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Journal articles on the topic 'History of youth theatre'
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1
Ogbonna, Kelechi Stellamaris. "Youth Education and Intercultural Interaction as Panacea to Ethnic Conflict: Theatre to the Rescue." International Journal of Pedagogy, Innovation and New Technologies 7, no. 2 (December 30, 2020): 98–106. http://dx.doi.org/10.5604/01.3001.0014.6877.
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It is obvious that broad world view provided by education can douse tension, discrimination, reduce hate speech and minimize aggression. Education is a weapon of mass instruction and has been powerful enough to push ignorance to the background. More so, it has become a prime function of education to illuminate the world with ideas and in its nature to unite the world through inventions and technological developments. Arguably, education has also introduced strange norms and vices especially among youth circles. But, because habits are hard to modify, the onus falls on the theatre that thrives on burlesques, parody, polar attitudes and modification of character to use the stage effectively for correction and preservation. Methodically, this paper x-rays selected theatre performances that have tried to reduce ethnic conflicts in Nigeria using the Fundamental Interpersonal Relations Orientation (FIRO) as theoretical backings. Through role playing on stage and in the classroom, the paper redirects the attention of the youth and government towards reorientation and sustainable values. The findings reveal that theatre has the capacity to influence minds and can engineer behavioral change which by extension ensures peaceful co-existence and sustainable developments. Thus, the paper recommends that History, Culture and Youth Education be incorporated in the secondary school curriculum. Also, if theatre performances with topical themes are sponsored for the benefit of the youths, it will increase tolerance. The research concludes that performing youth education in the classroom, at grass root level and public spaces will subtly promote nation building and integration.
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Poltavets, Nataliia. "Theatre life in the village – a new kind of leisure for peasant youth in the 1920s." Universum Historiae et Archeologiae 3, no. 2 (December 29, 2020): 71. http://dx.doi.org/10.15421/26200207.
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The purpose of the article is to highlight theatrical art as a form of organized cultural leisure of peasant youth during the 1920s. Research methods: problem-chronological, historical-systemic and analytical. Main results. It is found that drama circles and rural theatre were in great demand among young people and became the most popular form of leisure in the village. The organizers of group theatrical work were Komsomol activists and teachers. It is found that the latter, being an educated part of the rural environment, became more productive and effective in setting up appropriate work with peasant youth. There were organizational and financial problems in the practice of theatre companies and drama circles. It was one of the reasons for the low quality of youth theatre performances. At the same time, there were many successful amateur groups in the districts of the Ukrainian SSR. The author shows that the role and place of peasant youth in drama circles and rural theatres was determined by the political education policy of the ruling party. The filling of youth leisure by rural theatre was to perform several functions, including raising the general cultural level of the population, deepening political consciousness, anti-religious propaganda and levelling the dominant traditional forms of leisure for young peasant population. Taking into consideration the functions and tasks, set by the ruling elite before theatrical and dramatic circles, the themes of plays and performances were also appropriate. They tried to select the whole repertoire in the direction of general strengthening of the Bolshevik Party position in the countryside. Considering the possibility of influence of this type of art on young people consciousness formation, in the conditions of the totalitarian regime it was doomed to its political and ideological service. Practical significance: recommended for use in the study of rural youth leisure, the study of history of rural theatre as an original phenomenon in the village of the NEP period. Originality: the author generalizes the experience of creating leisure of rural youth of the post-revolutionary period in the conditions of ideological and cultural transformations. Scientific novelty: for the first time peasant youth is considered by the author as a subject of the formation of a new type of leisure of the Ukrainian village of the 1920s. Article type: review-generalizing.
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Matiza, Vimbai Moreblessing. "NURTURING OF CHILDREN THROUGH DRAMA AND THEATRE: THE CASE OF INTWASA KOBULAWAYO PERFORMANCES." Commonwealth Youth and Development 13, no. 2 (June 1, 2016): 86–99. http://dx.doi.org/10.25159/1727-7140/1149.
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Dramatic and theatrical performances have a long history of being used as tools to enhance development in children and youth. In pre-colonial times there were some forms of drama and theatre used by different communities in the socialisation of children. It is in the same vein that this article, through the Intwasa koBulawayo performances, seeks to evaluate how drama and theatre are used to nurture children and youth into different developmental facets of their lives. The only difference which this article will take into cognisance is that the performances are done in a different environment, which is not the one used in the pre-colonial times. Although these performances were like this, the most important factor is the idea that children and youth are socialised through these performances. It is also against this backdrop that children and youth are growing up in a globalised environment, hence the performances should accommodate people from all walks of life and teach them relevant issues pertaining to life as they live it now. Thus the main task of the article is to spell out the role of drama and theatre in the nurturing of children and youth through socio economic and political development in Intwasa koBulawayo festivals.
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Ashagrie, Aboneh. "Children's Theatre in Ethiopia." Aethiopica 15 (December 4, 2013): 105–17. http://dx.doi.org/10.15460/aethiopica.15.1.662.
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When theatre arts emerged in Ethiopia 90 years ago, all characters in the pioneering play were performed solely by children in front of the Crown Prince Täfäri Mäkwännǝn, and members of the aristocracy. The tradition of considering children as a main force of stage production, and the tendency of showing dramatic performance by students to the benefit of adult audience, likewise, continued up until the establishment of the first professional public theatre in 1942. It was late in early 1980s that a change in perspective occurred to urge the indispensability of producing plays for children’s consumption. Such a new insight, within a few years, led to the establishment of the Children and Youth Theatre in Addis Abäba. This article chronologically portrays the history and development of Ethiopian children’s theatre and will hopefully add knowledge to the account of African theatre in particular and the world theatre in general.
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Abraham, Nicola. "The intuit: An investigation into the definitions, applications and possibilities offered by intuitive applied theatre practice with vulnerable youth." Applied Theatre Research 7, no. 2 (December 1, 2019): 233–49. http://dx.doi.org/10.1386/atr_00018_1.
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Abstract This article offers insights into what might constitute intuition in applied theatre practices with vulnerable youth in London. The study will explore the approaches of five theatre companies working with children and vulnerable youth. A lead practitioner from each company has been interviewed, and the interpretation of the data they have provided has offered new insights into the role of intuition as an approach to ensuring that applied theatre is responsive to young people living precarious lives. The research identifies two aspects of intuitive practice: one that resides with the actions and thoughts of the practitioner, and the other that involves the acceptance of intuitive creative offerings by participants. The study has also revealed the potential heightening of intuitive responses for practitioners who share history, culture, location or identities with their participants. As a whole, the findings offer useful potential considerations of key qualities for an intuitive practitioner, or the intuit, working specifically with young people in contexts of uncertainty.
