a framework of landscape metrics for the interpretation of such systems. We study groundwater seepage from a distant source of groundwater and from infiltration of local precipitation in a series of sandbox experiments and combine our results with previous experiments and observations of the Martian surface. Key results are that groundwater flow piracy acts on valleys fed by a distant groundwater source and results in a sparsely dissected landscape of many small and a few large valleys. In contrast, valleys fed by a local groundwater source, i.e., nearby infiltration, result in a densely dissected landscape. In addition, valleys fed by a distant groundwater source grow towards that source, while valleys with a local source grow in a broad range of directions and have a strong tendency to bifurcate, particularly on flatter surfaces. We consider these results with respect to two Martian cases: Louros Valles shows properties of seepage by a local source of groundwater and Nirgal Vallis shows evidence of a distant source, which we interpret as groundwater flow from Tharsis.
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MoonKyoungYeon. "A study on the folk culture control and entertainment discourse in the formative process of modern Korean theatrical practice -The 'theater' as a public entertainment institution in early modern era-." Korean Language and Literature ll, no. 151 (May 2009): 343–68. http://dx.doi.org/10.17291/kolali.2009..151.013.
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Jannarone, Kimberly. "Puppetry and Pataphysics: Populism and the Ubu Cycle." New Theatre Quarterly 17, no. 3 (August 2001): 239–53. http://dx.doi.org/10.1017/s0266464x00014755.
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Many partisans of Alfred Jarry's work have discovered Ubu roi and the ‘science’ of pataphysics via a study of the Parisian avant-garde, and the play has been discussed for a hundred years in this context. Kimberly Jannarone also assesses Jarry in the context of the world of rural puppetry – for, like many other avant-garde artists at the fin de siècle, Jarry came to Paris from a small town, and brought with him such formative experiences as the makeshift puppet shows he saw as a child. Bringing the rural puppet into focus in a discussion of the Ubu cycle, Kimberly Jannarone exposes Père Ubu's identity as a class hybrid, whose maddening and elusive nature stems from the fusion of popular and elite forms. Further, she reveals that Jarry's use of puppet forms is radically different from that of the Symbolists, who conceived puppets as theoretical figures within a fully formed aesthetic doctrine. By contrast, Jarry used puppets for their very incompleteness – their makeshift nature making them ideal catalysts for the audience's imaginations. She sees Pataphysics as a model of the avant-garde itself: a system that focuses less on products than on effects. Kimberly Jannarone has taught at the University of Washington School of Drama, and is about to take up an appointment as Assistant Professor of Theater Arts at the University of California, Santa Cruz. She received her MFA and DFA from the Yale School of Drama, where her dissertation examined the historical avant-garde through the works of Jarry and Antonin Artaud.
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Krutova, Marina S. "“An Actor Is a Priest in Buffoon’s Clothes”." Observatory of Culture 16, no. 3 (July 19, 2019): 278–89. http://dx.doi.org/10.25281/2072-3156-2019-16-3-278-289.
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The article raises the actual questions: if the theater can be Christian and who in that case the actor is — “a priest” or “a buffoon”. The purpose of this article is to consider the issue of “Christian theater” at different levels: historical, psychological, social. The article analyzes the issues of actors’ personalities formation and their religious searches. There are considered the conditions of Christian upbringing in families and faith preservation in the complex historical period of the Russian history of the late 19th — mid-20th century. The novelty of this study lies in the fact that it introduces into scientific circulation little-known manuscript materials stored in the Manuscripts Department of the Russian State Library: 44 autobiographies of recognized actors, which were published in 1928 in edited form by the writer V.G. Lidin; as well as some other unpublished documents. The sources show that actors brought up on Christian ideals followed them in their work, despite the difficult conditions of socio-political life in the country. Among them are well-known actors of the Moscow Art Theater, Moscow Art Academic Theater, State Academic Maly Theater, Vsevolod Meyerhold State Theater, Bolshoi Drama Theater, Vakhtangov State Academic Theater (and others): V. Kachalov, I. Ilyinsky, R. Apollonsky, L. Vivyen, G. Ge, A Koonen, A. Orochko, G. Martynova and other masters. The article also uses some little-known writings of the actors, their questionnaires on the psychology of acting, photographs, as well as manuscripts and published memoirs of their contemporaries (E.D. Golovinskaya, E.A. Korotneva, V.D. Markov, Yu. Panich), allowing to consider the issue of “Christian theater” from different sides.
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Demeshchenko, Violeta. "From Theater to Cinematography: Creative Search of Les Kurbas." Culturology Ideas, no. 18 (2'2020) (2020): 109–19. http://dx.doi.org/10.37627/2311-9489-18-2020-2.109-119.
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The article examines the artistic path and creative pursuits of Les Kurbas, the Ukrainian and soviet director, who undoubtedly remains an outstanding figure in the history of Ukrainian cultural life in the 1920s and 1930s. He was the founder of Ukrainian political theater, and later philosophical theater; also fruitfully worked in early cinematography. The article emphasizes the relevance of studying the creative work of the director, his original creative method of educating actors nowadays. In his own way, Kurbas became a standalone theatrical institute for young people, raised more than four dozen professional directors who later became theater managers and directors of Ukrainian theaters, teachers. The director created Ukrainian theater and cinema school of acting; his innovative artistic ideas still remain relevant today. He developed his own aesthetic-theatrical concept of conditional-metaphorical theater based on life itself. Being the man of art, Kurbas influenced the formation of stage constructivism in Ukrainian theatrical art. In addition to the positive memories of his contemporaries, we also encounter some legends, various testimonies and assessments of events of that time, which create a certain mythological space around the artist. Hence, today we need to carefully analyze numerous documentary evidence, facts, memoirs, literary and theatrical sources, as well as try to be objective in reconstructing events and reflecting on the fate and work of the director.
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Geroeva, Lyudmila. "Social-cultural aspect of the development of ideal in the Russian theatre." KANT 37, no. 4 (December 2020): 383–88. http://dx.doi.org/10.24923/2222-243x.2020-37.78.
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The article explores the formation and development of the problem of aesthetic ideal in Russian theatrical art, analyzes the socio-cultural evolution and historical periodization of Russian theater, its distinctive features in the context of the development of society. The main areas that form the activities of theatrical currents and schools, their philosophical and social importance and influence on historical formations and consciousness of society are defined, the criteria for expressing the aesthetic ideal in the art of theatre from the point of view of educational and educational potential are investigated.
