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Journal articles on the topic 'International performing arts studies'

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Author: Grafiati

Published: 18 August 2021

Last updated: 17 February 2022

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1

Green, Lelia. "Research Outputs in the Creative and Performing Arts: ‘Australianising’ an International Debate." Media International Australia 118, no. 1 (February 2006): 5–15. http://dx.doi.org/10.1177/1329878x0611800103.

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This paper positions current Australian discussions about practice-led research within international, national, historical and policy contexts and relates them to the developing pedagogical debate around performing and creative arts doctorates. Arguing that the creative industries offer benefits across the economy, it suggests that recognition for the research methodology specific to practice-led disciplines and the creative industries is overdue. The discussions in this paper, and in this theme issue of MIA, are all the more critical as a result of their articulation with the imminent introduction of the Research Quality Framework (RQF), which will allow nuanced, rigorous and internationally benchmarked evaluation of the quality and impact of research outputs. The RQF and the proposed research assessment panel for ‘creative arts, design and built environment’ herald the way for wider acceptance of practice-led outputs in the Australian research environment.

2

Natarajan, Radhika. "Performing Multiculturalism: The Commonwealth Arts Festival of 1965." Journal of British Studies 53, no. 3 (July 2014): 705–33. http://dx.doi.org/10.1017/jbr.2014.104.

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AbstractThe Commonwealth Arts Festival of 1965 was an important moment of postimperial reengagement. Over three weeks, Britain hosted visual artists, musicians, dancers, poets, and writers representing national cultures, who together presented a diverse Commonwealth assembled in terms of egalitarian multiculturalism. This article examines the investments of individual nations in participating in this festival to argue for the transnational production of multiculturalism at the end of empire. As a postimperial phenomenon, Commonwealth multiculturalism depended on the legibility of distinct national cultures assembled through an equitable framework. Governments sponsored representative cultural forms in response to domestic political circumstances and international economic needs, and against the imperial aesthetic hierarchies of the past. Examining the diverse interests assembled through the festival is essential to understanding the legacies of imperial power for more seemingly democratic frameworks of difference.

3

Arnold, Catherine. "Ellen Welch, A Theater of Diplomacy: International Relations and the Performing Arts in Early Modern France." European History Quarterly 48, no. 2 (April 2018): 398–400. http://dx.doi.org/10.1177/0265691418765637ao.

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4

Moosavi, Marjan. "Performing and Conforming: Iran’s Fadjr International Theatre Festival." TDR/The Drama Review 60, no. 1 (March 2016): 79–92. http://dx.doi.org/10.1162/dram_a_00525.

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Iran’s Fadjr International Theatre Festival (FITF) is the largest and oldest theatre festival in the Middle East, yet remains among the least studied. Conversations with FITF’s officials and the festival’s international guests reveal the politics and complexities of Iran’s efforts to maintain control of artistic expression while promoting the country’s global autonomy.

5

Giersdorf, Jens Richard. "Dance Studies in the International Academy: Genealogy of a Disciplinary Formation." Dance Research Journal 41, no. 1 (2009): 23–44. http://dx.doi.org/10.1017/s0149767700000516.

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For the past thirteen years, I have been traveling to the United States from my home country of Germany, first as a graduate student in California and later as a professor living in New York. Every time I pass through immigration, I am asked a series of questions regarding my final destination and my occupation. The latter always leads to some confusion, because when I am asked what I do, my accent seems to turn “dance history” into “dentistry.” Forced by phonetics to use the term “dance studies,” when confronted by the blank face of the customs officer, I inevitably embark on an explanation of what “dance studies” might be. Just in the moment when I finally see some comprehension of my profession lighting up the officer's face, the question is asked: “And we pay you to do this?”I constantly find myself in the position of having to explain my work. Usually I avoid a long-winded, defensive justification by comparing dance studies to one of its neighboring disciplines: “It is like art history, just writing about dance instead of paintings.” That usually does the trick, but it leaves a foul taste in my mouth. I know that dance studies isn't like art history and I certainly don't want it to be.

6

Werner, Sarah. "Performing Shakespeare: Voice Training and the Feminist Actor." New Theatre Quarterly 12, no. 47 (August 1996): 249–58. http://dx.doi.org/10.1017/s0266464x00010241.