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Halverson, Erica Rosenfeld. "From one woman to everyman." Narrative Inquiry 18, no. 1 (August 15, 2008): 29–52. http://dx.doi.org/10.1075/ni.18.1.03hal.
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In this article, I extend Labov’s narrative analysis of personal experience (Labov, 1972, 1997; Labov & Waletzky, 1967/1997) to demonstrate how personal narratives that are taken up and transformed into pieces for public performance work within a reportability continuum that balances the individual storyteller’s perspective while incorporating the voices of the community to which these individuals belong. I use the case of the About Face Youth Theatre, a Chicago-based theatre company that engages lesbian, gay, bisexual, transgendered, and questioning youth in the dramaturgical process, to demonstrate how narratives are transformed from highly reportable, personal narratives, to highly credible, generic adaptations, to performances that result in the construction of positive, public identities that expose normalness without sacrificing particularity. This process can provide adolescents who experience stigma in public contexts with the opportunity to understand how they see themselves, how others see them, and how they fit into their communities and to fit these perspectives together into a more coherent sense of self.
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Carney, Sean. "The Tragedy of History in Sarah Kane's Blasted." Theatre Survey 46, no. 2 (October 25, 2005): 275–96. http://dx.doi.org/10.1017/s0040557405000165.
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The first performance of Sarah Kane's Blasted in 1995 is already widely regarded as a landmark in the history of contemporary theatre in England, singled out for the same reason that Edward Bond's 1965 Saved and Howard Brenton's 1980 The Romans in Britain achieved notoriety. Blasted belongs in this genealogy of English plays in that all drew attention to themselves with instances of raw violence represented onstage and contextualized within situations of scathing social criticism. Saved contains an infamous scene in which the apathy of a group of dispossessed urban youths leads them to the casual stoning to death of a baby in its pram, and in The Romans in Britain a young Celtic seer is raped onstage by a Roman centurion. In both cases, these instances of visual shock became decontextualized and held up to the public eye, a disassembling of the part from the whole, which constituted an act of interpretive violence perpetuated against the dramas themselves. The violence in Blasted was similarly decontextualized and sensationalized in the British press. Yet in contrast to Bond and Brenton, Kane's brief body of work quickly received sober reevaluations on the part of previously hostile theatre critics, largely as a result of her suicide in February 1999 at the age of twenty-eight. While Kane had always had supporters among theatre workers, including Edward Bond, who had appreciated the strength of her work from the outset, Blasted is now also praised as a major work of theatre by critics who were previously happy to mock the play and vilify its author.
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McCormick, Frank. "John Vanbrugh's Architecture: Some Sources of His Style." Journal of the Society of Architectural Historians 46, no. 2 (June 1, 1987): 135–44. http://dx.doi.org/10.2307/990182.
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This essay posits three basic sources for the vocabulary of Vanbrugh's mixed style: namely, (1) the interior architecture and scene design of the contemporary theatre, with which Vanbrugh became familiar in his capacity as dramatist and manager of the Queen's Theatre at the Haymarket; (2) the medieval forms of the walled city of Chester in which he spent his youth; and (3) the donjon and courtyards of the Chateau of Vincennes, which Vanbrugh would have come to know during his imprisonment there in 1691. The first two operate as rather general sources of the "theatrical" and the "medieval" elements in Vanbrugh's buildings. In the case of the Chateau of Vincennes the influence is more specific: the arrangement of the Chateau's donjon and courtyards supplied a model for the typical design of Vanbrugh's large-scale buildings in which forward-thrusting wings are attached to a deeply recessed centerblock. David Cast's neo-Hobbesian suggestions for "seeing" Vanbrugh are invoked as a means of making aesthetic sense of Vanbrugh's use of his three sources.
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Gupta, Tanika. "As Long as the Punters Enjoy It." New Theatre Quarterly 24, no. 3 (August 2008): 260–69. http://dx.doi.org/10.1017/s0266464x08000316.
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Tanika Gupta is one of the most prolific and outstanding new writers in contemporary British theatre. Born in Chiswick in 1965, she is a bilingual British Bengali who – after reading modern history at Oxford University – began her career in 1991, when her Radio 4 play, Asha, was part of the BBC Young Playwrights Festival. In 1995, her BBC film, The Rhythm of Raz, was nominated for a Children's BAFTA and the following year her film Bideshi won an award at the Bombay Short Film Festival. Meanwhile, although she made a living writing for Grange Hill and EastEnders, her play Voices on the Wind was being developed and, in 1996–98, she was Writer-in-Residence at the Soho Theatre. In 1997, A River Sutra was staged at Three Mills Island, London, and Skeleton at the Soho Theatre. In 1998, Flight, her BBC2 screenplay, won an EMMA. The Waiting Room (2000), staged by the National, won the John Whiting Award, and was followed by Sanctuary (National) and Inside Out, toured by Clean Break (both 2002). In 2003, Gupta's Fragile Land opened the new Hampstead Theatre's education space, her Asian version of Hobson's Choice was staged at the Young Vic, and she won the Asian Woman of Achievement Award. Later, she had further success with her campaigning play about the Zahid Mubarek case, Gladiator Games (Sheffield Crucible, 2005), and Sugar Mummies (Royal Court, 2006). A year later came a play for the National Youth Theatre, White Boy (Soho). What follows is an edited transcript of Aleks Sierz's ‘In Conversation with Tanika Gupta’, part of the ‘Universal Voices’ festival held at Rose Bruford College, Sidcup, Kent, in April 2007, organized by Nesta Jones.
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Jindra, Miroslav. "Homosexual parenthood in children’s literature." Acta Univeristatis Lodziensis. Folia Librorum 1, no. 28 (June 25, 2019): 105–24. http://dx.doi.org/10.18778/0860-7435.28.05.
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Homosexuality in children’s literature is still a controversial topic in many countries of the world. Not only are people afraid to talk about this theme with children, they do not know how. The history of this topic in children’s literature dates back to the 80s of the 20th century, when the first books were published. In 20th century, human society went through many changes which were reflected in all the fields of art (theatre, fine arts, literature, etc.). Writers had a need to familiarise children readers with ‘taboo topics’ such as homosexuality, death, drugs, etc. They wanted to introduce homosexuals as ordinary men and women, who live their own lives with their joys and worries. Today, we can find three main themes in children’s literature: coming out, the life of homosexuals and homosexual parenthood. Each theme has its own specifics and typical reader age group of children or youth. This characterisation can help us to deeper identify the topic. The literature offers children and youth better and easier cognition of the world with its differences. The aim is to learn about the history of homosexuality in children’s literature and go deeper into its individual themes, especially homosexual parenthood. Children need to know everything about life and have no taboos. Why are we afraid to talk about it?
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Diószegi, Olga. "Mrs Hoffer's cat." Index on Censorship 17, no. 5 (May 1988): 31–35. http://dx.doi.org/10.1080/03064228808534421.