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Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.
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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livshits) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.
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Rodiņa, Ieva. "Gaismu dramaturģija 21. gadsimta teātrī. Latvijas Nacionālā teātra izrādes „Asins kāzas” piemērs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 288–95. http://dx.doi.org/10.37384/aplkp.2021.26-1.288.
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The article is devoted to contemporary theatre’s aesthetic strategies, specifically researching the increase of the principle of visuality in the message of the performance. Both the theory of postdramatic theater introduced by the German theatre scholar Hans Thies Lehmann and the researches of various leading theatre semioticians emphasise the growing importance of visual elements (scenography, costume, actor’s body, etc.) in the structure of the production. The theatrical lighting score is relatively one of the least studied components of 21st-century theatre. In the semiotic sign system of the performance, the stage light can be perceived as an integral part of the space, introducing the dramaturgy of light as an important element of the performance message. The aim of the research is to define the meaning of light dramaturgy in 21st-century Latvian theatre. The object of the research is the new generation outstanding lighting artist Oskars Pauliņš (b. 1989) and his light score for Vladislav Nastavšev’s production “The Blood Wedding” (2016) at the Latvian National Theatre. The article tackles the main principles of light dramaturgy in the performance, based on the four parameters of stage lighting (intensity, colour, mode of distribution, movement/dynamics) as defined by the light artist and theorist Richard Pillbrow. The analysis of the light score proves that the stage light created by Pauliņš becomes an artistically sufficient element of the stage production that participates in the formation of the performance message.
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Watson, Ian. "Practical Aesthetics and the Formation of the Atlantic Theater Company." New Theatre Quarterly 24, no. 2 (May 2008): 189–200. http://dx.doi.org/10.1017/s0266464x08000158.
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The Atlantic Theater Company has been one of Off-Broadway's most successful theatre companies over the past twenty years, having won twelve Tony Awards, eight Lucille Lortel Awards, thirteen Obie Awards, and three Outer Critics Circle Awards. The company, originally founded in 1983 by the playwright David Mamet and the actor William H. Macy, has mounted over one hundred plays, many by new writers. Included among its successes are Martin McDonagh's The Lieutenant of Inishmore and The Beauty Queen of Leenane, Woody Allen's A Second Hand Memory and Writer's Block, the revival of David Mamet's American Buffalo, Celebration and The Room by Harold Pinter, Mojo and Night Heron by Jez Butterworth, and the new musical adaptation of Frank Wedekind's play Spring Awakening, which won the 2007 Tony for best new musical. But producing plays is only part of Atlantic's mission: it also runs the Atlantic Acting School, which operates both as a private conservatoire and an undergraduate training studio in conjunction with New York University. Its curriculum focuses on Practical Aesthetics, the acting technique developed by Mamet and Macy. Mary McCann, in conversation here with NTQ Contributing Editor Ian Watson, is a founding member of the Atlantic Theater Company and Director of the Atlantic Acting School, where she also teaches. She continues to act, having appeared in many of the company's productions, on Broadway, on television, and in several independent films. The conversation took place over two meetings at the Atlantic Acting School in New York City, on 25 April and 5 June 2007.
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Lybo, O. L. "Characteristics of Kharkiv theatre development in1840–1860’s (on the materials of State Archive of the Kharkiv Region)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 126–41. http://dx.doi.org/10.34064/khnum1-51.07.
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Problem statement. In this study, attention is focused on the Kharkiv theatre development in the 1940–1960’s, the activities of the theatrical entrepreneur Liudvih Mlotkovskyi and the directors of the Kharkov Theatre: Hendrikov, Alferaki, Petrovskyi, Lvov and Shcherbyna. The theatre directors served as intermediaries between the entrepreneur and the Provincial Offices authorities, while addressing issues of organization and contract negotiation with actors, maintenance of theatre premises. They played an important role on repertoire policies controlled with the censorship committee of the Tsar Russia. Research and publications. The subject of Kharkiv theatre as a part of Ukrainian theatre history development in noted period was highlighted in XIX century by the famous writer, literary critic, culture and public activist Hrigoriy Kvitka-Osnovianenko and by Mykola Cherniaiev – a journalist, literary and theatre critic, reviewer of the newspaper “Yuzhnyi krai” (one of the largest provincial newspapers of the XIX century), where his articles about history of theatre organization in Kharkiv was published. In the XX century this period is covered by famous theatre critics: Alexander Klinchin (in the monographs about the Ukrainian theatre prominent figures Mykhailo Shchepkin, Mykola Rybakov, Liubov Mlotkovska), Arkadii Pletniov (in the study “At the origin of the Kharkiv theatre”), Rostyslav Pylypchuk (in “Materials about the Ukrainian theatre history. From the foundation to the beginning of the twentieth century”), Yu. Polyakova (in numerous publications and the preface to M. Cherniaiev’s book “From Kharkiv’s theatrical antiquity”); ethnographers Andrii Paramonov, Volodymyr Titar (in “The materials for the Kharkiv Theatre history of 1780–1934”). The objective of this study is to attempt to supplement the scientific research of famous theatrical scholars (primarily A. Pletnov and M. Cherniaiev) with materials that were found in the Kharkiv region State Archives. The main material. Entrepreneur Liudvig Mlotkovskyi, who headed the Kharkiv theatre from the autumn of 1834 to the spring of 1843, played a significant role in the theatre history of above mentioned period. In 1839 Mlotkovskyi was allocated a piece of land in Kharkiv free of charge to build a theatre. The first stone building of the theater for 1020 seats was opened in 1841. Furthermore, the land was allocated to Mlotkovskyi’s ownership, he was obliged to comply with some terms among which was compulsory that the theatre director was appointed by the governor. As the first director of the new theatre the Count Hendrikov Oleksandr Ivanovych (1806–1881) was elected and approved. Unfortunately, no materials or documents about Hendrikov’s activity in the theatre were found. However, it is known that during the time of his directorship, due to difficulties and debts, the entrepreneur Mlotkovskyi left Kharkiv. The theatre’s premises were first leased to touring troupes (companies), and in 1853, Mlotkovsky donated it to his daughter, the dramatic actress Vera Liudvygovna Mlotkovska-Diukova. Thus, further theatrical activities in Kharkiv were connected with the Diukov’s entrepreneurial family and the managers of the theatre: Alferaki, Petrovskyi, Lviv and Shcherbyna. They faced the difficult task of theatre revival and getting back its fame. Mykola Dmytrovych Alferaki (1815–1860), Collegia Advisor, a nobleman, held the post from 1845 to 1849. As the director, he paid the debts and additionally invested his own money for the theatre development and improvement. From 1849 to 1856 Engineer-Lieutenant Colonel Petrovskyi was the