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Journal articles on the topic 'Humanities -> theatre -> general'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

MOLONY, MARTIN G. "‘Oh, This Is More of Stretch’s Show’: Randal Stretch and Puppet Theatre in Eighteenth-Century Ireland." Eighteenth-Century Ireland: Volume 37, Issue 1 37, no. 1 (2022): 91–107. http://dx.doi.org/10.3828/eci.2022.6.

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This article outlines the popularity - and financial success - of an eighteenth-century Dublin puppet theatre that threatened mainstream theatres of the time. Randall Stretch’s puppet theatre, in Dublin’s Capel Street, became the centrepiece for satirical and political commentary of the day. Stretch’s theatre caught the attention of Dean Swift and his circle and is commemorated in satirical verse of the period. For decades, Dubliners used the phrase ‘This is more of Stretch’s Show’ to refer to anything outlandish or incredible. The article underlines the power of the puppet theatre as a satiri

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2

Godin, Jean. "Theatre." University of Toronto Quarterly 56, no. 1 (1986): 68–72. http://dx.doi.org/10.3138/utq.56.1.68.

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3

Godin, Jean Cléo. "Theatre." University of Toronto Quarterly 57, no. 1 (1987): 74–77. http://dx.doi.org/10.3138/utq.57.1.74.

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4

McEwan, Barbera. "Theatre." University of Toronto Quarterly 58, no. 1 (1988): 72–76. http://dx.doi.org/10.3138/utq.58.1.72.

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5

McEwan, Barbera. "Theatre." University of Toronto Quarterly 59, no. 1 (1989): 78–84. http://dx.doi.org/10.3138/utq.59.1.78.

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6

McEwen, Barbara. "Theatre." University of Toronto Quarterly 60, no. 1 (1990): 79–90. http://dx.doi.org/10.3138/utq.60.1.79.

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7

McEwen, Barbara. "Theatre." University of Toronto Quarterly 61, no. 1 (1991): 102–13. http://dx.doi.org/10.3138/utq.61.1.102.

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8

McEwen, Barbara. "Theatre." University of Toronto Quarterly 62, no. 1 (1992): 93–104. http://dx.doi.org/10.3138/utq.62.1.93.

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9

McEwen, Barbara. "Theatre." University of Toronto Quarterly 63, no. 1 (1993): 118–36. http://dx.doi.org/10.3138/utq.63.1.118.

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10

O'neill-Karch, Mariel. "Theatre." University of Toronto Quarterly 64, no. 1 (1994): 106–20. http://dx.doi.org/10.3138/utq.64.1.106.

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11

O'Neill-Karch, Mariel. "Theatre." University of Toronto Quarterly 65, no. 1 (1996): 115–28. http://dx.doi.org/10.3138/utq.65.1.115.

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12

O'Neill-Karch, Mariel. "Theatre." University of Toronto Quarterly 66, no. 1 (1997): 35–49. http://dx.doi.org/10.3138/utq.66.1.35.

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13

Balaskas, Vasileios. "Collective memory and Spanish cultural politics: the revival of the Roman theatre of Merida (1910–35)." Classical Receptions Journal 12, no. 4 (2020): 470–85. http://dx.doi.org/10.1093/crj/claa004.

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Abstract In the twentieth century, ancient theatres acquired symbolic values through their excavation, restoration, and cultural reuse. While elsewhere in the Mediterranean comparable cases show an early and powerful engagement of a populace with their antiquities, in Spain national ideals did not automatically engage with classical culture. In the case of the Roman theatre of Merida, cultural and historical realities dictated a series of cultural events that repeatedly concerned collective memory. In addition to the main sequence of the unique occasions surrounding the 1933 and 1934 performan

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14

Khabutdinova, Mileusha, and Rezeda Mukhametshina. "Sławomir Mrożek at the Tatar stage: the metamorphoses of Polish stage." Przegląd Wschodnioeuropejski 8, no. 2 (2018): 309–18. http://dx.doi.org/10.31648/pw.3589.

