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Journal articles on the topic 'History of theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the

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Banerji, Arnab. "Take Back Our Histories: The Colonialist Bias of Theatre History Surveys and Some Practical Steps to Dismantling an Unfair System." Theatre Topics 35, no. 2 (2025): 111–22. https://doi.org/10.1353/tt.2025.a965108.

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Abstract: Theatre history studies in US universities began with racist assumptions. These assumptions, including which theatres get curricularized, continue to be reinforced by textbooks and the “traditional” theatre history surveys ubiquitous in most undergraduate theatre programs in the country. Surveys of this nature are rarely lessons in historiography but are rather exercises in rote learning and regurgitating historical facts. The curricular biases and the inequities inherent in the academy also plague the way theatre history is studied and understood. The essay offers ways in which poss

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Kollár, Zsuzsanna. "Az akadémia hatása az intézményesülő magyar színjátszásra az 1830-as években." Theatron 16, no. 1 (2022): 93–112. http://dx.doi.org/10.55502/the.2022.1.93.

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From the beginning, the Hungarian Academy of Sciences considered it its task to oversee the Hungarian-speaking theatres. From the 1830’s the Academy tried to provide original dramas and translations, and the task of the “Standing Committee on Theatre” was to review the dramas and repertoire presented in permanent Hungarian-speaking theatres. Pest County also set up a permanent delegation, which exercised a supervisory role similar to that of the Academy. The directory board of the Magyar Theatre of Pest, that opened in 1837, and the body called the Acting Committee were also responsible for ar

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Wetmore Jr., Kevin J. "A History of Theatre in Africa. Edited by Martin Banham. Cambridge: Cambridge University Press, 2004, pp. xvii + 478; $140 cloth." Theatre Survey 46, no. 2 (2005): 313–15. http://dx.doi.org/10.1017/s0040557405220203.

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One of the greatest challenges to teaching world theatre history in the United States is that the vast majority of survey history books spend two dozen chapters on the theatre of the West, giving the theatres of Africa, Asia, and the Middle East a single chapter each at best. In addition, there have to date been no comprehensive histories of African theatre covering the entire continent, Africa north of the Sahara being linked for cultural reasons with the Middle East instead of geographically with the rest of the continent. A History of Theatre in Africa, edited by the pioneer of African-thea

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Balme, Christopher, and Tracy C. Davis. "A Cultural History of Theatre: A Prospectus." Theatre Survey 56, no. 3 (2015): 402–21. http://dx.doi.org/10.1017/s0040557415000320.

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If theatre historians had been paying attention to the proceedings at a Gilbert and Sullivan conference in Lawrence, Kansas in 1970, they would have heard a gauntlet strike the ground when Michael R. Booth delivered “Research Opportunities in Nineteenth-Century Drama and Theatre.” He called for research on audiences (“cultural levels, class origins, income, tastes, and development”), performance in the hinterlands (“we know that in 1866 60% of the theatre seats in metropolitan London were outside the West End”), economics (“theatre profits and losses, actors' wages, authors' income, management

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Patonay, Anita. "The Development of Children’s and Youth Theatre in Hungary: the Path of Institutionalization and Beyond the Professional Sphere (1949–1989/1992)." Theatron 17, no. 4 (2023): 40–52. http://dx.doi.org/10.55502/the.2023.4.40.

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It was after the Second World War and the nationalisations that autonomous theatres for children and youth and theatre performances targeting this age group were first established in Hungary. In my study, I will present the institutional history of children’s and youth theatres in the period 1949–1989/1992 and the children’s and youth theatre-makers who were amateur theatre-makers alongside the institutionalised theatres. I will give an insight into the productions that were produced during this period, the problems faced by the children’s and youth theatre community, and the contradictions th

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Kudina, Ekaterina O. "To the creative history of Yuri Belyaev’s play Psisha." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (2022): 72–77. http://dx.doi.org/10.18500/1817-7115-2022-22-1-72-77.

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The paper examines the creative history of the play Psisha by Yuri Belyaev – a theatre critic, fiction writer and dramatist of the Silver Age. While working on the article cycle A night at “The Opera House” about theatre history of the times of Catherine II, the critic researched historical sources: periodical, fiction, documents of the second half of the 18th – early 19th centuries. There Belyaev must have found the material for his early fictional experience – the historical short story Psisha. Among the characters of the story were a landowner – аn avid theatergoer, and the actors of his se

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JENSEN. "THE THEATRE COLLECTION MAKES THEATRE HISTORY." Princeton University Library Chronicle 49, no. 3 (1988): 289. http://dx.doi.org/10.2307/26404155.