director of the theater. Archival materials describing Petrovskyi’s directorship were located. He tried to save the situation by means of more democratic drama repertoire that was interesting for general public. Mykhailo PavlovychLvov (1819–1867) was the next theatre director appointed. He was an architect, the member of St. Petersburg Academy of Arts, the professor of Kharkiv University. Lvov purchased costumes, scenery, and library; he spent some money to restore the theatre premises. In addition to being in charge of the Kharkiv Theatre, Lvov rented Poltava Theatre and the railway station for 8 years. What his administration was like is not definitely known, but he served as the director to 1857. At the end of 1850’s and beginning of 1860’s the post of the theatre director was taken up by an experienced entrepreneur Ivan Oleksandrovych Shcherbyna (1821–1869). He had the theatre boxes reconstructed, started a permanent ballet company that worked in the theater for 3 years, alternating ballet performances with spectacles of touring companies and the permanent drama troupe stage enters. The time of Shcherbyna directorship at the Kharkiv Drama Theatre appeared to be the most favourable for the Ukrainian repertoire, when along with Russian drama products the plays by Ukrainian authors were staged, such as I. P. Kotliarevskyi, H. F. Kvitka-Osnovianenko, D. Dmytrenko etc. Conclusions. Basing on previously published studies of famous theatre critics and ethnographers and attempting to combine the results of their research with the materials found in Kharkiv State regional archive we conclude: Kharkiv was one of the provincial theatre art centers in the XIX century. Not only theatrical entrepreneurs, but also provincial authorities took part in theatre formation and development. The latters tried to control the repertoire policy through the theatre directors appointed by them. Despite the discouraging conditions connected with the difficulties and censorship oppression some progressive theatre directors, such as Petrovskyi and Shcherbyna, ignored the bans and staged prohibited by censorship dramas. It happened not only for the sake of commercial benefits, but also because the banned drama pieces were the most interesting for the general population, it were modern, democratic and satisfied the needs of the audience. This study does not claim to be complete. Its objectives are to combine some historical finds with modern researches about Kharkiv theatre development, and partly fill in the gaps relating to the activity of the entrepreneurs and directors who headed the Kharkiv theatre in 1840–1860s; the work in this direction will continued.
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Kropacheva, Kseniya Aleksandrovna. "The establishment of literary canon of French dramaturgy of the XVI century." Litera, no. 10 (October 2020): 1–7. http://dx.doi.org/10.25136/2409-8698.2020.10.33800.
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This article reviews gradual development of the literary canon of French theater of the Renaissance Era, which in many ways predetermined the emergence and further evolution of classicistic dramaturgy. The subject of this research is the principles of dramaturgical art formulated by the poets and theoreticians of the XVI century within the framework of poetic texts and treatises. The goal consists in description of the stages in establishment of the theatrical canon in France of the Renaissance Era, juxtapose its principles to the medieval theater, determine to which stage is attributed the emergence of representations on the classical theater, and highlight the factors that influenced its development. The novelty of this research lies in the attempt of comprehensive analysis of the poetic texts and treatises that allow reconstructing the processes unfolded in the XVI century in French theater, as well as comparing them to medieval tradition, as well as to gradually forming classicism. The relevance is substantiated by the need that occurred in literary studies to understand the formation of classical principles of French dramaturgy based on the materials of poetic works of the Renaissance Era. The author delineates three staged in the process of formation of the canon of French theatre of the Renaissance Era. The first is associated with the publication of Joachim du Bellay's manifesto, which indicates the “gap” in French literature in the area of drama and appeals to fill it. For realization of the second stage, pivotal becomes the figure of Étienne Jodelle, the author of tragedy “Cléopâtre Captive”, which epitomized an attempt to revive of antique tragedy, and comedy “Eugène”.. So in France of the XVI century. This led to the emergence of French national theatrical tradition that can be considered a literary canon. The third stage of its formation became the recognition of Jodelle's achievements in the theory of poetry. In 1555, Jacques Peletier in “Art Poétique” cited both compositions as the examples of tragedy and comedy, which contributed to consolidation of the canon.
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Karas, Hanna. "USE OF INTERDISCIPLINARITY AS AN INNOVATIVE APPROACH IN THE EDUCATIONAL PROCESS OF ART INSTITUTIONS OF HIGHER EDUCATION." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 18–22. http://dx.doi.org/10.36550/2415-7988-2021-1-195-18-22.
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The article is devoted to the use of interdisciplinarity as an innovative approach in the educational process of art institutions of higher education on the example of studying the discipline «Evolution of artistic styles in art» included in educational master's programs. This discipline is based on the theory and practice of professional development of a teacher-musician, who provides the Master of Arts education process, shapes their professional development necessary for their future musical and pedagogical creativity, skills, and pedagogical culture. The content of the discipline consists of the introduction of artistic styles’ scientific and theoretical fundamentals to the future specialists. The objectives of the course are 1) the theoretical generalization of the historical experience of the evolution of artistic styles, 2) acquaintance with the best examples of artistic culture, representing different styles and directions, 3) mastering complex problems of stylistic analysis. The aim of the course is the establishment of a strategy for a professional growth as part of the vocational training of masters in the following educational areas «Secondary education. Musical Art» and «Musical Art»; mastering the scientific and theoretical foundations of the artistic styles’ analysis as a formative student course of the music and pedagogical education in higher education. The interdisciplinary approach can be implemented in two main formats. A. Kolot believes that with the help of the first format he builds bridges between different sciences, brings them together on an informal basis without violating their individuality and uniqueness. In this format, the discipline «Evolution of artistic styles in art» «builds bridges» with such disciplines as: philosophy, history, foreign languages, general psychology, culturology, sociology, art culture, aesthetics. In the second format, interdisciplinarity is presented as a real tool for unifying sciences, and the emergence of integrative products. In this format the course «Evolution of Artistic Styles in Art» involves an organic combination of such disciplines as history and theory of music, theater, ballet, art history, philosophy, art culture and literature, analysis of musical form, choral class, music psychology, and others. Therefore, we propose to define the student course «Evolution of artistic styles in art» as a complex, interdisciplinary field of knowledge and consider the application of an interdisciplinary approach in the practice of a teacher of artistic institutions.