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A Play in One Act These complaints are echoed throughout Central and Eastern Europe. The fear of new, unconventional and non-conformist work by young writers and artists is markedly bigger in Communist countries than in the West. State media officials view the young newcomers with deep suspicion especially because they often voice doubts and disillusionment, and consequently are dangerous ideological heretics. The one-act play Mrs Hoffer's Cat is Olga Diószegi's first play. An amateur theatre group at Szeged University reportedly became very enthusiastic about it at first — they even wrote music for it — but then abruptly fell silent. Miss Diószegi has a strong feeling that pressure was exerted by the local Communist and Youth organisations, a result of her connections with samizdat literature.
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Tulyantsev, Andrey. "Dnipropetrovsk Ukrainian academic youth theater in the contemporary sociocultural context." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 5–15. http://dx.doi.org/10.33287/222013.
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The purpose of this article is concentrated by researcher into revealing of the particularity for modern theater on the example Dnipropetrovsk Ukrainian academic youth theater. The author studies performances for young people that the theater has in its repertoire. The dialogue between the theater and the audience has its own scientific interest for the author. The author uses the most effective methods of scientific research. The author has a need to understand the peculiarities of the style of acting and directing. It is also necessary to understand the general style of the theater. This position is significant, because there is a specificity in the interpretation of theatrical performance. Scientific novelty. This article has its own peculiarity. The author aims to determine for the first time the main provisions of the activities of the Ukrainian academic theater for youth from the Dnieper. To achieve this goal, the author of the article makes an analysis in which there is a specific meaning of the theater's activities, the subject of this research. Theater is analyzed as an artistic value. The author assesses the state of the collective as a theater historian. The activity of the theater is analyzed in the context of the functioning of modern theater culture. This is what makes it possible to understand the features of the historical phenomenon. It combines the present with the past. It aims to understand the perspective of contemporary theater time in the future. Methods. The performances of this theater have the characteristics of a synthetic genre. These performances have the ability to explain the nature of the interaction between theater and music. Therefore, research methods are based on the synthesis of various areas of scientific activity. In which there are various scientific disciplines. Specifically: the structural system of the history of the theater, the use of analytical methods in the analysis of drama, direction, skill of actors, singing, orchestra work, scenography. The author explores their analogies and connections, what unites them and what is opposition. Conclusions. The performances of the Ukrainian academic theater for young people from Dnipro are of different genres. The principles of the dialogue between the theater system and the audience, which exists in mutual exchange, are revealed in these performances. The author notes the real mutual cooperation between the theater and the audience. At the same time, there is an addition of one dramatic tradition to another. You can also observe how professional directors worked with the texts of the plays. The fact of how the structure and style of the performance is changing is significant. The academic professional artistic transformation of vocational performances in modern society is essential relevant.
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Diba, Denise, and Ana Flavia d'Oliveira. "Community Theater as social support for youth: agents in the promotion of health." Ciência & Saúde Coletiva 20, no. 5 (May 2015): 1353–62. http://dx.doi.org/10.1590/1413-81232015205.01542014.
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There has been much discussion on promotion of the health of young people in vulnerable situations; but little work has been done analyzing its actual operation - and this is especially true in relation to programs and projects that are outside the health services. This article aims to analyze the relationship of an experience in Community Theater with the promotion of health. It is a qualitative, ethnographic study made at the Pombas Urbanas Institute, in the Cidade Tiradentes district of the municipality of São Paulo, and is coordinated by a theater group with a history that is relevant to the objective of the study. Participatory observation was carried out for one year, with semi-structured interviews with young people, and with actors of the Pombas Urbanas group, and analysis of documents. The theoretical framework that was used is made up of concepts from the fields of collective health, Community Theater, and liberation pedagogy. The results are presented in two interlinked sub-categories which have arisen from the empiric material and from the references adopted: (i) 'True friends', and (ii) 'Dialog'. The analysis clearly shows the importance of this type of theatrical joint experience for the promotion of health by transforming the quality of relationships between people. Concepts of health, culture and education were used in analysis of the results.
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Ashton, Sally-Ann. "A Preliminary Report on the Small Finds from Excavations at Lepcis Magna 1994-95." Libyan Studies 27 (1996): 11–15. http://dx.doi.org/10.1017/s0263718900002363.
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AbstractThis is a short report on a selection of the small finds from the excavations of a Roman house which lies to the west of the theatre at Lepcis Magna. The pottery and coins from the current levels of excavation have been dated to the late 5th and early 6th centuries AD; however, many of the objects seem to be residual. One of the most interesting finds was a solid bronze ring, decorated with two female figures. The object seems to have been functional, with the ring and the bars on which the woman are seated being attached to a soft material such as leather. These characteristics, which can be found on parallel examples, along with other bronze artefacts from the site suggest that the former was part of the decoration of a horse drawn carriage. Several pieces of jewellery were found including two gemstones which were once part of a finger ring, dating from the 2nd century AD. The first is a garnet and shows the goddess Artemis/Diane in her role of huntress, holding a bow and arrow. The second, which is a cornelian, is decorated with a portrait of a youth and may well be a local copy of a type circulating at the time. Many pieces of locally crafted bone and ivory were also found, including a bone plaque with a floral decoration which was originally intended as a decorative inlay for a small object such as a box. A similar piece from Egypt has been dated to around the 3rd or 4th centuries AD.
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Mally, L. "Performing the New Woman: The Komsomolka as Actress and Image in Soviet Youth Theater." Journal of Social History 30, no. 1 (September 1, 1996): 79–95. http://dx.doi.org/10.1353/jsh/30.1.79.
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Long, Hoyt. "Performing the Village Square in Interwar Japan: Toward a Hidden History of Public Space." Journal of Asian Studies 70, no. 3 (August 2011): 754–77. http://dx.doi.org/10.1017/s0021911811000891.
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Histories of public space generally assume a strong correlation between the health of a nation's civil society and the vibrancy of its public sites, in so much as the latter provide an observable venue for free assembly and popular protest. This essay, while not opposing such a view, offers a corrective to the kind of history it encourages, wherein public space appears politically relevant only at its most visible moments. Framing the analysis is Japanese provincial writer Miyazawa Kenji (1896–1933) and his “Poran no hiroba” (Poran's Square), which survives as a piece of school theater and an evolving prose narrative about a rural youth who reclaims for his agrarian community a site of shared assembly. By interrogating public space as an object of the literary and theatrical imagination, specifically in the context of interwar rural Japan, the author argues that its less visible aspects have much to tell us about its relation to civil society, both perceived and actual, in the waning years of “Imperial Democracy.”