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Howson-Griffiths, Teri. "Locating sensory labyrinth theatre within immersive theatres' history." Studies in Theatre and Performance 40, no. 2 (2019): 190–205. http://dx.doi.org/10.1080/14682761.2019.1663649.

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10

Aprent (Vienna/Munich), Patrick, and Magret Berger (Vienna/St. Pölten). "Female Theatre Managers in ‘Peripheral Spaces’. Re-Mapping the 19th-Century Habsburg Monarchy Theatre Landscape." Forum Modernes Theater 35, no. 1-2 (2024): 39–54. https://doi.org/10.1353/fmt.2024.a957525.

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Abstract: This article focuses on female theatre managers in the nineteenth-century Habsburg Monarchy, specifically within the territory of present-day Austria. Combining qualitative and quantitative research and utilising methods from geography and the digital humanities, it aims to reintroduce the many women who led theatres and thereby made substantial contributions to the theatrical and cultural life of their time, but who have been excluded or inaccurately represented in later theatre history writing. By analysing the content of around 230 theatre almanacs, this article illustrates the ge

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Jory, E. J. "Gladiators in the Theatre." Classical Quarterly 36, no. 2 (1986): 537–39. http://dx.doi.org/10.1017/s0009838800012301.

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While restating the correct interpretation of the prologue to the Hecyra of Terence in CQ 32 (1982), 134 F. H. Sandbach has this to say: ‘Possibly the widespread view which the translators and I reject has been encouraged by disbelief that the theatre could be used for gladiatorial combat. It is true that there is no reliable evidence for such use at Rome, for Donatus' statement “hoc abhorret a nostra consuetudine uerumtamen apud antiquos gladiatores in theatro spectabantur” may be no more than inference from Terence's text.’ There is, in fact, a certain amount of evidence for gladiatorial com

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Tillis, Steve. "CONCEPTUALIZING SPACE: THE GEOGRAPHIC DIMENSION OF WORLD THEATRE." Theatre Survey 52, no. 2 (2011): 301–27. http://dx.doi.org/10.1017/s0040557411000408.

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Geography has been accorded surprisingly little attention in the study of world theatre history. Maps are by no means the sum total of geographic knowledge, but their existence (or the lack thereof) provides a handy indicator of an author's interest in the subject. Oscar G. Brockett and Franklin J. Hildy'sHistory of Theatrehas numerous pictures of actors and diagrams of theatres but only one map that directly pertains to theatre. All the rest of its maps (of which there are fewer than two dozen) are standard-issue political maps.Theatre Histories: An Introduction, by Phillip B. Zarrilli and ot

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Kanchura, E., and K. Vlasyuk. "SHAKESPEAREAN PROJECTS IN THE THEATRE HISTORY OF ZHYTOMYR." Brecht-Magazine: Articles, Essays, Translations, no. 10 (December 23, 2024): 41–60. https://doi.org/10.35433/brecht.10.2024.41-60.

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The article presents the results of the search, identification, and systematization of Shakespearean projects in the history of Zhytomyr theatre, including original works by Zhytomyr theatres, touring performances, and translations of dramatic texts. This investigation was conducted as part of the large-scale activity of the Ukrainian Shakespeare Centre, which aims to collect and systematize information about the stage representation of William Shakespeare's works in Ukrainian theatres. The research aimed to create a detailed list of Shakespearean performances in Zhytomyr, explore postmodern i

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Shevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014." New Theatre Quarterly 32, no. 2 (2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.

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What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in foc

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Ozieblo, Barbara. "Composing Ourselves: The Little Theatre Movement and the American Audience. By Dorothy Chansky. Carbondale: Southern Illinois University Press, 2004; pp. 256; 15 illus. $55 cloth; Summer Stock! An American Phenomenon. By Martha Schmoyer LoMonaco. New York: Palgrave Macmillan. 2004; pp. 320; 25 illus. $27.95 cloth." Theatre Survey 46, no. 2 (2005): 343–46. http://dx.doi.org/10.1017/s0040557405370207.