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Botunova,, H. Ya. "Organizational-pedagogical, scientific-research and theatrical-critical activity of A. V. Pletniov through the prism of time." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 9–40. http://dx.doi.org/10.34064/khnum1-51.01.
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The article deals with the main aspects of organizational-pedagogical, scientific- research and theatrical-critical activity of the candidate of art studies A. V. Pletniov. Little-known biographical data on the life of the theater scientist and the creative environment, in which his professional formation took place, are presented. It is noted that A. V. Pletniov was one of the first graduates of the State Institute of Theatrical Arts named after A. V. Lunacharsky (now – RUTM). He studied there in 1934–1938, surrounded by highly-qualified students, many of whom subsequently became the pride of Russian theater studies. A. V. Pletniov entered the history of the theatrical culture of Kharkiv as a talented scientist-researcher, a well-known theater critic and teacher. He stood at the origins of theater studies in Kharkiv and for almost 30 years he headed the department of the History of the Theater (now – the Department of Theater Studies) of the higher theater educational institution in the city. However, the value of his activity is much wider. The formation of the Kharkiv State Theater Institute is closely linked with the personality of A. V. Pletniov, since 1963 he wax also connected with the theater department of the Kharkiv Institute of Arts named after I. P. Kotliarevsky, and in general – with the theatrical culture of our city. However, until this time his organizational-pedagogical, scientific-research, and theatrical-critical heritage has not been properly investigated and objectively not covered. The purpose of the research is to analyze the organizational, pedagogical, scientific, research and theatrical-critical activity of A. V. Pletniov, writing it into the socio-political and artistic context of time and, at the same time, into the history of theater studies of Ukraine. A. V. Pletniov started his pedagogical activity in 1938 at the Kharkiv Theater School as a teacher of the history of the theater and the head of the educational department. With the beginning of the war, the school, which merged with the Kyiv State Theater Institute, was evacuated to the city Saratov, where A. Pletniov as a teacher worked until January 1942. From this time until the end of the war he was on the front in the field force. In 1945 he returned to the newly founded Kharkiv State Theater Institute and was immediately appointed Deputy Director of Educational and Scientific Work and a senior lecturer at the Department of History of the Theater. Together with the director of the institute Z. Smoktiy, A. Pletniov was making considerable efforts to organize the educational process in the time of economic trouble, lack of staff with the corresponding education, and provided basic conditions of work and education in the newly created higher education. Existing and new departments were supplemented and opened, the prominent artists from Kharkiv theaters and leading scientists from other universities were invited to work. Among them: D. Antonovych, O. Serdiuk, M. Krushelnytsky, O. Kramov, L. Dubovyk, V. Chystiakova and others. The peculiarity of the organization of research and methodological work was its focus on providing educational process. Several comprehensive topics on the methodology of actor education, stage language teaching, encyclopedic dictionary of theatrical terms, and a study on the history of theater development in Kharkiv were planned. It was at that time that several dissertations were planned, including A. Pletniov’s “Kharkiv Theater of the Second Quarter of the 19th Century”, which he successfully presented in 1952 in his alma mater – State Institute of Theater Art after A. V. Lunacharsky, and he was awarded a degree Doctor of Arts. In 1960, the completed dissertation study was published in the form of a monograph titled “At the Origins of the Kharkiv Theater”, which until now has not lost its relevance and is actively used in the educational process. In 1947, while being the Deputy Director of the Institute, A. Pletniov also headed the Department of Theater History. It was with him as the head of the department, the actual renewal of the department as a theatrical research center and methodological center began, it largely determined the main directions of its activities for the future. Under the direction of A. V. Pletniov, the department trained a lot of talented theatrical scholars who successfully worked and work as teachers of higher educational institutions, heads of literary units of creative groups, heads of leading theaters, heads of cultural management, members of mass media staff, well-known theatrical critics. A. Pletniov headed the department for almost 30 years – until 1976 (with a brief break in 1961–1962), giving a significant impetus to the development of theater studies in Kharkiv, in particular, theatrical criticism. He himself was actively involved in the illumination of the theatrical process in Kharkiv, leaving after himself dozens of highly professional reviews, articles, notes, sometimes controversial, bearing the imprint of time. The article emphasizes that A. Pletniov was one of the most skilled and highly educated teachers. He taught a whole range of theater studies disciplines: the history of Russian theater, the history of foreign theater, the theory of drama, theatrical criticism. Until the last years of his life, A. Pletniov conducted active scientific research, methodological, theatrical-critical and public activity. In 1968–1972, he was the Vice-Rector of the Kharkiv State Institute of Arts named after I. P. Kotliarevsky for the scientific work and theatrical department. In 1975, he finished a doctoral dissertation “From the History of the Establishment of the Soviet Theater in Ukraine”, in which he for the first time thoroughly recreated the extremely complex and multifaceted theatric life of Kharkov in the October decade (1917–1927) in the socio-cultural context, but he did not have time to defense this study. Nowadays this scientific work is striking by its multidimensional and enormous amount of material. Conclusions. As a result of the research was established that with A. Pletniov personality as a well-known teacher, a scientist and theater critic, one of the leaders of the Kharkiv Theater Institute (1945–1953), later the Kharkiv Institute of Arts named after I. P. Kotliarevsky, more than thirty years of theater education in Kharkiv were connected. Particularly remarcable the role of A. Pletniov was in the development of theater studies and theater education in such a significant theatrical center as Kharkiv, where he nearly thirty years was heading the specialized department of the history of theater (now the department of theater studies). It was under his leadership that a methodology for preparing theatrical scholars of a broad profile was formed, based on a high level of general culture and education of future specialists, on the possession of a wide spectrum of theatrical research tools. Despite some contradictions inherent in A. Pletniov’s scientific and theatrical- critical activity and reflected in his heritage, that was typical for most scholars of the humanitarian sphere of the 1930–1970s, he remains one of the decisive figures in the development of theater education and theater researches in Kharkiv. All the above motivates for a further, more profound study of the scientific-pedagogical and theatrical-critical activity of A. Pletniov and, more broadly, the development of theater studies in Kharkiv.