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Hann, Louisa. "‘If we Can’t Have a Conversation with our Past, then What will be Our Future?’: HIV/AIDS, Queer Generationalism, and Utopian Performatives in Matthew Lopez’s The Inheritance." English: Journal of the English Association 69, no. 265 (2020): 100–121. http://dx.doi.org/10.1093/english/efaa014.
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Abstract As the HIV/AIDS epidemic approaches its fifth decade, and emerging generations of queer-identified youth experience and conceptualize the virus in new ways, questions surrounding the memorialization and historicization of queer history have arisen within the arts. In the domain of theatre in particular, as mainstream revivals of crisis-era plays such as Larry Kramer’s The Normal Heart (1985) and Tony Kushner’s Angels in America (1991) proliferate, criticisms have arisen that such revivals feed into a narrative of the so-called ‘AIDS nostalgia’, pushing the idea that HIV/AIDS is a thing of the past and ignoring the ways in which the virus continues to shape individual social and sexual experiences. Recently, however, new plays such as Jonathan Harvey’s Canary (2010), the GHP Collective’s The Gay Heritage Project (2013), and Matthew Lopez’s The Inheritance (2018) have explicitly addressed this issue, conceptualizing a revised queer politics of HIV/AIDS that transcends Angels’ famous call for ‘The Great Work’ to begin. This article explores how The Inheritance in particular problematizes ‘AIDS nostalgia’ and configures novel approaches to the politics of HIV/AIDS in the twenty-first century. Alongside scholarship within the field of queer utopian studies such as José Estaban Muñoz’s Cruising Utopia (2009) and Jill Dolan’s Utopia in Performance (2005), it analyses the ways in which Lopez’s play employs utopian performatives to move towards a new politics of queer heritage.
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Kallio, Alexis A., and Heidi Westerlund. "The ethics of survival: Teaching the traditional arts to disadvantaged children in post-conflict Cambodia." International Journal of Music Education 34, no. 1 (June 25, 2015): 90–103. http://dx.doi.org/10.1177/0255761415584298.
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Cambodia’s recent history of conflict and political instability has resulted in a recognized need to recover, regenerate, preserve and protect the nation’s cultural heritage. Many education programmes catering for disadvantaged youth have implemented traditional Khmer music and dance lessons, suggesting that these programmes share the responsibility of cultural regeneration, and view the survival of traditional art forms as dependent on their bequeathal to these young children. In this regard, the musical future of the country is, at least in part, dependent on the success of the vulnerable. However, these vulnerable students are living in a rapidly changing Cambodia, with higher levels of education, increasing international communications and influences, developing infrastructure, urbanization and fundamentally different ways of going about everyday life, work and leisure, to their parents’ and grandparents’ generations. Through semi-structured individual interviews conducted with Cambodian staff and music, dance and theatre teachers from three music and dance programmes provided by non-governmental organizations catering for vulnerable and disadvantaged young people, we explore how the conflicting objectives of conservation and cosmopolitanism are negotiated and navigated in schools. This study explores themes of conservation, coexistence of multiple traditions and education in wider Cambodian society through performance. These themes are discussed in relation to the ethics of arts teaching, which—whilst intensified in the Cambodian context—are relevant beyond this particular case study.
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Curseen, Allison S. "Black Girlish Departure and the “Semiotics of Theater” in Harriet Jacobs's Narrative; or, Lulu & Ellen: Four Opening Acts." Theatre Survey 60, no. 1 (December 21, 2018): 91–121. http://dx.doi.org/10.1017/s0040557418000510.
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Harriet Jacobs'sIncidents in the Life of a Slave Girlwas edited and introduced to its antebellum reading public in 1861 by the white abolitionist Lydia Marie Child. Nearly a century and a half later, another Lydia once again brings Jacobs's story to the public attention asHarriet Jacobs, a stage play by critically acclaimed African American playwright Lydia R. Diamond. Chicago's Steppenwolf Theatre commissioned and debuted the play in 2008 as part of its youth program. Regarded as Diamond's best work, the play ends with Jacobs, recently liberated from her hiding space of seven years, declaring to the audience, “But it was above Grandmother's shed, in the cold and dark, in the heat and solitude, that I found my voice.” This aspirational claim to an unshackled black girl voice reverberates a twenty-first-century renewal of black women artists, scholars, and activists committed to recovering, proclaiming, and celebrating black girls. With subsequent back-to-back productions in 2010 by the Underground Railway Theater and Kansas City Repertory Theatre (KCRep), the play heralds the millennial energy of both the 2013 #blackgirlmagic social-media campaign and the 2014 formation of black girlhood studies (BGS), an academic field that prioritizes “a rigorous commitment to locating the voices of black girls,” and elucidating the “local” intersections of race, gender, and other areas in which “black girls’ agency comes into view.” It is precisely this energetic recovery of a black girl voice on the contemporary stage—a Harriet for the new millennial—that makesHarriet Jacobsso attractive. Describing her vision for the KCRep production, director Jessica Thebus stated: “Our task as I see it, today, is to tell the story with the clarity and energy of Harriet Jacobs's voice with her humor, with her intellect, and consciousness.” And promoting Wayne State's 2017 production, Dale Dorlin writes:For director Billicia Charnelle Hines, Harriet Jacobs is not a slave play, but a prime example of a heroine's journey. “This is an adventure story,” says Hines, “about a heroine who, no matter what, was determined to be free. That's someone I look up to. … I want people to think of her as a hero.”Hines's focus on the hero and adventure genre echoes the comments of Hallie Gordon, director of the original Steppenwolf production, which located the play within another genre of Western subject formation, the bildungsroman; for Gordon, “Harriet Jacobsis about the strength of this one girl who turns into a woman in front of our very eyes.” Critic Nancy Churnin, lauding the play's accessible rendering of a young female who finds in dismal confinement not only freedom but her voice, titled her 2016 review of the Dallas-based African American Repertory Theater's production, “A Slave Tale with Echoes of Anne Frank.” Resonant with Diamond's own desire for “Harriet Jacobs … to exist, theatrically, alongside Anne Frank and Joan of Arc,” Churnin's title presumably refers toThe Diary of Anne Frank,Frances Goodrich and Albert Hackett's 1955 stage adaptation of Anne Frank'sDiary of a Young Girl(first performed at the Cort Theatre on Broadway). Still, considering that Jacobs lived well before Frank, the comparison is curious. Reflected in that curiousness is something of the irony of lauding a portrait of historical black girlhood that obscures the minor complexities of a “slave tale” or “slave play.” The comparison effectively fits the black girl into a role of heroic girl power shaped by a history of white girlhood, in which the slave girl, coming too early, can be imagined only anachronistically at best.
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Bankauskaitė-Sereikienė, Gabija, and Eglė Keturakienė. "Eternal Contemporaneity in Advertisements of „Naujoji Romuva“ (1931–1940)." Respectus Philologicus 26, no. 31 (October 25, 2014): 177–89. http://dx.doi.org/10.15388/respectus.2014.26.31.14.