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The theatre has long been recognized as a site from which national and social values can be promoted, and this was particularly the case with the Little Theatre and summer stock phenomena. Even when performing non-American plays, these movements addressed the education of the audience, as Dorothy Chansky and Martha Schmoyer LoMonaco make apparent in two rigorously researched studies. Both have chosen to focus on the audience as an integral component of the theatrical event and, eschewing postmodern theories of the spectator's gaze, they bring a sociohistorical perspective to their findings, wh

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Roach, Joseph R. "Reconstructing Theatre/History." Theatre Topics 9, no. 1 (1999): 3–10. http://dx.doi.org/10.1353/tt.1999.0005.

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Tillis, Steve. "Remapping Theatre History." Theatre Topics 17, no. 1 (2007): 1–19. http://dx.doi.org/10.1353/tt.2007.0012.

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Bibi, Ambreen, Saimaan Ashfaq, Qazi Muhammad Saeed Ullah, and Naseem Abbas. "Ajoka Theatre as an Icon of Liberal Humanist Values." Review of Education, Administration & LAW 4, no. 1 (2021): 279–86. http://dx.doi.org/10.47067/real.v4i1.135.

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There are multiple ways of transferring human values, cultures and history from one generation to another. Literature, Art, Paintings and Theatrical performances are the real reflection of any civilization. In the history of subcontinent, theatres played a vital role in promoting the Pakistani and Indian history; Mughal culture and traditions. Pakistani theatre, “Ajoka” played significant role to propagate positive, humanitarian and liberal humanist values. This research aims to investigate the transformation in the history of Pakistani theatre specifically the “Ajoka” theatre that was establi

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Bertilotti, Teresa. "Un dramma "concepito come un romanzo d'appendice". Traduzioni del Risorgimento sulle scene della Grande guerra." MEMORIA E RICERCA, no. 29 (March 2009): 101–21. http://dx.doi.org/10.3280/mer2008-029007.

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- The article focuses on Italian theatre and its reception during the First World War, in particular on the dramas and performances based on the Risorgimento's history. This type of performance cannot be considered as high or low theatre: the plots cannot be bound to one category, audience reactions are the same in Milan as they are in small city theatres and in schools, independently from who is acting. The author sheds light on the popularization process of national history through theatre and at the same time, contextualises these apparently opaque plots, in an attempt to understand what th

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Ley, Graham. "Diaspora Space, the Regions, and British Asian Theatre." New Theatre Quarterly 27, no. 3 (2011): 215–28. http://dx.doi.org/10.1017/s0266464x11000431.

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In 1996 Graham Ley compiled for NTQ a record of the first twenty years of Tara Arts, the London-based British Asian theatre company. In this essay, he tests the theoretical concept of a third space for diaspora culture against the experience of two leading British Asian theatre companies, and considers the contrasting role of an Asian arts centre. From 2004 to 2009 Graham Ley led an AHRC-funded research project on ‘British Asian Theatre: Documentation and Critical History’, and has co-edited with Sarah Dadswell two books soon to be published by the University of Exeter Press: British South Asi

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Johnston, Denis. "CyberShaw: A 19th-Century Mandate Meets 20th-century Technology." Canadian Theatre Review 81 (December 1994): 32–35. http://dx.doi.org/10.3138/ctr.81.007.

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The Shaw Festival is unique among Canadian theatres, and virtually unique among world theatres as well. It is one of only five major repertory theatres in the English-speaking world: the others are the Stratford Festival, the Guthrie Theater in Minneapolis, and the twin flagships of British classical theatre, the Royal Shakespeare Company and the National. In addition, the Shaw Festival is the only one of these companies to have chosen a specific period of history as its mandate: it produces only plays written during the lifetime of Bernard Shaw. The company describes this mandate as “plays by

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McConachie, Bruce A. "Realizing a Postpositivist Theatre History." New Theatre Quarterly 10, no. 39 (1994): 217–22. http://dx.doi.org/10.1017/s0266464x0000052x.