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In this article we analyzed the stage interpretation of Sławomir Mrożek’s play on the scene of Tatar theatre. The performance of “Shashkan babay” (“The mad grandfather”) play was staged on the 10th of February, 2016 by Karim Tinchurin drama and comedy theatre in Kazan. It was the first staging of Sławomir Mrożek’s in Tatar language. In this article we generalize the history of Sławomir Mrożek’s plays production waves in Russia. The specifics of Polish text interpretation by producer Rashid Zagidullin was outlined. We proved that “Shashkan babay” play production continues the best tradition of

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15

François, Paul, Jeffrey Leichman, Florent Laroche, and Françoise Rubellin. "Virtual reality as a versatile tool for research, dissemination and mediation in the humanities." Virtual Archaeology Review 12, no. 25 (2021): 1. http://dx.doi.org/10.4995/var.2021.14880.

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<p class="VARAbstract">The VESPACE project aims to revive an evening of theatre at the <em>Foire Saint-Germain</em> in Paris in the 18<sup>th</sup> century, by recreating spaces, atmospheres and theatrical entertainment in virtual reality. The venues of this fair have disappeared without leaving any archaeological traces, so their digital reconstruction requires the use of many different sources, including the expertise of historians, historians of theatre and literature. In this article, we present how we have used video game creation tools to enable the use of v

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16

Portnova, Тatiana V. "Technologies of project activity development in theatre students as a valuable professional orientation." Research Result. Pedagogy and Psychology of Education 10, no. 4 (2024): 42–56. https://doi.org/10.18413/2313-8971-2024-10-4-0-3.

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Introduction. The modern higher education system is subject to change, especially in the humanities. This requires the formation in the educational process as a whole of a number of certain competences that students should master for the development of their professional activity. In particular, the formation of the basics of project methodology is becoming increasingly important in the education of theatre students. Despite the importance of studying methodological aspects of project activity, progress in the field of theatre education is slow, often implemented intuitively, without sufficien

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17

Goyal, Manoj, and Monika Bansal. "Shifting to Critical Medical Humanities With the Theatre of the Oppressed." Academic Medicine 96, no. 8 (2021): 1076. http://dx.doi.org/10.1097/acm.0000000000003983.

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18

Plassard, Didier. "The ERC PuppetPlays project : contribution for a non-linear history of the European theatre." Open Research Europe 3 (May 2, 2023): 72. http://dx.doi.org/10.12688/openreseurope.15807.1.

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This article is a presentation of the ERC Advanced Grant project PuppetPlays - Reappraising Western European Repertoires for Puppet and Marionette Theatre (GA 835193). After a short overview of the project itself, it begins with a definition of puppetry, based on the phenomenon of double vision. Then it explains the choice of the corpus limitations, describes the variety of the available resources, and underlines the great discrepancy in the amount of material available in the different countries. The article continues with a brief overview of the role played by puppetry in the wider frame of

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19

Petrovic, Ivana, and Andrej Petrovic. "General." Greece and Rome 65, no. 2 (2018): 282–97. http://dx.doi.org/10.1017/s0017383518000244.

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I was very excited to get my hands on what was promising to be a magnificent and extremely helpfulHandbook of Rhetorical Studies, and my expectations were matched – and exceeded! This handbook contains no less than sixty contributions written by eminent experts and is divided into six parts. Each section opens with a brief orientation essay, tracing the development of rhetoric in a specific period, and is followed by individual chapters which are organized thematically. Part I contains eleven chapters on ‘Greek Rhetoric’, and the areas covered are law, politics, historiography, pedagogy, poeti

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

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

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21

Hales, Shelley. "Art and archaeology." Greece and Rome 70, no. 2 (2023): 343–51. http://dx.doi.org/10.1017/s001738352300013x.