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Jeong, Youn-Gil. "문화상호주의적 시각에서 본 한국 근대극 형성과 아일랜드 연극의 영향." Yeats Journal of Korea 56 (August 31, 2018): 167–97. http://dx.doi.org/10.14354/yjk.2018.56.167.
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Zaatov, Ismet A. "Crym Girey I – the founder of the classical theater in the Crimea (on the issue of 257 years experience of the Crimean Tatar`s first theatrical productions of the European type theater)." Crimean Historical Review, no. 1 (2020): 100–135. http://dx.doi.org/10.22378/kio.2020.1.100-135.
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The formation process of the Crimean Tatar theater can be divided into the following periods: medieval – folk theater (the initial round dance and toy puppet theater of shadows “Karagoz”, the theater of one actor “meddah”, the arena theater “orta oyuny”); Khan`s theater in the middle of the XVIII century (penetration into the Crimea of European theater traditions in the era of the Crimean Khan Crym Girey I); the revival of traditions of the Crimean Tatar theater late XIX–XX centuries (the activities of a theater-goers group of the Jadidist Crimean Tatar youth–followers of I. Gasprinsky, under the leadership of J. Meinov – the efforts of the Crimean Tatar noblewoman-myrzachkas under the leadership of A. Taiganskaya; organization of a professional Simferopol Tatar theater troupe under the People’s Commissar of Education of the Crimean ASSR in 1921 and creation and activities of the Crimean Tatar Drama Theater, headed by A. Taigan, and the Crimean Tatar amateur movement in the Crimea, and among the Crimean Tatar foreign diaspora of 1923–1944 (Soviet pre-deportation period); recreation and current activities of the Crimean Tatar theater in the Crimea,1989 (post deportation period). In this article, for the first time in the art history, is revealed the so-called Khan`s period in the formation of the Crimean Tatar theater, discussed the revolutionary activity in the field of Crimean Tatar art, the ascetic activity of the Crimean Khan Crym Girey I to promote the ideas of European theater traditions and create a classical theater in the Crimea. The picture of the actions undertaken by the Crimean ruler in the construction of theater business in the Crimea, as well as his thoughts and statements about the theater, was recreated according to the text published in the XVIII century, memories of personal meetings and conversations with Crym Girey I of European authors: German – von der Goltz, Polish – Pilshtynova, Russian – Nikiforov, Frenchman – de Tott, Austrian – Kleeman. Based on these recollections is built a clear and explicit picture of a role of Crym Girey I as a pioneer in bringing European theater traditions and creation of a classical theater in the culture of the Crimea, the Turkic and Muslim worlds.
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Katona, Eszter. "Las interpretaciones de La casa de Bernarda Alba en los teatros húngaros en el siglo XXI." Acta Hispanica 18 (January 1, 2013): 105–29. http://dx.doi.org/10.14232/actahisp.2013.18.105-129.
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Federico García Lorca's last play, The House of Bernarda Alba was in fact his first drama that was presented to the Hungarian audience in the 1950s. Nearly sixty years have passed since then, and numerous Hungarian theaters have included this play in their repertoire. I managed to trace 19 premiers from the period of 1955-2000 and 25 since the turn of the century. However, behind these high numbers we do not always find traditional theatrical presentations working with Lorca’s text. Other adaptations, like dance or musical plays, were also inspired by Lorca's drama, but with their different forms of expression they distinguished themselves from the traditional prose theater. Nevertheless, the presentation of these performances is important as well, as they contribute to the formation of Lorca's image in the Hungarian audience. From these performances this study examines some of those from the first decade of the 21st century that, in some way, were significant, memorable or outstanding stagings.
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Spasskaia, Margarita. "The Formation of the Visual Theatre Aesthetics: Theater Practice and Experiments of the Russian Avant-garde in the 1900–1930s." Vestnik of Saint Petersburg University. Arts 8, no. 4 (December 2018): 593–604. http://dx.doi.org/10.21638/spbu15.2018.404.
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Chin-A Lee. "The Theatre : Examining the First Academic Journal on Theatre in the Formative Period of Theatre Journals and Theatre Criticism." Korean Journal of Arts Studies ll, no. 22 (December 2018): 77–98. http://dx.doi.org/10.20976/kjas.2018..22.004.
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Chechyk, V. "Agafonov’s Early Kharkiv Creative Period: Dialogue with the Theatre." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2020, no. 3 (December 2020): 82–93. http://dx.doi.org/10.33625/visnik2020.03.082.
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This article is dedicated to the study of the nature of E. Agafonov’s creative ties with the theater – a topic that has been insufficiently covered in the native art history. The author’s field of view is set in the artist’s early Kharkiv period, marked as the years of 1905–1913. The article focuses on the exceptional role of E. Agafonov in the organization and the artistic practice of the first modernist theater “Blakytne Oko” in Kharkiv (1909–1911). Agafonov belonged to the constellation of masters who was very sensitive to the problem of evolving the artistic speech. He viewed the theater as a convincing platform for promoting and approving of the latest artistic values, discovered by Impressionism and Post-Impressionism. Experiments in easel art (with color, plastic, line, techniques, materials, etc.), largely inspired by the work of D. Burliuk (1906–1908), were directly reflected in Agafonov’s stage practice, namely in numerous designs of the modernist productions based on plays by M. Maeterlinkc, A. Schnitzler, S. Pshybyshevsky and O. Blok. In turn, it was established that theatrical motives were reflected in E. Agafonov’s easel art, as well as in the art of the students of his artistic studio – O. Rybnikov, I. Terentyev, M. Sinyakova, and K. Storozhnichenko. In this regard, a special attention is given to the linocuts by F. Nadezhdin. It was found that the program of “total” design of theatrical space (stage and auditorium), as well as the implementation of production ideas in the cabaret theater “Blakytne Oko” were the result of the master’s fascination with the concepts of artistic synthesis, actualized in the era of Modern. Agafonov moved from dramatization of paintings (of A. Beklin, F. Malyavin, and O. Rodin) to staging experimental show-programs like “The Evening of Autumn”, “Visiting Pierrot” and “In the Middle of Nowhere”, partial reconstruction of which was undertaken for the first time by the author of the article. Agafonov was close to the idea of artistic synthesis, identified by him in F. Malyavin’s paintings, in V. Komissarzhevska’s theatre and I. Duncan’s choreography. The study of E. Agafanov’s theatrical art expands the understanding of the history of formation and development of Ukrainian scenography at the beginning of the twentieth century.