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Bruce McConachie teaches in the Theatre Department at the College of William and Mary in Virginia. He is one of the leading theatre historians in the United States, who has, as David Mayer put it in his review of McConachie's most recent book, Melodramatic Formations: American Theatre and Society, 1820–1870, ‘been examining, criticizing, and improving the practice of theatre historiography’ for many years. McConachie's re-examination of how history is researched, analyzed, and written has its origins in an article, ‘Towards a Postpositivist Theatre History’, which he published in Theatre Journ

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Brown, John. "Tomorrow's Theatre – and How to Get There from Today's." New Theatre Quarterly 18, no. 4 (2002): 334–42. http://dx.doi.org/10.1017/s0266464x02000441.

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Taking a wide-ranging look at the aesthetics and economics of theatre on both sides of the Atlantic, and highlighting the increasing interest in learning about theatre in the educational sphere at a time when institutional theatre appears to be floundering, John Russell Brown here draws on his own visits over the past decade to traditional and contemporary theatres in China, India, Japan, Korea, and Indonesia to suggest how new approaches to and locations for theatre might build on forms which continue to draw audiences worldwide. John Russell Brown founded the Department of Drama and Theatre

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Левитан, Ольга. "Русский театр в Израиле: сто лет вместе". Canadian-American Slavic Studies 45, № 1 (2011): 76–106. http://dx.doi.org/10.1163/221023911x552016.

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AbstractThe article explores the history of the Russian Theatre in Israel as an inseparable part of Israeli theatre life: Russian Jews had a decisive role in the foundation of Israeli theatre and in the very beginning of Hebrew theatre in Palestine and in Moscow, and for decades the main Israeli artists introduced themselves as pupils of Vachtangov and Stanislavsky. In addition, a specific sensitiveness to Russian cultural tradition made a serious impact on Israeli theatre school and repertoire policy. The article discusses the phenomenon of enduring connections between Israeli and Russian the

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HEINRICH, ANSELM. "Shakespeare and Kolbenheyer: Regional Theatre During the Third Reich – a Case Study." Theatre Research International 31, no. 3 (2006): 221–34. http://dx.doi.org/10.1017/s0307883306002197.

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The importance of regional theatre in the grand scheme of theatre history has long been neglected; this even holds true for an area of research which has aroused more historical interest than any other – Nazi Germany. Addressing this desideratum the article investigates the history of a typical provincial theatre – the Städtische Bühnen in the Westphalian city of Münster – with a special emphasis on the repertoire. The author examines how far the regime was able to implement its demand for a specifically political theatre and relates his findings to other German playhouses. The article argues

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

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

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

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

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Wainscott, Ronald H. "American Theatre Versus the Congress of the United States: The Theatre Tax Controversy and Public Rebellion of 1919." Theatre Survey 31, no. 1 (1990): 5–22. http://dx.doi.org/10.1017/s0040557400000958.

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For eight days in January 1919 the theatre industry was at war with the U.S. Congress, a nationwide event surprisingly overlooked in previous theatre history. Theatre management and its host of workers joined with the public to wage a well-orchestrated campaign in the newspapers and mail, in the theatres and on the streets to stop what was perceived as a gross injustice to the American theatre and its paying audience.When the United States Congress was framing a six billion dollar tax revenue bill to recover exorbitant war costs from the first world war, it attempted to slip in a new tax which

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Aliyeva, Zamina. "AZERBAIJAN THEATRE:ITS ROLE, HISTORY OF DEVELOPMENT, REASONS FOR SUCCESS, CHALLENGES AND PROBLEMS." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 30 (2024): 77–80. https://doi.org/10.17721/1728-242x.2024.30.11.

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Background. The history of Azerbaijani theatre is a rich tapestry woven from various cultural influences and artistic expressions. This article explores Azerbaijan's earliest theatrical forms, tracing their roots and examining their impact on the development of a unique theatrical identity. This comprehensive review chronicles the trajectory of Azerbaijani theatre, highlighting its origins, key transformations, and enduring socio-cultural significance. Azerbaijan's position within this global context was unique due to its strategic location at the crossroads of Eastern Europe and Western Asia.

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Hyldig, Keld. "Teaterhistoriens betydning." Peripeti 16, S8 (2019): 122–31. http://dx.doi.org/10.7146/peri.v16is8.117600.