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Advertising appealing to senses is satiated with the dream of immortality. The society striving for an eternal state of mythical youth lives in the reality of theatre and manipulations. On the one hand, advertising offers certain society life models through myth, archetypical symbols. On the other hand, culture of global observation, watching changes life into an illusion and life simulation. The more a person succumbs to abstractedness of life in advertisements, the greater demand for mythical time, eternal moment and harmony arises. Advertising which has categorically prohibited for a society to get older, gives an individual an illusion of eternal contemporaneity through archetypes. Modern man sees himself as a creator of history, hence, he feels great temptation to take part in an imaginary act of creation. The article provides the analysis of archetypac imagery in interwar advertisements on the basis of insights of R. Barthes, G. Debord and M. McLuhan on mythological structures of thinking, advertisements and modern society of a performance as well as thoughts of M. Eliade on repetition of time. For the analysis publication Naujoji Romuva (1931-1940) has been chosen. The expression of archetypes has been discussed after they have been categorized into three groups under character and general context of archetypal structures: archetypes of world creation, prototypes of man and woman, and mythical, folklore. Prototypes of man as a hero and woman as having a mystic role to continue the cycle of life, as well as mythical, folklore symbols (mirror, horseshoe, spruce, flower) also play the said role. Archetypal imagery is often found in advertisements of cosmetics, chemicals and sealants.
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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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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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Mosusova, Nadezda. "The wedding and death of Milos Obilic: From The Fairy’s veil to The Fatherland." Muzikologija, no. 25 (2018): 119–31. http://dx.doi.org/10.2298/muz1825119m.
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The prominent Serbian and Yugoslav composer Petar Konjovic (1883-1970) wrote five operas between 1900 and 1960. Konjovic?s operatic opus represents his homeland and his spiritual spectrum: in the first place, indelible memories of his childhood and youth focused on the Serbian National Theatre in Novi Sad, in particular its heroic repertoire of Serbian literature. Consequently, three out of five of Konjovic?s music dramas are derived from Serbian epic and theatre plays. In addition to Ivo Vojnovic?s Death of the Jugovic Mother, these are Dragutin Ilic?s Wedding ofMilos Obilic and Laza Kostic?s Maksim Crnojevic. Therefore three of Konjovic?s operas can be conditionally brought together as being in many ways related, not only by their content but also by music and the scope of time they were created: The Fairy?s Veil (based on Wedding of Milos Obilic)during World War I, The Fatherland (based on Death of the Jugovic Mother)during World War II, and between them The Prince of Zeta (based on Maksim Crnojevic). The last of them, subtitled ?A sacred festival drama? (following with its subtitle the idea of Wagner?s Parsifal) had its gala performance in Belgrade National Theatre on 19 October 1983. The structure of the musical composition was inspired by the ?Kosovo mystery play? by Vojnovic (1857-1929), an outstanding dramatist from Dubrovnik. In this case, the playwright was a narrator of the historical-legendary past of the Serbs. Drawing on Serbian national epic poetry which deals with the downfall of the Serbian medieval empire caused by the Turkish invasion, Vojnovic constructed his play on the basis of the central poem of the epic cycle about Kosovo, The Death of the Jugovic Mother. Both the epic and Vojnovic?s play present the tragedy of Serbian people in the figure of the Mother. She dies with a broken heart after the loss of her heroic husband, Jug-Bogdan, and her nine sons, the Jugovici, in the decisive battle against the Turks in the Kosovo field in 1389. Vojnovic?s play was performed in Belgrade and Zagreb in 1906 and 1907 respectively, as well as in Trieste (1911) and Prague (1926); and several Serbian and Croatian composers wrote incidental music for it. Slovenian composer Mirko Polic was also inspired by it and his work was performed in Ljubljana in 1947, while Konjovic?s ?festival drama? finished in 1960 was staged much later. Its premiere in 1983 was scrupulously prepared by the father-son duo, Dusan Miladinovic (conductor) and Dejan Miladinovic (director), who paid special attention to the visual aspect of the performance. The director, together with the scenographer Aleksandar Zlatovic created for The Fatherland a semi-permanent set of symbolical characters, with an enormous raven, made of jute, replacing the backdrop. The costume designer was influenced by medieval frescoes from Serbian monasteries in Kosovo. The director himself conceived a ?mute? and motionless appearance of figures of Serbian warriors in ?tableaux vivants? by placing them in attitudes of combat on the edge of the revolving stage during the curtain music between the acts. What the composer Konjovic aimed for with his last music drama was to eternalize in music the beautiful Serbian epic, depicting the tragic history of his people and thus reminding Serbs of their roots. In this sense The Fatherland was Konjovic?s Ninth Symphony and his oath of Kosovo.
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Jolles, André, and Peter J. Schwartz. "Legend: From Einfache Formen (“Simple Forms”)." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 728–43. http://dx.doi.org/10.1632/pmla.2013.128.3.728.
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Who was andré Jolles? born in den helder in 1874; raised in amsterdam; in his youth a significant player in the literary Movement of the Nineties (Beweging van Negentig), whose organ was the Dutch cultural weekly De Kroniek; a close friend of Aby M. Warburg's and Johan Huizinga's—Jolles studied art history at Freiburg beginning in 1902 and then taught art history in Berlin, archaeology and cultural history in occupied Ghent during World War I, and Netherlandic and comparative literature at Leipzig from 1919 until shortly before his death, in 1946. A man of extraordinary intellectual range—his publications include essays on early Florentine painting, a dissertation on the aesthetics of Vitruvius, a habilitation thesis on Egyptian-Mycenaean ceremonial vessels, literary letters on ancient Greek art, and essays in German and Dutch on folklore, theater, dance, Boccaccio, Dante, Goethe, Zola, Ibsen, Strindberg, and Provençal and Renaissance Italian poetry—he was also an amateur playwright and an outspoken champion of modern trends in dramatic art and stage design. To his friends, he could be something of an intellectual midwife, helping Warburg to formulate what would become a signature notion, the “pathos formula,” and Huizinga to conceive The Waning of the Middle Ages (1919). Jolles's chief work, the one for which he is best known, is Einfache Formen (1930; “Simple Forms”), a collection of lectures he had delivered in German at Leipzig in 1927-28 and revised.
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Hosaka, Sanshiro. "Welcome to Surkov’s Theater: Russian Political Technology in the Donbas War." Nationalities Papers 47, no. 5 (September 2019): 750–73. http://dx.doi.org/10.1017/nps.2019.70.