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Although voice work presents itself as a neutral set of tools that can help actors in performing a text, an analysis of the cultural biases behind voice training reveals that both the underlying ideology and the methods of reading and acting it produces limit the possibilities for feminist performances of Shakespeare. By naturalizing the language and rhythms of the text, by focusing attention on the characters' need for the words as opposed to the dramatist's, voice training denies actors ways of questioning the politics of the playscripts. Sarah Werner has just received her PhD in English from the University of Pennsylvania for her dissertation entitled ‘Acting Shakespeare's Women: Toward a Feminist Methodology’. She has presented papers at a number of conferences, including the Shakespeare Association of America and the International Conference on Medieval Studies, and is currently a lecturer at the University of Pennsylvania.

7

Kershaw, Baz. "Innovative Spirit at the Heart of Theatre Studies." New Theatre Quarterly 21, no. 3 (July 18, 2005): 203–4. http://dx.doi.org/10.1017/s0266464x05210102.

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Clive Barker made an exceptional contribution to British theatre studies and its international standing. No one else of his generation travelled the extraordinary distance from a conventional stage-management course to become a world leader in actor training workshops, as well as an editor and scholar of distinction. He was a pioneer in bridging the uneasy divide between the professional theatre and its serious study in British universities.

8

Lyons, Lauri. "FLAG INTERNATIONAL." Photographies 2, no. 1 (March 2009): 73–78. http://dx.doi.org/10.1080/17540760802697011.

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9

Lobato, Ramon, and Mark David Ryan. "Rethinking genre studies through distribution analysis: issues in international horror movie circuits." New Review of Film and Television Studies 9, no. 2 (June 2011): 188–203. http://dx.doi.org/10.1080/17400309.2011.556944.

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10

Malik, Amna. "11th International Istanbul Biennial." Third Text 24, no. 4 (July 2010): 495–98. http://dx.doi.org/10.1080/09528822.2010.491385.

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11

Golemi, Fani. "Cinema at the periphery An International Film Studies Conference, 1517 June 2006, Centre for Film Studies, University of St. Andrews." New Cinemas: Journal of Contemporary Film 5, no. 1 (April 30, 2007): 91–93. http://dx.doi.org/10.1386/ncin.5.1.91_4.

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12

Henthorn, Jamie. "International Fan Professionalization on Viki." Television & New Media 20, no. 5 (April 21, 2018): 525–38. http://dx.doi.org/10.1177/1527476418770742.

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Global economies and digital diasporas have led to a rise in fansubbing sites, one of the largest being Viki. Viki uses amateur expert fans to translate media from around the world into over two hundred languages. Global markets and for-profit fansubbing companies encourage volunteers to establish their own work practices. In examining the posts to one large segmenting forum, this article identifies ways Viki segmenters adapt workplace practices to online fan communities as well as ways that volunteers adapt localized community practices to online spaces. Specifically, volunteers adopted localized professional work etiquette to online leisure activities. This research expands understandings of global fan communities, referencing ways localized community practices continue to intersect with understandings of online work and leisure.

13

SAUTER, WILLMAR. "Back to the future of theatre studies." Theatre Research International 35, no. 3 (October 2010): 297–98. http://dx.doi.org/10.1017/s0307883310000635.

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In this special issue, Theatre Research International marks its thirty-five years of existence. This time span equals the approximate length of an academic career or, at least in my case, it happens to coincide with my participation in the activities of the International Federation for Theatre Research. In order to locate the present position and the future direction of theatre studies, I begin with a brief retrospective overview of the decades that I have experienced with IFTR/FIRT.

14

Meyer, Fernand. "Munich : quatrième séminaire international d'Etudes tibétaines." Arts asiatiques 41, no. 1 (1986): 122. http://dx.doi.org/10.3406/arasi.1986.1209.

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15

Davies, Kayt. "International news reporting: Frontlines and deadlines." Continuum 25, no. 1 (February 2011): 137–40. http://dx.doi.org/10.1080/10304312.2011.538370.

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16

Leahy, Helen Rees. "Musée international de la réforme, geneva." Material Religion 4, no. 2 (July 2008): 252–55. http://dx.doi.org/10.2752/175183408x328488.

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17

Steemers, Jeanette. "International Sales of U.K. Television Content." Television & New Media 17, no. 8 (August 1, 2016): 734–53. http://dx.doi.org/10.1177/1527476416653481.