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The most significant book of this review is Richard Beacham and Hugh Denard's Living Theatre in the Ancient Roman House, a volume in which the authors’ previous accomplishments, expertise in theatre and leading roles at Kings Visualisation Laboratory (which is reflected in the use of digital visualizations throughout the volume, both to recreate architectural spaces and to test the viability of painted architecture), is brought to bear on domestic space. The subject, epic length, and format of the book immediately evoke the memory of Cambridge University Press's last major publication on wall

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22

Hornby, Richard, and Burnet M. Hobgood. "Master Teachers of Theatre." Journal of Aesthetic Education 23, no. 3 (1989): 117. http://dx.doi.org/10.2307/3332771.

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23

Levy, Jonathan. "Theatre and Moral Education." Journal of Aesthetic Education 31, no. 3 (1997): 65. http://dx.doi.org/10.2307/3333488.

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24

Rachmawanti, Ranti. "Book Review : Digital Bodies: Creativity and Technology in the Arts and Humanities." Jurnal Sosioteknologi 22, no. 2 (2023): 266–69. http://dx.doi.org/10.5614/sostek.itbj.2023.22.2.12.

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"Digital Bodies: Creativity and Technology in the Arts and Humanities" by Susan Broadhurst and Sara Price explores the relationship between technology and creativity in the arts and humanities. The book argues that the integration of digital technologies has had a profound impact on the way we create, produce, and consume artistic and cultural artifacts. Throughout the book, Broadhurst and Price draw on a wide range of examples from the arts and humanities, including dance, theatre, film, music, and visual art. They also engage with a range of theoretical frameworks, drawing on post-humanism,

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25

Qasas, Majd. "The Effect of Epidemics on Theatre Past and Present." Dirasat: Human and Social Sciences 49, no. 6 (2022): 1–13. http://dx.doi.org/10.35516/hum.v49i6:.3945.

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This research discusses the effect of epidemics on theatre: taking two historical models, the Greek and the Elizabethan theatre, plus researching two other contemporary models from Jordanian Theatre; first, the dramaturge experience during Covid -19, of the author Mr. Ali Elian’s new play “Touch line”, and second, the Liberal Theatre Group’s new experience in presenting their annually festival online. The research concludes that epidemics affected dramaturgies for both play writers Sophocles and William Shakespeare. Moreover, it also affected theatre workers and theatre halls. The research fin

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26

González Chacón, María del Mar. "Theatre That Speaks to Its Moment: Melt (2017) by Shane Mac an Bhaird." Estudios Irlandeses, no. 17 (March 17, 2022): 16–27. http://dx.doi.org/10.24162/ei2022-10705.

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In Melt (2017), by Shane Mac an Bhaird, two Irish scientists struggle in the Antarctic to reach glory from their research while Veba, a female creature found in the subglacial lake, questions the reality or fantasy of the episode. The study carried out in this article considers, first, the context of creation of the play through the presentation of the concept of new Irish theatres in the millennium, which involves the appearance of companies and social activism movements that challenge the notion of what theatre means. This is followed by an analysis of Ireland and the Anthropocene, to contex

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27

Imre, Zoltán. "Nations, identities, and theatres: Reflections on the concepts of national theatre in Europe." Hungarian Studies 21, no. 1-2 (2007): 239–60. http://dx.doi.org/10.1556/hstud.21.2007.1-2.11.

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28

Giacchè, Piergiorgio, and Jean Burrell. "At the Margins of Theatre. On the Connection Between Theatre and Anthropology." Diogenes 47, no. 186 (1999): 83–92. http://dx.doi.org/10.1177/039219219904718608.

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29

Gurr, Andrew. "Static scenes at the Globe and the Rose Elizabethan theatres." Antiquity 68, no. 258 (1994): 146–47. http://dx.doi.org/10.1017/s0003598x00046305.

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In 1989, we reported the state of affairs at the Rose, and in 1992 at the Globe, the two Elizabethan theatres in London which survive archaeologically. They are the unique remnants of a unique and uniquely valued kind of building, Shakespeare's workplaces. On December 1993, Sam Wanamaker died, whose inspired scheme to re-make a Shakespearean Globe using evidence from these remnants is at last being built. We asked Andrew Gurr, co-author of our two reports, to tell us what is happening at both original theatre sites. His story is of scenes that are, by Shakespeare's standards, most static.