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Mann, George. "The Sterndale Bennetts: The Formative Years, 1910-1932." Theatre Research in Canada 14, no. 1 (January 1993): 60–89. http://dx.doi.org/10.3138/tric.14.1.60.
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Ernest Gaskell Sterndale Bennett, together with his wives, Belle and Hilda, made notable contributions to Canadian theatre throughout the years 19101961. This paper analyzes the theatrical activities of Ernest and Belle Sterndale Bennett during their residence in western Canada (1910-1932) and shows how their varied acting and directing experiences with Little Theatre prepared them to become major participants in the Canadian festival movement and led them into full time teaching and directing careers.
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Makarova, E. E. "EXPERIMENTAL THEATER CENTERS’ TYPOLOGICAL ARCHITECTURE FEATURES FORMATION." Современные наукоемкие технологии (Modern High Technologies), no. 7 2018 (2018): 65–71. http://dx.doi.org/10.17513/snt.37080.
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Abduvohidov, Faxriddin. "Surkhandarya theater: Stages of formation and development." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 12 (2020): 156–61. http://dx.doi.org/10.5958/2249-7137.2020.01713.9.
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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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Filewod, Alan. "The Ideological Formation of Political Theatre in Canada." Theatre Research in Canada 8, no. 2 (September 1987): 254–63. http://dx.doi.org/10.3138/tric.8.2.254.
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An analysis of the parallel development of political theatre in English and French in Canada. In both cultures, political intervention theatre appropriates the theatrical forms and the post-colonial nationalism of the alternative theatre movement. This article seeks to reconcile these points of similarity with the significant differences in ideology between the two cultures.
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Yeksarova, Nadia, and Vladimir Yeksarov. "Genesis of the formation of the cultural and social core of Odessa." VITRUVIO - International Journal of Architectural Technology and Sustainability 3, no. 2 (December 26, 2018): 67. http://dx.doi.org/10.4995/vitruvio-ijats.2018.11018.
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<span>The architectural and spatial environment of the city is an important part of the cultural heritage, a carrier of information about its formation. The life cycle of a diverse architectural environment forms a series of stages - from the concept-creation-realization-alterations-degradation and, finally, partial or complete loss. The main idea, the scenario of modeling the environment-phenomenon of Odessa was in the priority development of culture. The construction of the first City Theater in 1809 on the plateau of the coastal zone determined the formation of a system of rhythmically iridescent spaces of a social center. An analog of the ancient forum - “Odessa Acropolis or Odessa Agora” - was created at the intersection of Lanzheronovskaya and Rishelevskaya (Decumanus and Cardin) streets in full accordance with the recommendations of Vitruvius. After the theater was destroyed by fire in 1872, the project of the new theater was developed by the Viennese architects F. Fellner and H. Helmer. The size of the new Opera and Ballet Theater for 1,728 seats significantly exceeded the volume of the former, and the main planning axis of the theater was changed by 90 degrees (1884–1887). This actually became an act of destruction and the loss of the original intention of the script by architect G. Toricelli on the formation of the solemn “Road of Processions”. Elements of the architectural environment of the cultural center gradually adapted to the new changes. The process of the evolution of the environment often creates more contradictions and problems than it solves. The problem lies not only in avoiding alterations and losses but in how to preserve the value-psychological core of culture.</span>
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Casini, Leonardo. "La Obra del Real Cuerpo de Ingenieros en las Fortalezas de Portobelo y d e La Boca del Chagres en el siglo XVIII." Investigación y Pensamiento Crítico 5, no. 2 (August 1, 2017): 83–109. http://dx.doi.org/10.37387/ipc.v5i2.71.
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Las obras defensivas de Portobelo y del Chagre en la costa caribeña panameña representan un testimonio importante sobre la aplicación en el Nuevo Mundo, de modelos de fortificaciones desarrolladas en Eu-ropa entre los siglos XVI y XVIII.Las fortificaciones de Panamá fueron proyectadas por el ingeniero italiano Battista Antonelli a finales del siglo XVI, en el ámbito de un amplio plan estratégico de defensa regional para el área del Caribe. Las obras que se ejecutaron están entre las primeras aplicaciones en América de la tipología de la “Fortificazione alla Moderna”, así como, se realizaron en Italia y seguidamente, se perfeccionaron en el teatro bélico Europeo. Después del ataque inglés llevado a cabo por el almirante Vernon en 1740, la Corona Española decide proceder a un nuevo y detallado plan de redefinición de sitios que contará en la obra, principal-mente, con los ingenieros del Real Cuerpo de Ingenieros, Ignacio Sala y Manuel Hernández, quienes actualizarán los sitios de Portobelo y el Chagre de acuerdo con los nuevos modelos planteados en Francia a finales del siglo XVII, por Vauban.La comparación de las soluciones adoptadas permite observar la evolución de los modelos de fortifica-ciones dentro de un lapso de tiempo de casi ciento cincuenta años. En paralelo, el análisis de los acon-tecimientos proyectuales y constructivos permiten recorrer el crecimiento de la figura del ingeniero mi-litar en España y la evolución de su retrotierra cultural y formativo que culmina con la fundación del “Real Cuerpo de Ingenieros” en 1711 y de la “Real Academia Militar de Matemáticas de Barcelona”.