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Focusing on the United Kingdom, this article addresses key issues facing the international distribution industry arising from over-the-top (OTT) digital distribution and the fragmentation of audiences and revenues. Building on the identification of these issues, it investigates the extent to which U.K. distribution has altered over a ten-year period, pinpointing continuities in the destination and type of sales alongside changes in the role and structure of the industry as U.K.-based distributors adapt to a changing U.K. broadcasting landscape and global production environment. At one level, increasing U.S. ownership of U.K.-based distributors and the arrival of OTT players such as Netflix highlight the tensions between the national orientations of U.K. broadcasters and the global aspirations of independent producers and distributors. At another level, video-on-demand (VOD) has boosted international sales of U.K. drama. Although the full impact of subscription VOD (SVOD) on content and rights has yet to materialize, significant changes in the industry predate the arrival of SVOD.

18

Clarke, Jan. "A Theater of Diplomacy: International Relations and the Performing Arts in Early Modern France. By Ellen R. Welch." French Studies 74, no. 2 (April 1, 2020): 293–94. http://dx.doi.org/10.1093/fs/knaa004.

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19

Moran, Albert, and Michael Keane. "Cultural Power in International TV Format Markets." Continuum 20, no. 1 (March 2006): 71–86. http://dx.doi.org/10.1080/10304310500475822.

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20

Alpert, Avram. "Overcome by Photography:Camera Lucidain an International Frame." Third Text 24, no. 3 (May 2010): 331–39. http://dx.doi.org/10.1080/09528821003799486.

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21

Grant, Barry Keith. "Toronto International Film Festival 2007." Film International 5, no. 6 (December 2007): 92–96. http://dx.doi.org/10.1386/fiin.5.6.92.

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22

Bennett, Alma J. "Performing Women/Performing Feminisms: Interviews With International Women Playwrights. Edited by Joanne Tompkins and Julie Holledge. Australasian Drama Studies Association Academic Publications Number 2: University of Queensland, 1997; pp. 161. Paperback." Theatre Survey 39, no. 1 (May 1998): 96–97. http://dx.doi.org/10.1017/s0040557400003136.

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23

Mayer, David R., James R. Dow, and Rolf W. Brednich. "Internationale Volkskundliche Bibliographie/International Folklore Bibliography/Bibliographie Internationale d'Ethnographie für die Jahre 1981 und 1982 mit Nachträgen für die vorausgehenden Jahre." Asian Folklore Studies 46, no. 2 (1987): 295. http://dx.doi.org/10.2307/1178592.

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24

Tidey, Leah. "Applied theatre second edition: international case studies and challenges for practice." Research in Drama Education: The Journal of Applied Theatre and Performance 24, no. 4 (August 22, 2019): 529–32. http://dx.doi.org/10.1080/13569783.2019.1657005.

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25

French, Lisa. "The international reception of Australian women film-makers." Continuum 28, no. 5 (August 12, 2014): 654–65. http://dx.doi.org/10.1080/10304312.2014.942024.

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26

O'Regan, Tom. "Too popular by far: On Hollywood's international popularity." Continuum 5, no. 2 (January 1992): 302–51. http://dx.doi.org/10.1080/10304319209388240.

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27

Feuer, Jane. "Conference Report: Television for Women: An International Conference." Television & New Media 15, no. 1 (September 5, 2013): 81–83. http://dx.doi.org/10.1177/1527476413502683.

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28

Knecht, Peter, and Wolfgang Mieder. ""Proverbium." Yearbook of International Proverb Scholarship." Asian Folklore Studies 47, no. 2 (1988): 325. http://dx.doi.org/10.2307/1178283.

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29

Tumbas, Jasmina. "International Hungary!: György Galántai's Networking Strategies." ARTMargins 1, no. 2–3 (June 2012): 87–115. http://dx.doi.org/10.1162/artm_a_00020.

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This paper focuses on György Galántai's networking strategies during the socialist period in Hungary. Beginning with the Balatonboglár Chapel Studio exhibitions (1970–1973) and ending with the discussion of Artpool, founded by Galántai and Julia Klaniczay in 1979, the paper considers the position of experimental art in Hungary in the 1970s and 1980s and Galántai's struggles with the authorities. In analyzing the ways in which samizdat publications and the mail art network offered modes of resistance and alternative spaces for artistic exchanges, I propose that those experimental forms of art expanded artists' communication by means of metonymy, conveying corporeal sovereignty among artists across geographical boundaries.

30

Liu, Xiaoxia. "Pingyao international photography festival (2001-2020)." photographies 14, no. 1 (January 2, 2021): 165–80. http://dx.doi.org/10.1080/17540763.2020.1847175.

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31

Frank, Marion. "Theatre in the Service of Health Education: Case Studies from Uganda." New Theatre Quarterly 12, no. 46 (May 1996): 108–15. http://dx.doi.org/10.1017/s0266464x00009933.