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AbstractThe leaked email accounts of Putin’s aide on Ukraine, Vladislav Surkov, are vast primary source collections that shed light on the backstage happenings of the Kremlin’s politics in the Donbas war. Surkov is an excellent dramaturg; he writes scripts, casts actors, analyzes their performance and narratives, runs promotions, and puts the repertoire into motion to achieve intended reactions of the target audience. Methods and resources employed against Ukraine have much in common with political technology that helps the Kremlin to manipulate public opinion as well as election systems using pseudo-experts, technical parties, fake civic organizations and youth movement such as Nashi, and covert media techniques. Moscow tactically promoted the myth of “Novorossiya”—later the circumstances forced Surkov to replace it with “Donbas.” These tactics gave false credibility to “separatists” who would voice Moscow’s objections to any attempts of Ukraine to drift westward, creating an illusion in the domestic and international audience: the separatists are not puppets of Moscow but desperately fight against Kyiv junta for their localized identity, and Russia is just there to offer them a helping hand. The Russian policy toward Ukraine after the 2013 fall is an extension of its “virtual” domestic politics, but not traditional diplomacy at all.
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Cech, John. "A "People's Theatre" for Youth." Lion and the Unicorn 11, no. 2 (1987): 128–35. http://dx.doi.org/10.1353/uni.0.0265.
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Pufahl, Jeffrey, Camilo Reina-Munoz, and Hannah Bayne. "Theatre Connect: Key Strategies for Facilitating LGBTQQ Youth Theatre Programs." Health Promotion Practice 22, no. 1_suppl (May 2021): 31S—34S. http://dx.doi.org/10.1177/1524839921996290.
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Youth who identify as lesbian, gay, bisexual, transgender, queer, or questioning (LGBTQQ) often experience heterosexism, homophobia, prejudice, and bullying in addition to the typical demands of adolescent development. Applied theatre programs have been shown to empower youth, improve mental health and well-being, and create positive identity and interpersonal relationships and, as such, have the potential to strengthen a range of protective factors for LGBTQQ youth. However, when programs engage participants in personal narratives, practitioners must be prepared to deftly navigate between the two domains of theatre in health and drama therapy. Since 2017, the University of Florida’s (UF) Center for Arts in Medicine has offered an afterschool theatre program for LGBTQQ youth in partnership with clinicians from UF Health’s Youth Gender Clinic and faculty in the Mental Health Counseling training program in the College of Education. Theatre practitioners lead the program in partnership with mental health professionals, who participate in sessions and are “on call” for participants. Program facilitators have developed a set of guidelines for organizations attempting to start LGBTQQ or other youth theatre programs in their local communities, which include the following recommendations: (1) prioritize safe and ethical practice through creating sustainable partnerships between mental health counsellors, experienced theatre practitioners, and local LGBTQQ organizations; (2) develop a clear contract between participants and facilitators regarding program goals; (3) utilize Baim’s drama spiral as a conceptual tool and limit program activities to the first four spiral rings; (4) emphasize “play” and skill building rather than LGBTQQ topics.
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Gallasch, Keith. "Promise and Participation: Youth Theatre in Australia." New Theatre Quarterly 2, no. 5 (February 1986): 90–93. http://dx.doi.org/10.1017/s0266464x00001950.
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If theatre-in-education achieved its impact by taking theatre to the young in the 'seventies, then the developing youth theatre movement might be seen as part of the reaction to that initiative in the 'eighties. Here Keith Gallasch, artistic director of the State Theatre Company in South Australia, himself a writer, recalls his first involvement with youth theatre, and goes on to sketch some of its dilemmas and prospects.
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Conrad, Diane. "Popular Theatre: Empowering Pedagogy for Youth." Youth Theatre Journal 18, no. 1 (May 2004): 87–106. http://dx.doi.org/10.1080/08929092.2004.10012566.
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Bute, Chinué, Shannon Elizabeth Hughes, Tee-Jay Ndjoze, and Dequana Simmonds. "FCJ Youth Network: Perceptions on Theatre." Canadian Theatre Review 186 (April 1, 2021): 13–17. http://dx.doi.org/10.3138/ctr.186.003.
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Elliott, Matthew. "Young People as Legislators: Legislative Theatre and Youth Parliament." Applied Theatre Research 9, no. 1 (July 1, 2021): 73–86. http://dx.doi.org/10.1386/atr_00049_1.
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Young People as Legislators is the result of a six-month Legislative Theatre project with Collective Encounters Youth Theatre, Youth Focus NW and Youth Parliament UK. The project formed part of a wider scheme of practice as research that explored youth theatre practice as political engagement for young people. Legislative Theatre practice was utilized to work alongside the Youth Parliament’s Make Your Mark scheme, an annual poll for young people to decide on campaigning issues. In this article, I consider three elements: tokenism in youth engagement, differing experiences between artistic process and product, and applied theatre’s inability to develop long-term effects. Employing the critical theories of Paulo Freire, the article regards the practice as a failed attempt to develop critical youth theatre practice. I argue that the Legislative Theatre project led to uncritical engagement and no political change due to partner organizations regarding the theatre practice as a service to satisfy their own targets and requirements.
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Coetser, J. L. "Kinder- en jeugtoneel in Afrikaans: oorsig en tendense." Literator 25, no. 3 (July 31, 2004): 83–106. http://dx.doi.org/10.4102/lit.v25i3.265.
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Children’s and youth theatre in Afrikaans: Overview and trends This article consists of two main parts. The first part provides a historical overview of children’s and youth theatre in Afrikaans, followed by the identification of some trends associated with this form of theatre. The initial aim of the article is to supplement current brief overviews of children’s and youth theatre and then to postulate that the same social, political and economic influences are present in children’s and youth theatre as in theatre intended for adult audiences. The discussion concludes that children’s and youth plays in Afrikaans, notably those published after 1922, offer indications of realities that playwrights, audiences and readers of these plays were confronted with.
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Koljazin, V. F. "Free Artist in the Strong Arms of Power (1928–2020)." Philosophical Letters. Russian and European Dialogue 3, no. 4 (December 2020): 175–202. http://dx.doi.org/10.17323/2658-5413-2020-3-4-175-202.