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30

Rosivach, Vincent J. "The Audiences of New Comedy." Greece and Rome 47, no. 2 (2000): 169–71. http://dx.doi.org/10.1093/gr/47.2.169.

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There is a school of thought which attributes the more refined discourse of New Comedy (compared with that of the Old) at least in part to a change in the composition of Athenian theatre audiences. This way of thinking assumes that payment for attending theatre performances (the so-called theōrikon) was discontinued along with other payments for i public service under the oligarchic regimes Macedonia imposed upon Athens in the late fourth century B.C.; and it further assumes that with the elimination of this subsidy many of the poor could no longer afford to attend the theatre. The first of th

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31

Starkey, Kenneth, Sue Tempest, and Silvia Cinque. "Management education and the theatre of the absurd." Management Learning 50, no. 5 (2019): 591–606. http://dx.doi.org/10.1177/1350507619875894.

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In this article, we recommend the drama of theatre of the absurd as a novel space for critically reflecting upon management and management education as shaped by the forces of emotion, irrationality and conformism rather than reason. We discuss the theatre of the absurd as uniquely relevant to understanding our troubled times. We present a brief overview of the history of business schools and management education. We apply the idea of absurdity to the world of business schools and management education, focusing on the work of one of the theatre of the absurd’s leading proponents, Eugène Ionesc

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32

MCMINN, JOSEPH. "Swift and Theatre." Eighteenth-Century Ireland 16, no. 1 (2001): 35–46. http://dx.doi.org/10.3828/eci.2001.5.

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33

Midam, Khalid. "Connecting Faith through Theatre: Barazan’yee as a Semi-Ritual Performance in Thai Muslim Communities." MANUSYA: Journal of Humanities 24, no. 1 (2021): 3–21. http://dx.doi.org/10.1163/26659077-02401008.

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Abstract This research paper examines the creative process used to connect young Muslims with their experience, their faith, and their community through a community-based performance. It also stresses the different levels of connections that resulted from the performance itself. The author sought to reconnect Barazan’yee, an important Arabic poetic chant, to people in the Bangkok Islamic community using tools from community theatre. The performance design process allowed them to tell their own story in relation to Bar’zanyee poetry in ways that are meaningful to them and their community, thus

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34

Gilbert, Sandra M., and Susan Gubar. "Masterpiece Theatre: An Academic Melodrama." Critical Inquiry 17, no. 4 (1991): 693–717. http://dx.doi.org/10.1086/448608.

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35

Hobgood, Burnet M. "The Mission of the Theatre Teacher." Journal of Aesthetic Education 21, no. 1 (1987): 57. http://dx.doi.org/10.2307/3332813.

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36

Levy, Jonathan. "Reflections on How the Theatre Teaches." Journal of Aesthetic Education 39, no. 4 (2005): 20–30. http://dx.doi.org/10.1353/jae.2005.0042.

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37

Gaines, Andrew M. "Physical Theatre Education: Beyond Knowledge Transfer." Teaching Artist Journal 14, no. 4 (2016): 199–205. http://dx.doi.org/10.1080/15411796.2016.1259204.

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38

Midhin, Majeed Mohammed, and Ahmed Hameed Obeid. "An Analytical Study of Theatre and censorship in Howard Barker’s No End of Blame: Scenes of Overcoming (1981) and Scenes from an Execution (1984)." Dirasat: Human and Social Sciences 50, no. 6 (2023): 265–75. http://dx.doi.org/10.35516/hum.v50i6.7081.