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International organizations are increasingly turning to theatre as a means of raising development issues, exploring options, and influencing behaviour. This paper examines some structures and techniques inherent in this type of applied theatre, analyzing two plays used to supplement AIDS education programmes in Uganda. One is a video production by a typical urban popular theatre group, while the second production analyzed exemplifies the Theatre for Development approach through its sub-genre, Campaign Theatre, used to raise awareness on health issues, hygiene, sanitation, child care, and the environment. The study analyzes the performance of the two plays and addresses some contradictions arising from the involvement and influence of external organizations. Marion Frank is a graduate of Bayreuth University in Germany, whose extensive field research has resulted in the publication of AIDS Education through Theater (Bayreuth African Studies Series, Bayreuth, 1995). Dr. Frank is currently living in the US, where as a Visiting Scholar at Duke University she is now working on a research project aiming to establish a closer link between literary/cultural studies and medicine/medical anthropology.

32

Pietrzak-Franger, M. "Fifth International Association of Adaptation Studies Conference, The Centre for British Studies, Berlin, 30 September to 1 October 2010." Adaptation 4, no. 1 (January 10, 2011): 108–15. http://dx.doi.org/10.1093/adaptation/apq020.

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33

Gavriliu, Andrea. "Triple Personality: Creating, Performing and Appreciating Physical Theatre." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 261–80. http://dx.doi.org/10.24193/subbdrama.2020.2.13.

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"This article represents a closer examination of the triadic perspective of creating, performing and appreciating a performative event. This type of analysis is directly linked to choreological studies, a domain which is not yet part of the Romanian academic field, but, in essence, it does exist through other forms of theatrical studies and practices. I localize every scholarly aspect in current performative practices, more precisely, in that of physical and dance theatre. Through this article I would like to bring more attention to the way these forms of performing arts are created, performed and spectated by individuals who are able to deal with all three processes. Therefore, this analysis will have a more personal mark, thanks to the interviews integrated, with two internationally known artists in physical theatre: Hannes Langolf and Rob Hayden. It is a closer unveiling of how processes of transaction function within a piece of work. It is a way of constant questioning every participant in an artistic event should confront him/herself with. Keywords: choreology, movement, physical theatre, creator, performer, spectator, interview, Hannes Langolf, Rob Hayden"

34

O'Regan, Tom. "From piracy to sovereignty: International video cassette recorder trends." Continuum 4, no. 2 (January 1991): 112–35. http://dx.doi.org/10.1080/10304319109388202.

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35

Langer, Brian. "Video as art and the Australian international video festival." Continuum 8, no. 1 (January 1994): 259–66. http://dx.doi.org/10.1080/10304319409365645.

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36

Langer, Brian. "Chronology of the Australian international video festival 1986–1992." Continuum 8, no. 1 (January 1994): 267–79. http://dx.doi.org/10.1080/10304319409365646.

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37

Guffey, Elizabeth. "The Scandinavian Roots of the International Symbol of Access." Design and Culture 7, no. 3 (July 3, 2015): 357–76. http://dx.doi.org/10.1080/17547075.2015.1105527.

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38

Mayer, David R. "1983 MLA International Bibliography. Volume V: Folklore." Asian Folklore Studies 44, no. 2 (1985): 295. http://dx.doi.org/10.2307/1178514.

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39

Taryo, Obayashi, Mihaly Hoppal, and Adam Molnar. "Shaman. An International Journal for Shamanistic Research." Asian Folklore Studies 55, no. 2 (1996): 349. http://dx.doi.org/10.2307/1178829.

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40

Jan, Lumholdt. "Marrakech International Film Festival1?9 December 2006." Film International 5, no. 2 (March 2007): 88–89. http://dx.doi.org/10.1386/fiin.5.2.88.

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41

Chamberlain, Colby. "International Indeterminacy: George Maciunas and the Mail." ARTMargins 7, no. 3 (November 2018): 57–85. http://dx.doi.org/10.1162/artm_a_00218.