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In the summer of 1928, the famous Soviet Director, Creator of biomechanics and Director of the theater named after him, GOSTIM Vsevolod Emilevich Meyerhold (1874–1940) went to Paris to organize a foreign tour and suddenly received an order from the leadership of the cultural authorities to immediately return back. Tours are prohibited, and his theater faces liquidation. The Director is going through a severe moral crisis, a nervous breakdown forces him to go to the South of France for treatment. The subject of this article is the study of Parallels between the cultural policy of the Soviet party bureaucracy of the 1920s and the Russian authorities of the 2020s, which were particularly acute during the trial of the 7th Studio under the leadership of Kirill Serebrennikov. As before, so now the authorities exercise censorship and ideological supervision by means of administrative and financial regulation, regardless of the artist’s reputation and ethical issues. The article examines the obvious and secret reasons for the persecution of a prominent proletarian Director, the stages of his despair, emotions and resistance, as well as the picture of events on the other side of the fight in Moscow — in the corridors of the Narkompros. This is a period when the obvious opposition to Stalin to Meyerhold has not yet found clear outlines but has already affected indirectly, bringing the tragic denouement of the end of the 1930s — the closure of the theater and the execution of the Director. Most of the article is a montage of documentary archival materials published for the first time-transcripts of meetings and correspondence between Meyerhold and his wife Zinaida Reich with cultural authorities and friends in the theater (the so-called “frantic letters”). The drama of the artist and the triumph of a soulless bureaucracy speak for themselves in the documents of the era. The lesson of history, unfortunately, has not been learned, as the trial of the head of the Gogol Center Kirill Serebrennikov showed, fortunately, not deprived of the opportunity to work, but accused of embezzling a huge amount of money, allegedly irrationally used for productions in the youth 7th Studio.
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Nyatepeh Nyatuame, Promise, and Akosua Abdallah. "Youth Theatre and Community Empowerment in Ghana." Theatre and Community 9, no. 2021-1 (June 30, 2021): 122–49. http://dx.doi.org/10.51937/amfiteater-2021-1/122-149.
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As contemporary theatre and new production models are now being evaluated with more regard to community empowerment, the importance of proper tools for evaluation of the process has increased. The article explored the community youth theatre practices of the Community Youth Cultural Centre (CYCC) of the National Commission on Culture (NCC) in Ghana. We examined the role of the youth theatre at CYCC in the light of community empowerment. Using the qualitative case study design, six artists with a minimum of five years and a maximum of thirty years of work experience with the CYCC were interviewed. Performance activities and documents of the CYCC were also observed and analysed. The findings revealed four themes: Objectives of the centre; Youth theatre practices; Abibigoro/puppetry theatre models; and non-formal and cultural education. It was found that staff and artists at the CYCC employed diverse theatrical modes to facilitate community empowerment processes. The study recommends that cultural and creative centres in Ghana should harness the potentials of the community youth theatre, develop community-specific and context-driven performance models to support artistic- aesthetic-cultural and non-formal education processes to enhance our collective strive for community empowerment in Ghana.
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Olkkonen, Satu, and Sirkku Kotilainen. "Nuoret dokumenttiteatterin tekijät kanssatutkijoina." Kulttuuripolitiikan tutkimuksen vuosikirja 3, no. 1 (May 2, 2018): 22–36. http://dx.doi.org/10.17409/kpt.63279.
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The perspective of young people as co-researchers has recently increased as a participatory framework of study in several fields of inquiry. The focus has mostly been on empowering the youth instead of methodological perspective which is the focus in this arts-based pedagogical study on youth documentary theatre as an action research. The objective of the text is to describe how the integrated practices of research and documentary theatre support youth as co-researchers.The article is based on a youth documentary theatre implemented in 2016 as a case example. Seven 17–28-year-old youngsters were invited to make theatre as co-researchers and as informants of their own life course, especially in-between the stages of schooling. The research material consists of multiple data, for example, research diary of the director, interviews, the verbatim theatre piece and the documented five live performances including audience feedback.Results show that documentary theatre can function as a research team, following the collective praxis method in which the youth co-research is supported by director’s choices implementing equal partnerships. Director’s role is a facilitator giving freedom and space to the youth’s decisions on the narrative and play. This is the way for more robust insider knowledge as well.How cultural policies and research are taking into account youth agency? Dignifiying youth is offered as a conclusion. In institutions like theatre, inclusive youth pedagogies and forms of directing are suggested, taking youth as co-artists together with professional adults. This applies to youth research as well.
Key words: young people, documentary theatre, co-researching, action research, artistic research
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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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Hunter, Mary Ann. "Anxious Futures: Magpie2 and ‘New Generationalism’ in Australian Youth-Specific Theatre." Theatre Research International 26, no. 1 (March 2001): 71–81. http://dx.doi.org/10.1017/s0307883301000074.
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The field of contemporary youth-specific theatre in Australia is one of change and, in some cases, anxiety. While Drama Studies continue to grow in popularity in schools, previously conventional developmental paradigms have become less mandatory for theatre for, by, and about young people outside the school context. Instead, ‘new generation’ approaches in youth-specific performance are placing greater value on young people's own preferences in cultural activity. Yet this development is being tempered and further complicated by a cultural ‘generationalism’, particularly in larger arts organizations as the youth sector becomes a more integral part of marketing strategies for the future. The resulting ambiguity in the representation, value, and positioning of young people and youth-specific arts in Australia's theatre industry is considered by focusing on Magpie2, a former youth-specific company attached to the State Theatre Company of South Australia. Magpie2 ceased operation in 1998 after experimenting with a ‘new generation’ approach to theatre for young people in the State Theatre realm. Both the artistic policy of Magpie2 Director, Benedict Andrews, and the critical reception of his two productions in 1997, Future Tense and Features of Blown Youth, demonstrate how competing systems of cultural value characterize the field of youth-specific theatre in Australia.
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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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Hallewas, Anita. "Researching and devising youth theatre: Loss of voice and agency through parachute theatre." Youth Theatre Journal 33, no. 2 (July 3, 2019): 153–62. http://dx.doi.org/10.1080/08929092.2019.1688745.
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ADKINS, BARBARA, and MICHAEL EMMISON. "YOUTH THEATRE AND THE ARTICULATION OF CULTURAL CAPITAL." Journal of Contemporary Ethnography 21, no. 3 (October 1992): 307–42. http://dx.doi.org/10.1177/089124192021003002.
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Jensen, Amy Petersen. "Convergence Culture, Learning, and Participatory Youth Theatre Performance." Youth Theatre Journal 25, no. 2 (July 2011): 146–58. http://dx.doi.org/10.1080/08929092.2011.569528.
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Falconi, María Inés. "Theatre for Children and Youth: Art or Pedagogy?" Youth Theatre Journal 29, no. 2 (July 3, 2015): 159–65. http://dx.doi.org/10.1080/08929092.2015.1084828.
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Kuftinec, Sonja. "Eighteenth International Days of Youth Theatre Festival (review)." Theatre Journal 50, no. 1 (1998): 111–13. http://dx.doi.org/10.1353/tj.1998.0032.
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Shodell, Elly. ":Reminiscence Theatre: Making Theatre from Memories." Oral History Review 34, no. 2 (September 2007): 181–82. http://dx.doi.org/10.1525/ohr.2007.34.2.181.
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Annichev, О. Ye. "The interaction of theatrical journalism and theatrical criticism in the modern media." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 115–26. http://dx.doi.org/10.34064/khnum1-51.06.