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Objectives: This paper explores the use of history in contemporary British theatre to address issues like marginalization and censorship, focusing on Barker's theatre theory, which diverges from early works by Churchill and Hare. Emphasizing the artist's role and responsibilities, it delves into potential dilemmas faced in the realm of contemporary British theatre.  Methods: This study critically analyzes Barker's plays, "No End of Blame: Scenes of Overcoming" (1981) and "Scenes from an Execution" (1984), through the lens of his influential book, "Arguments for a Theatre." Additionally,

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39

Ioannidou, Eleftheria. "Greek theatre, electric lights, and the plumes of locomotives: the quarrel between the Futurists and the Classicists and the Hellenic modernism of Fascism." Classical Receptions Journal 16, no. 1 (2024): 35–55. http://dx.doi.org/10.1093/crj/clad028.

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Abstract The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist gover

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40

Molony, Martin G. "Nelson Paine, Experimental Theatre, and Puppetry in Ireland, 1942–1952." Estudios Irlandeses, no. 18 (March 17, 2023): 67–78. http://dx.doi.org/10.24162/ei2023-11392.

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In 1942, a young Dublin architect, Nelson Paine, formed the Dublin Marionette Group on foot of an international re-appraisal of the potential of the puppet theatre as a form of expression. This Group became the nucleus of experimental theatre in the Irish capital and influenced several well-known Irish creative artists over the decade of its existence and beyond. It attracted the involvement of actors, artists and dramatists of the period and performed in professional settings, including eight seasons at the Peacock Theatre and for each of the first four years of the Wexford Opera Festival. Th

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41

Granshaw, Michelle, Mia Levenson, Courtney Colligan, et al. "Imagining New Possibilities: Career Diversity and Doctoral Education in Theatre and Performance Studies." Theatre Topics 33, no. 3 (2023): 149–58. http://dx.doi.org/10.1353/tt.2023.a912296.

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Abstract: As the American Theatre and Drama Society (ATDS) celebrated its thirty-fifth anniversary at ATHE 2022, the group hosted the roundtable "Imagining New Possibilities: Career Diversity and Doctoral Education in Theatre and Performance Studies," welcoming faculty and graduate students to think expansively about the present and future of doctoral education. Co-organizers Michelle Granshaw (University of Pittsburgh) and Mia Levenson (Tufts University), along with panelists Courtney Colligan (University of Pittsburgh), Mac Irvine (Tufts University), Victoria LaFave (University of Pittsburgh

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42

Abdel Ghafar Bazheir, Nargis. "Arab theatre and plays: developmental stages and challenges." ARTSEDUCA, no. 34 (December 7, 2022): 167–76. http://dx.doi.org/10.6035/artseduca.6642.

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Arab stage plays took their time in the development and making their place in the world throughout the ancient times. The article shines a light on the phases and struggles Arab theatre went through in making such majestic art and performances that are a source of entertainment for people from all over the world. Mainly the struggles were because of religious issues that initiated many other issues like the censorship and not having enough popularity in the Arab states that put up a limit to the theatre establishments forcing the artists to make journeys in order to seek their audience as many

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43

Baulina, P. V. "Projectional images in theatre: Modes of (media)presence." Shagi / Steps 9, no. 3 (2023): 258–76. http://dx.doi.org/10.22394/2412-9410-2023-9-3-258-276.

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The article examines the phenomenon of (media)presence as a projectional embodiment of objects in theatre. The aim is to describe techniques of using projectional surfaces and devices in performances, using as material Western European productions of the 2000s and 2010s. We attempt to identify and elucidate the modes of presence through the use of projectional images in theatre. The theoretical and methodological framework employed in the article includes a set of ideas at the intersection of theatre, visual, and media studies. Such a framework makes it possible to define performance as a visu

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44

GASHEVA, NATALIYA. "STAGE REFLECTION ON RUSSIAN CLASSICS (A CASE STUDY OF PERM THEATRES)." Культурный код, no. 2023-2 (2023): 89–102. http://dx.doi.org/10.36945/2658-3852-2023-2-89-102.