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The term “network” has often been used to characterize Fluxus's internationalism and to identify its membership. This has led a number of scholars to argue that Fluxus anticipated forms of artistic exchange now associated with Internet-based art. More recently, it has cast Fluxus as a precedent for applying a network model to other transcontinental avant-gardes, particularly in curatorial practice. Yet in the rush to relate Fluxus to contemporary discourses on global connectivity, insufficient attention has been paid to the specific apparatuses that facilitated its cohesion. This article stages an intervention into Fluxus studies (and by extension Conceptual art, mail art, and other transnational movements associated with communication and the “dematerialization” of the art object) by drawing on the field of German media theory to analyze the “paperwork” that makes up much of the movement's material production. Specifically, it focuses on how the artist George Maciunas's engaged the postal system in order to facilitate Fluxus's collectivity, as well to insinuate Fluxus's methods of experimental composition into larger power structures. After an opening discussion of Maciunas's important diagrammatic history of Fluxus's development (a.k.a. the John Cage chart), the article tracks Maciunas's deployment of newsletters to organize Fluxus activities, his infamous mail-based sabotage proposals, his collaborations with Mieko Shiomi and Ben Vautier, and his “Flux Combat” with the New York State Attorney General.

42

Oles, James. "Noguchi in Mexico: International Themes for a Working-Class Market." American Art 15, no. 2 (July 2001): 10–33. http://dx.doi.org/10.1086/444638.

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43

Magder, Ted. "Transnational Media, International Trade and the Idea of Cultural Diversity." Continuum 18, no. 3 (September 2004): 380–97. http://dx.doi.org/10.1080/1030431042000256126.

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44

Peter Craven, Ian. "Southern stars and secret lives: International exchange in Australian television." Continuum 22, no. 1 (February 2008): 51–67. http://dx.doi.org/10.1080/10304310701676293.

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45

Lobato, Ramon. "Rethinking International TV Flows Research in the Age of Netflix." Television & New Media 19, no. 3 (May 19, 2017): 241–56. http://dx.doi.org/10.1177/1527476417708245.

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This article considers how established methodologies for researching television distribution can be adapted for subscription video-on-demand (SVOD) services. Specifically, I identify a number of critical questions—some old, some new—that can be investigated by looking closely at SVOD catalogs in different countries. Using Netflix as an example, and drawing parallels with earlier studies of broadcast and cinema schedules, I ask what Netflix’s international catalogs can tell us about content diversity within streaming services, and how this can be connected to longer traditions of debate about the direction and intensity of global media flows. Finally, I describe what a research agenda around Netflix catalogs might look like, and assess the utility of various kinds of data within such a project (as well as some methodological pitfalls).

46

Taylor, Lauren. "Introduction to Alioune Diop's “Art and Peace” (1966)." ARTMargins 9, no. 3 (October 2020): 87–96. http://dx.doi.org/10.1162/artm_a_00274.

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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.

47

Diop, Alioune. "Art and Peace (1966)." ARTMargins 9, no. 3 (October 2020): 97–100. http://dx.doi.org/10.1162/artm_a_00275.

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In 1966, the multi-media celebration of African and diasporic art known as the Premier Festival Mondial des Arts Nègres attracted an international audience to the recently independent nation of Senegal. As performances and exhibitions took place throughout Dakar, politicians, artists, and intellectuals considered what roles art and culture could play in healing a world torn by colonialism, the World Wars, and increasing tensions between the Eastern and Western blocs. In “Art and Peace,” Alioune Diop, the president of the Festival's organizing committee, enlists the arts as vital tools in the ambitious project of world peace. For contemporary readers, his words foreshadow present-day debates concerning the effects of globalization on the arts and reveal understudied links uniting the mid-century cosmopolitanist visions of negritude, Catholicism, and UNESCO.

48

Bertelé, Matteo. "Sergei Diaghilev and the “VII Esposizione Internazionale d’arte di Venezia,” 1907." Experiment 17, no. 1 (2011): 94–124. http://dx.doi.org/10.1163/221173011x611851.

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Abstract Based on previously unpublished archive material, the text details the troubled organization of the Russian Hall commissioned by Sergei Diaghilev for the Venice Biennale of Fine Arts in 1907. Its focus is on the correspondence between the “Esposizione”’s Secretary General, Antonio Fradeletto, and Diaghilev, a discourse saturated by national stereotypes and mutual ignorance, which, because of mistrust and deep incompatibilities, ends up relying on a wide network of mediators, among which figure international diplomats and socialites.

49

Grant, Barry Keith. "Tributes and Breakthroughs: Toronto International Film Festival 2019." Film International 17, no. 4 (December 1, 2019): 146–49. http://dx.doi.org/10.1386/fiin.17.4.146_7.

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50

Grant, Barry Keith, and Jan Lumholdt. "Around the Circuit: Toronto International Film Festival 2009." Film International 7, no. 6 (December 2009): 88–96. http://dx.doi.org/10.1386/fiin.7.6.88.

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