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Artikkelens hensikt er å vise teaterhistoriens verdi og betydning. Med avsett i et hermeneutisk historiesyn beskrives teaterhistorien som et erkjennelsesmessig samspill mellom samtid og fortid. Begrepet om «historisk bevissthet» diskuteres som et akademisk-historiografisk begrep og som begrepsliggjøring av en nødvendig historisk bevissthet i og rundt samtidsteateret. Med utgangspunkt i en hermeneutisk forståelse av den teaterhistoriske bevisstheten vises det hvordan teatervitenskapen og den teaterhistoriske forskningen i det 20. århundre oppsto og utviklet seg i nært samspill med samtidens tea

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Girot, Marc. "L’urbanité des faubourgs. Premiers jalons pour une histoire des "théâtres de la banlieue" parisienne (1817-1932)." Recherches contemporaines 2, no. 1 (1994): 113–30. https://doi.org/10.3406/bchfc.1994.1824.

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The urbanity of the faubourgs : for a history of the "suburban theatres " of Paris (1817-1932) This study sets out to restate the importance of a spatial approach to the theatre, considering the theatrical phenomenon as an urban practice, a significant moment in the usages of the city. The theatres of Montmartre, Belleville, Montparnasse, Grenelle and Batignolles have been little studied, but throughout the nineteenth century the dialectic between the place of the theatre and its territory emerges as an essential aspect of this history. Up until I860, when these outlying communes were annexed

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KNOWLES, D. "Armand Gatti's Two Theatres: 'Theatre institutionnel' and 'Theatre d'intervention'." French Studies 49, no. 1 (1995): 49–62. http://dx.doi.org/10.1093/fs/49.1.49.

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Tillis, Steve. "The Case against World Theatre History." New Theatre Quarterly 28, no. 4 (2012): 379–91. http://dx.doi.org/10.1017/s0266464x1200067x.

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A strong case can be made against world theatre history as a subject of scholarly study. This paper analyzes seven arguments that can be levelled against world theatre history as an academic subject. It then offers rebuttals to each of these arguments. In so doing, it seeks not only to establish the legitimacy of world theatre history as a subject of study, but also to clarify the methodologies and the goals of such study. Steve Tillis received his PhD from the University of California, Berkeley, and currently teaches at St Mary's College of California. He has previously published articles on

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Bartoshevich, Alexey V. "Named after Chekhov. For the thirtieth anniversary of the International Theatre Festival." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 190–96. http://dx.doi.org/10.35852/2588-0144-2022-4-190-196.

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The Anton Chekhov International Theatre Festival celebrated its 30th anniversary. The festival was first held in the fall of 1992, and soon became one of world theatre culture’s greatest events. Its audience could see performances by legendary foreign theatres in the country’s main cities. Over the years of the festival’s existence, the spectators have seen over 600 performances from 54 countries. Viewers in Russia had the opportunity to witness the elite of the world stage engaged in the best performances created from recent decades in theatres of Europe, Asia, Africa, and both Americas. And

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

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

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Braun, Kazimierz. "Druga Reforma Teatru." Zarządzanie w Kulturze 25, no. 1-2 (2024): 181–97. http://dx.doi.org/10.4467/20843976zk.24.019.20137.

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The history of theatre in the twentieth century distinguishes two theatre reforms. The first took place from the final years of the nineteenth century into the late 1930s. The second was from the mid-1950s to the late 1980s. These were movements of renewal and modernization of the art of theatre. Started by individual artists and small groups and assisted by playwrights and theorists – who were often the artists themselves – both reforms gradually reached wider areas of theatre life. The Second Reform was a reformist movement of young, avant-garde, rebellious and experimental theatre in a sear

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DUTT, BISHNUPRIYA. "Introduction." Theatre Research International 42, no. 3 (2017): 323–26. http://dx.doi.org/10.1017/s030788331700061x.

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These three essays on distinct research areas and case studies cover a broad history of educational institutions in India, their focus on theatre and cultural education, and their role in creating citizens active in the public sphere and civic communities. The common point of reference for all the three essays is the historical transition from pre- to post-independence India, and they represent three dominant genres of Indian theatre practice: the amateur progressive theatre emerging out of sociopolitical movements; the State Drama School, which has remained at the core of the state's policy a

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Reilly, Kara. "A Medium to History." TDR: The Drama Review 66, no. 4 (2022): 109–26. http://dx.doi.org/10.1017/s1054204322000594.