Abstract
The defensive works of Portobelo and Chagre on the Caribbean coast of Panama represent an important testimony of the application in the New World of models of fortifications developed in Europe between the sixteenth and eighteenth centuries.The fortifications of Panama were designed by the Italian engineer Battista Antonelli at the end of the 16th century, within the framework of a comprehensive regional defense strategic plan for the Caribbean area. The works that were executed are among the first applications in America of the typology of the "Fortificazione alla Moderna", as well as, they were developed in Italy and later, perfected in the European war theater. After the English attack carried out by admiral Vernon in 1740, the Spanish Crown decides to proceed to a new and detailed plan of redefinition of sites that will have in the work, mainly with the engineers of the “Real Cuerpo de Ingenieros”, Ignacio Sala and Manuel Hernández, who will update the sites of Portobello and Chagre according to the new models developed in France in the late 17th century by Vauban.The comparison of the adopted solutions allows to observe the evolution of the models of fortifications within a temporal arc of time of almost one hundred and fifty years. At the same time, the analysis of the projective and constructive events allows to traverse the development of the figure of the military engineer in Spain and the evolution of its cultural and formative background culminating with the foun-dation of the “Real Cuerpo de Ingenieros” in 1711 and the “Real Academia Militar de Matemáticas de Barcelona”.
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Panov, Valery, Margarita Gladysheva, and Andrey Razumov. "Development of the cultural and educational complex “Theatron”, integrated into the historical environment of the youth theater building in Kazan." E3S Web of Conferences 281 (2021): 02009. http://dx.doi.org/10.1051/e3sconf/202128102009.
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The article reveals the design features of a new type of multifunctional object Theatron in the context of the existing historical urban environment. The formation of a typologically new object is due to the increased attention of people to cultural and entertainment institutions offering a wide range of services. The need for proper integration of modern architecture into the existing historical development of the city is one of the most important tasks facing the architect. The authors proposed architectural and planning solutions and the creation of recreational space. Since many theater and entertainment structures are located in memorial sites of national significance, or are themselves valuable historical heritage, the reconstruction of theater buildings is a constant and inevitable phenomenon in all countries and is associated with complex controversial issues of simultaneous preservation and the existing buildings’ improvement. In this regard, there is a constant need to “fit” such old buildings to the lifestyle of the modern audience and modern production methods of theaters in the XX-XXI centuries. Due to the technology development, the technology of demonstration space, stage equipment and engineering equipment of the entire building have changed. In addition, serious urban development problems have also emerged over the years. The city scale has changed, the population has increased, and there is a rapidly growing tourist flow. Transport has changed, Parking lots for cars, communication with the metro, landing stages for unloading decorations and other cargo were needed. There are also aesthetic urban planning problems that do not allow freely, unreasonably expand the building, add the new volumes. This work can contribute to the further development and improvement of the proposed methodology for designing public cultural objects.
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Strads, Gatis. "THE FORMATION OF THE SOCIAL GROUP OF ACTORS IN LATVIA." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 26, 2017): 137. http://dx.doi.org/10.17770/sie2017vol4.2313.
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Theatre is one of the oldest forms of art due to its close nature to the life of people. Deriving from the point of epistemology, ontology and didactics, theatre poses its eternality... The most important concepts for the solution of social problems in education are individualization and socialization, individual activity of a personality and the interrelationship in a group, that has always been facilitated by culture, especially theatre performance.
By analysing Latvian actors as a separate social group it is possible to trace its development process. The personality of actors in society opens up as its psychological and artistic activity. In order to carry out the analysis of social category, there is a need to analyse actor’s social relations. The activity of actors forms in its social group the cognitive image, that is socially relevant and which affects spectators. Theatre is the environment in which the actor lives and implements his/her social activity. Our theatre in the countryside is one of the strongest cognitive enlighteners, developers, and facilitators.
The aim of the article is to provide the analysis of documents that give the insight into theatre companies and the formation of actors as a separate social group. The article also deals with the problems of modern theatre companies, and the ways how theatre companies have been developed.
Research methods. Theoretical research methods include monographies, the analysis of research articles, the investigation of archive materials related to actors as a social group.
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Bell, John, and Frantisek Deak. "Symbolist Theater: The Formation of an Avant-Garde." Theatre Journal 46, no. 3 (October 1994): 429. http://dx.doi.org/10.2307/3208631.
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Franko, Mark, and Frantisek Deak. "Symbolist Theater: The Formation of an Avant-Garde." TDR (1988-) 39, no. 2 (1995): 176. http://dx.doi.org/10.2307/1146450.
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Khliebik, S. R. "THEATER TEHNOLOGIES IN FORMATION OF SOCIO-CREATIVE PERSOMALITY." Visnik Zaporiz'kogo naciohai'nogo universitetu. Pedagogicni nauki, no. 2 (2020): 200–205. http://dx.doi.org/10.26661/2522-4360-2020-2-31.
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Lymarenko, L. "Student theater in the professional training of future teachers: personal and action approach." Fundamental and applied researches in practice of leading scientific schools 28, no. 4 (September 1, 2018): 68–73. http://dx.doi.org/10.33531/farplss.2018.4.13.
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The article is devoted to one of the topical problems of higher education, namely, the usage of the student theater in the system of professional training of future teachers on the basis of personal and action approach. The author considers for the first time that the student theater as a form of artistic and pedagogical activity is focused on personal development, improvement of creative abilities of future teachers, formation of professional self-sufficiency by means of multilevel artistic and pedagogical communication in the system of higher pedagogical education. The article substantiates the expediency of using the fundamental personal and action approach in the functioning of the student theater in the professional training of future teachers. The paper suggests the description of psychological and pedagogical components within above-mentioned conceptual personal and action approach. This article deals with personal and action approach that provides the most effective organization of artistic and creative activity of the future teacher with its transfer to the position of the subject of self-knowledge. Within personal and action approach, the structure of self-development of the individual is formed, in which the main elements are the subject and the nature of the artistic and pedagogical interaction. It is established that successful activity of the student theater on the basis of personal and action approach is provided by the corresponding organizational and pedagogical conditions that have an influence on the goals of teaching, methods, forms and means of organizing the educational process, as well as mutuality with the educational, artistic and creative activities of the teacher-supervisor and students of theater. The author's position is that the functionality of certain organizational and pedagogical conditions is focused on: creation of the appropriate educational artistic and creative environment; dominance and active usage of theater training technologies in the educational process of the student theater; subject-to-subject interaction within multilevel communication of student theater; sequence of activity of the student theater in the professional training of the future teacher. It is proved that abidance of mentioned organizational and pedagogical conditions contributes to the professional formation of a specialist in the process of acquirement of the multilevel artistic and pedagogical communication of the theater on the basis of subject-to-subject interaction, during which the future teacher becomes a creator in a vital and professional activity.