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Ongoing socio-cultural transformations have influenced the fact that the problem of stage reflection on Russian classics is becoming one of the major trends in the Russian humanities. The relevance of the problem under question is determined by general changes in artistic consciousness at the turn of the centuries and innovations dynamics in theatrical art (of the centre and regional culture) opening up new paths of cognition and interpretation of increasingly sophisticated reality through semantics and symbolism of Russian classics. The novelty of the study is a comprehensive culturological a

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45

Thamkulangkool, Piyawat. "Audience Development in Thai Contemporary Theatre and Dance: A Study of the Barriers to Audience-Building." MANUSYA: Journal of Humanities 24, no. 1 (2021): 22–36. http://dx.doi.org/10.1163/26659077-02401009.

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Abstract This research article examines the current situation of audiences in Thailand who attend non-mainstream contemporary theatre and dance, focusing on the barriers to building audiences for this type of performance. Mixed methods were used to collect data from various target groups, including qualitative methods like in-depth interviews, and focus groups for contemporary theatre and dance companies and arts spaces, and quantitative data gathered from audience questionnaires and surveys. The study revealed that many theatre and dance companies or groups run by artists often put more empha

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46

Harms, Victoria, Miriam Reese, and Lorin J. Elias. "Lateral bias in theatre-seat choice." Laterality: Asymmetries of Body, Brain and Cognition 19, no. 1 (2013): 1–11. http://dx.doi.org/10.1080/1357650x.2012.746349.

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47

Balcare, Kitija. "HUMAN AND MORE-THAN-HUMAN IN THE PERFORMING ARTS LANDSCAPE IN LATVIA." Culture Crossroads 23 (January 10, 2024): 226–38. http://dx.doi.org/10.55877/cc.vol23.388.

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Integrating performing arts research into the environmental humanities frame, the aim of this paper, firstly, is to uncover theoretical ideas of posthumanist thinkers about species interdependency [Tsing 2012; Haraway 2015] in context of the environmental issues and, secondly, to integrate these perspectives into practices of the ecotheatrical performances in Latvia. As it is no longer possible to separate nature from culture in a world outside humans [Haraway 2003], ecotheatre serves as a form of environmental imaginary [Woynarski 2015; May 2021] reshaping human and more-than-human relations,

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48

G., E., and Ghulam-Sarwar Yousof. "Dictionary of Traditional South-East Asian Theatre." Journal of the American Oriental Society 120, no. 3 (2000): 497. http://dx.doi.org/10.2307/606055.

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49

Goldhill, Simon. "Reading Performance Criticism." Greece and Rome 36, no. 2 (1989): 172–82. http://dx.doi.org/10.1017/s0017383500029740.

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Fred Astaire once remarked of performing in London that he knew when the end of a play's run was approaching when he saw the first black tie in the audience. Perhaps this is an American's ironic representation of the snobbishness of pre-War London (though he was the American who sang the top-hat, white tie and tails into a part of his personal image). Perhaps it is merely an accurate (or nostalgic) picture of the dress code of the audiences of the period. The very appeal to such a dress code, however – in whatever way we choose to read the anecdote – inevitably relies on a whole network of cul

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50

Aziz, Amna, Aniqa Rashid, Aqsa Aslam, Iqra Nazish, and Khadija Majeed. "RE (VIEWING) THREE-DIMENSIONAL WORLD OF PAKISTAN’S FOLK THEATRE ARTIST IN SAEED’S FORGOTTEN FACES: A PSYCHOANALYTICAL CRITIQUE." Humanities & Social Sciences Reviews 9, no. 3 (2021): 671–78. http://dx.doi.org/10.18510/hssr.2021.9366.

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Purpose of the study: This study contextualizes within the border of psychoanalytical perspective specifically focusing on Freud's theory of personality and Lacan’s module of the psyche to evaluate an artist’s mental state that how his/her mental state fluctuates. Methodology: Bali Jatti is taken as an exemplary character to project the reality of being an artist. This analysis presents her three-dimensional world, real, theatrical, and psychological, to represent the challenges she faces as she opts to embrace the life of folk theatre. It explores her psychological life and the chaos in

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