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Background. Topicality of the theme. With the advent of the Internet, Internet journalism has appeared. In relating to theater, in essence, it is theatrical criticism, which has only undergone major changes. In recent years, there have been lively discussions in professional circles about the state and prospects of theater criticism as a profession, about the nature of theater criticism, its self-identification in the modern information space. Round tables with the participation of leading theater critics are devoted to the issues of the current state of theater criticism, a number of relevant materials have been published in specialized publications, often with indicative headings: “Who needs theater critics?” [1], “Theater criticism: final or transformation?” [9]; interviews of theater critics, in which they uphold the positions of the profession and, at the same time, speak about urgent problems and the need to update it taking into account rapidly changing realities: with S. Vasilyev [2], N. Pivovarova [5], Ya. Partola [6]; discussion articles on the status and prospects of the profession by M. Harbuziuk [3], M. Dmitrevskaya [4], N. Pesochinsky [7], I. Chuzhynova [10], S. Schagina, E. Strogaleva, E. Gorokhovskaya [11]. Thus, there are several points of view on this topic: that theatrical journalism has replaced theatrical criticism; that theatrical critics of the old school did not have time to adapt to the changing world and use new tools in this profession, and young critics just occupy their niches in the youth media and on the Internet; that the profession of a critic does not go beyond the framework of participation in expert councils, jury membership, attendance at theater festivals, and writing reviews on request. The question, however, is still open. The main goal of this article is to determine the degree and main character of the interaction of journalism and theatrical criticism in modern media. Results of the study. Those who are seriously engaged in theater studies and academic theater criticism feel the need for specialized publications, the number of which in Ukraine is reduced to a minimum. Therefore, those who had the opportunity to publish reviews in the socio-political periodicals, have to combine three professional areas in one, becoming a theater journalist. Academically trained theater critics can write and often write good books, but, as a rule, do not know how to write for newspapers and magazines. But graduates of journalistic departments who write about the theater are not familiar with professional terminology, which is able to give a correct assessment of the premiere performance. The question arises: how to combine those and these, that the theater journalism was both fascinating and acute, and moderately scandalous, but at the same time accurate and high-quality? To grow such specialists is a matter of work, there can be no conveyor system here. Modern theater criticism, gradually becoming obsolete, rather survives from the common theatrical space. The theater critic cannot be a free artist, and live on the money from the results of his work, because in non-capital cities the number of journals in which the theater specialist would have had time to publish his works has decreased by several times. In cities such as Poltava, Sumy, Chernigov, the issues relating to theatrical premieres are not covered by critics (they are simply not there), but by journalists who write on various topics and rarely specialize in one. The substitution of theatrical critique by journalism is quite natural, for example, for cities where there is no professional training of theater critics, however in Kiev, Kharkiv and Lviv theater studies continue, and a certain number of graduates hope for the viability of this profession. Theatrical criticism and theatrical journalism are in their own way demanded in certain circles. Criticism is closer to theaters, journalism – to the audience. It is difficult to debate with this statement that new epoch came with the Internet. Now, the spoken word has a completely different value. For example, а word thrown on Facebook can have the same effect on public opinion as a big, built, hard fought text. This does not mean that you do not need to write large texts and publish them on paper. You just need to understand and accept the new reality, its advantages and disadvantages, its danger and its benefits. It is a very important problem of our consciousness and the problem of our theater. The Internet has given a new push to the development of new type of media-translations, actively working in social networks. Sites appear on the network where online remote screenings of performances are held. They provide Internet audiences with the opportunity to be acquainted with the history of national and world theater art; they are introduced to modern avant-garde performances. Of course, this also brings the theater closer to a wide, as a rule, young audience and opens up new opportunities for a different kind of theater journalism. Сonclusions. Thus, the Internet becomes an active means of influencing the minds in the modern media space. The Internet influences everyone and everything, changing attitudes towards theatrical art, as well as contemporary theater criticism and theater journalism. However in this case, it is essential to remember that not the Internet, but only professional theater criticism that has been and remains the breeding ground for the scientific work of theater critics and art historians, while creating the history of dramatic, opera and ballet theater.
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Hluscu, Andreea, and Tita Kyrtsakas. "“I’m So Happy I’m Here Tonight”." Canadian Theatre Review 187 (July 1, 2021): 61–65. http://dx.doi.org/10.3138/ctr.187.020.
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How valuable is youth artistry in Toronto theatrical productions? How important is including diverse and under-represented youths at cornerstone theatre festivals like SummerWorks? What are the barriers to youth theatre? In our article, we explore these questions by examining the AMY (Artists Mentoring Youth) Project, which seeks to provide accessible performing arts training and creation programs to women and non-binary youth from equity-seeking communities. In addition to examining the relationship the mentors of the program have with the participants, we look at how vital youth representation is at SummerWorks. The AMY Project works to break down barriers that are often felt by youths in performing arts, and, as a result, young people produce socially engaging work that is well received and necessary to the festival and the Toronto theatre community.
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Whybrow, Nicolas. "The ‘Art‘ of Political Theatre-Making for Educational Contexts." New Theatre Quarterly 11, no. 43 (August 1995): 277–91. http://dx.doi.org/10.1017/s0266464x00009143.
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In NTQ 39 (August 1994) Nicolas Whybrow provided an analysis of ideological changes which have recently occurred in the organization and running of schools and youth clubs. He went on to discuss the ways in which theatre in education (TIE) and theatre in youth work – commonly grouped under the title of Young People's Theatre (YPT) – were being affected by these changes. Here, in the second of two articles, he shifts his perspective towards the standpoint of theatre companies themselves, with a view to locating where the political efficacy of their practices might lie. Nicolas Whybrow is a lecturer at the Workshop Theatre, School of English, Leeds University.
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Roberts, Meagan, Roanna Lobo, and Anne Sorenson. "Evaluating the Sharing Stories youth theatre program: an interactive theatre and drama-based strategy for sexual health promotion among multicultural youth." Health Promotion Journal of Australia 28, no. 1 (June 27, 2016): 30–36. http://dx.doi.org/10.1071/he15096.
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Ngo, Bic. "Naming Their World in a Culturally Responsive Space." Journal of Adolescent Research 32, no. 1 (October 26, 2016): 37–63. http://dx.doi.org/10.1177/0743558416675233.
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This article draws on ethnographic research of a youth theatre program within a Hmong arts organization to explore the ways in which a culturally responsive program nurtured critical consciousness among Hmong immigrant youth. Hmong youth “named” struggles with stereotypes and acculturation expectations, and constructed positive ethnic identities as Hmong Americans in the theatre program. The study contributes to the after-school youth development scholarship by explicating the ways arts programs within co-ethnic, community-based organizations may afford immigrant youth with a means to rescript life stories, confront injustices perpetrated against them, and feel a sense of agency.