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Anufrieva, Natalya I., and Ekaterina V. Bulkina. "Specifics of Formation of Professional Skills of Musical Theater Artists in College." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 189–97. http://dx.doi.org/10.17922/2071-5323-2021-20-1-189-197.
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Every year in Russia there is a growing number of people who want to devote themselves to stage professions. Pop and academic singer, actor of musical and dramatic theater, ballet dancer – here is an incomplete list of specialties that can be obtained in educational institutions of culture and art. The main task of these educational institutions is the professional formation of future stage masters, the formation of competencies that allow students to carry out further acting activities. The basis for the preparation of the future artist is the formation of stage skills, since this complex concept includes the internal (psychological) and external (physical) data of the actor, the possession of the art of reincarnation in the process of creating a stage image, the possession of stage freedom. The professional training of a musical theater artist in college becomes a multifaceted process, where the combination of vocals, dance, acting is aimed at solving the dramatic problems of a musical performance. The purpose of the article is to theoretically justify and identify empirically the specifics of the formation of professional skills of musical theater artists in college.
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Galina, Gulnaz S. "The Role of City Culture in the Formation of the Bashkir National Art of the Pre-Revolutionary Period." ICONI, no. 1 (2020): 46–56. http://dx.doi.org/10.33779/2658-4824.2020.1.046-056.
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The article presents some basic information about the development of city musical culture in the Orenburg gubernia and in Ufa during the pre-revolutionary period. The regularity of the formation of the phenomenon of the city cultural milieu is traced by the examples of such components as concert and theatre practice, in the context of which the foundations of compositional and performance professionalism indispensable for the development of European genres were perfected. As the result of an overview of various forms of musicmaking at home and the concert and theater practice, the foundations of which had been installed by the direct bearers of European culture itself — Polish insurgents banished to the gubernia in the 18th century — the fact is substantiated that the Russian-European academic musical tradition conditioned the environment due to which national concert life was established in the early 20th century. It is proven that the Europeanization in Bashkir culture began not during the period of the Soviet cultural development, but on the wave of Jadidism in the activities of the new-method madrassahs, which in the beginning of the previous century became the main centers for sacred and secular culture. At the same time, the emergence of combined Tatar-Bashkir dramatic theatrical troupes conducive towards the onset of national theatrical music is the greatest accomplishment of Bashkir music in the prerevolutionary period, which connected the pre-revolutionary epoch with the period of formation of national compositional schools.
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Hansen, Kathryn. "Languages on Stage: Linguistic Pluralism and Community Formation in the Nineteenth-Century Parsi Theatre." Modern Asian Studies 37, no. 2 (May 2003): 381–405. http://dx.doi.org/10.1017/s0026749x03002051.
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The Parsi theatre was the dominant form of dramatic entertainment in urban India from the 1860s to the 1930s. Named for its Bombay-based pioneers, the Parsi theatre blended certain European practices of stagecraft and commercial organization with Indic, Persian, and English stories, music, and poetry. Through the impact of its touring companies, it had a catalytic effect on the development of modern drama and regional theatre throughout South and Southeast Asia. Moreover, Parsi theatre is widely credited with contributing to popular Indian cinema its genres, aesthetic, and economic base. With Hindi films now the major cultural signifier for the middle classes and the ‘masses’ in South Asia and its diaspora, documentation and evaluation of the Parsi theatre is much needed, especially to connect it convincingly to the cinematic medium that followed.
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Richardson, John M. "Online “iDentity” Formation and the High School Theatre Trip." Articles 51, no. 2 (January 9, 2017): 771–86. http://dx.doi.org/10.7202/1038602ar.
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Over the years that I have taken secondary school students to the theatre, the the digital revolution has moved through schools, classrooms, and even theatres, calling into question my goal of contributing positively to students’ identity formation through exposure to live plays. Responding to calls to examine the ways in which young people’s online and offline lives are interwoven, a one-year qualitative case study of student theatregoers suggests that online settings feature prominently in students’ identity formation and that non-digital school experiences such as the theatre trip are often experienced in light of students’ digital lives. Traditional events such as a trip to the theatre are influenced by and combined with online experiences to contribute to a new “iDentity” formation.
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Matvieieva, Kateryna. "REPERTOIRE TRADITION OF THE UKRAINIAN DRAMA THEATRE: HISTORICAL AND CULTURAL ASPECT." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 71–84. http://dx.doi.org/10.31866/2410-1915.22.2021.235896.
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The purpose of the article is to find out the repertoire traditions of Ukrainian theatre from the first professional theatre to the present day. The research methodology applies an interdisciplinary approach. In particular, the principle of historicism is an opportunity to trace the change in the repertoire policy of theatres under the influence of sociopolitical circumstances. Structural-functional and macrodynamic methods to study the theatre at different stages of development are methods of analysis and synthesis used to identify the main artistic phenomena and trends in theatrical activities. Scientific novelty. Based on the analysis of the repertoire plays of five Ukrainian theatres: the Theatre of Coryphaei, Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre, Taras Shevchenko Dnipro National Academic Ukrainian Music and Drama Theatre, Ivan Franko National Academic Drama Theatre, Maria Zankovetska Theatre — trends in the development of the repertoire policy of the Ukrainian theatre are identified, the influence of traditions and society on the work of leading Ukrainian theatre figures is justified; the boundaries of the concept of “repertoire traditions” are expanded. Conclusions. The article examines the peculiarities of the development of Ukrainian theatre from the creation of the first professional theatre in Ukraine to the present day, highlights the impact of repertoire censorship. Five stages of the formation of the repertoire traditions of Ukrainian drama theatres are described: the period of the birth of Ukrainian drama (I. Kotliarevsky); further repertoire traditions in Tsarist Russia era; the formation of modern Ukrainian theatre (Les Kurbas); the period of World War II and post-war times, when there were attempts to transform the Ukrainian theatre into a Soviet one. It was found out that a unique feature of modern Ukrainian theatre is performances on second stages, one-person production, and the use of advanced technology.
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Gürgens Gjærum, Rikke, Jens Ineland, and Lennart Sauer. "The Story about Theater Organizations, the Public's Approval, and the Actors' Identity Formation in Nordic Disability Theater." Journal of Social Work in Disability & Rehabilitation 9, no. 4 (November 19, 2010): 254–73. http://dx.doi.org/10.1080/1536710x.2010.523648.
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