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William Hunter, a male midwife, was author of an anatomy atlas that featured pregnant cadavers as specimens. He lived in the building that later became the Lyric Theatre. Through an examination of the Lyric Theatre as a hauntological site, and the experience of psychosis, a proposed paradigm shift for theatre and performance historiography emerges: the phenomenology of dyschronia.

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Roark, Carolyn D. "Theatre History Explained (review)." Theatre Topics 17, no. 1 (2007): 87–88. http://dx.doi.org/10.1353/tt.2007.0011.

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Rush, Adam. "Musical theatre: a history." Studies in Theatre and Performance 39, no. 2 (2017): 206–7. http://dx.doi.org/10.1080/14682761.2017.1401302.

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Nicholson, Rashna Darius. "Decolonization and Theatre History." New Theatre Quarterly 39, no. 4 (2023): 355–76. http://dx.doi.org/10.1017/s0266464x2300026x.

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‘Decolonization’ has superseded ‘postcolonial’ as the most compelling catchword of the present moment. Broadly speaking, the term possesses two parallel genealogies: African decolonization and Latin American decoloniality. But where are Asian territories such as India and Hong Kong, and, more specifically, fields such as theatre history, located in the debate? This article analyzes the stakes and struggles, inner contradictions and blind spots, involved in decolonizing or decentring the curriculum. It asks whether the decolonial temporalities of our time constitute an adequate lens to theorize

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YILDIRIM, ŞEYDA NUR. "Staging Theatre Historiography: The Afterlives of Ottoman Armenian Drama in Contemporary Turkish Public Theatre." Theatre Research International 48, no. 3 (2023): 246–63. http://dx.doi.org/10.1017/s0307883323000160.

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In the last twenty years, memory has gained broader attention in Turkey's social, cultural and political arena. In line with this movement, independent and subsidized theatres produced plays engaging with Armenian history through diverse political and aesthetic agendas. Among these works, public and state theatre productions remained mostly invisible in theatre scholarship due to their ambiguous position that does not directly align with the framework of political theatre. This article examines the adaptation of the Ottoman Armenian playwright Hagop Baronian's Adamnapuyj aravelyan (1868) as Şa

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

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

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

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

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Pawlicka, Kama. "Budowanie wizerunku instytucji kultury na przykładzie Teatru Żydowskiego w Warszawie." Zarządzanie w Kulturze 24, no. 4 (2024): 275–91. http://dx.doi.org/10.4467/20843976zk.23.019.19362.

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The research objective of this article is to present the way in which the Jewish Theater in Warsaw has been building its image. To achieve this goal, the case study method was used. The article takes a closer look at the history of the theatre itself, its founder, the legendary actress Ida Kamińska, the troubles with the seat, but most importantly it presents the image transformations that the theatre has been implementing systematically during the time it has been managed by Gołda Tencer. The article was based on the analysis of collected data, Internet searches and author’s observations. The

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Shodell, Elly. ":Reminiscence Theatre: Making Theatre from Memories." Oral History Review 34, no. 2 (2007): 181–82. http://dx.doi.org/10.1525/ohr.2007.34.2.181.

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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.

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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (A

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Vanagaitė, Gitana. "Uncles and Aunts by Vaižgantas in Literary History, Cinema and Theatre." Colloquia 41 (December 20, 2018): 51–71. http://dx.doi.org/10.51554/col.2018.28670.

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In the article, by combining several theoretical accesses (narratology, intermediality and hermeneutics), the author analyzes Uncles and Aunts (Dėdės ir dėdienės) – the long story by Vaižgantas which is accounted for literary classics, and also its theatre and cinema versions: the film That Cursed Humility (Tas prakeiktas nuolankumas) and two theatre productions of the same title. She raises the following questions: what kind of canon of reading and comprehending Vaižgantas’ story has been circulating in the culture circle, and how have the film and performances been affecting this canon?Anoth

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Bay-Cheng, Sarah. "Theatre Squared: Theatre History in the Age of Media." Theatre Topics 17, no. 1 (2007): 37–50. http://dx.doi.org/10.1353/tt.2007.0001.

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Watson, Julia. "Life? or Theatre? (Leben? oder Theater?) by Charlotte Salomon." Biography 42, no. 2 (2019): 438–51. http://dx.doi.org/10.1353/bio.2019.0050.

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