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1
Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (November 12, 2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.
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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.
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Watson, Julia. "Life? or Theatre? (Leben? oder Theater?) by Charlotte Salomon." Biography 42, no. 2 (2019): 438–51. http://dx.doi.org/10.1353/bio.2019.0050.
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Khubulova, Svetlana. "FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK." History, Archeology and Ethnography of the Caucasus 15, no. 1 (March 19, 2019): 22–27. http://dx.doi.org/10.32653/ch15122-27.
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Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.
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Mally, Lynn. "The Rise and Fall of the Soviet Youth Theater TRAM." Slavic Review 51, no. 3 (1992): 411–30. http://dx.doi.org/10.2307/2500052.
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“Young people need their own theater, akin to their own spirit,” wrote the actor Nikolai Kriuchkov in a memoir of his life in the theater in the 1920s and 1930s. While he acknowledged that the Soviet Union had developed a network of professional Komsomol theaters aimed at youth, Kriuchkov charged that in general these theaters simply duplicated the repertoire of conventional stages. But TRAM, an acronym for the Theater of Working-Class Youth (Teatr Rabochei Molodezhi), where Kriuchov got his start, was different. “It had its own topical themes, its own character, and young people went willingly.”
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Kopecký, Jiří, and Lenka Křupková. "The “Slavic spirit” and the opera scene in Olomouc, 1830–1920." Studia Musicologica 58, no. 3-4 (December 2017): 341–61. http://dx.doi.org/10.1556/6.2017.58.3-4.4.
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In 1830, a new theater building was opened in the Olomouc Upper square. The stable theatrical life enriched enormously the cultural life of the city and encouraged the development of publishing activities in the field of music journalism and publishing. The public debates on the artistic value of theater performances, on abilities of particular artists and on other subjects gained new quality after the 1860 October diploma because Czechs living in and around the traditional German town put pressure on theater directors and demanded Czech plays on the stage. The fights for the national repertoire on the stage of the Olomouc Provincial Theater are demonstrated in this essay in two contrary ways: at first, the introduction of Czech dramas into the German scene during the 1860s is discussed, then the intensive promotion of German operas during the 1880s and 1890s when internationally played Slavonic operas were performed in all theaters. The director Carl König (1862–1868) offered a contract to many artists who were able to speak both German and Czech, so he could open an independent subscription for the Czech public. The relatively tolerant atmosphere allowed König’s company to give performances in both languages and connect the Olomouc theatrical life to the Prague Provisional Theater. However, Czech nationalism was getting stronger during the 1870s and provoked competitive and unfriendly reactions on German side. The arguments for refusal of Smetana’s and Tchaikovsky’s operas by the directors of the Olomouc theaters are discussed on the basis of archival sources as well as articles published in contemporary periodicals.
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Grøtta, Marit. "At the Door of the Theater: Kafka’s Oklahama Theater and the Nature Theater Movement." New German Critique 48, no. 1 (February 1, 2021): 103–23. http://dx.doi.org/10.1215/0094033x-8809371.
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Abstract The Nature theater of Oklahama in Der Verschollene is one of Kafka’s most enigmatic inventions, widely known through Walter Benjamin’s and Giorgio Agamben’s reading of it as a theater of gestures. This article explores the intertextual archive of Kafka’s novel, bringing into play an entry hitherto overlooked: the nature theater movement in the early twentieth century, promoted by the conservative Heimatkunstbewegung. Discussing the historical nature theater, on the one hand, and Benjamin’s and Agamben’s theater of gestures, on the other, the article examines the conceptions of life that come into play in the novel (life as career, life as theater, life as gesture) and considers the fate of the protagonist in this light. Seeing the question of inclusion/exclusion as key to Kafka’s novel, the article argues that it exposes the thin line between utopia and dystopia and allows us to reflect on the dangers as well as the possibilities of modernity.
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Петрова and A. Petrova. "Auditorium of the Bolshoi Theater Journey As a Form of Aesthetical Education of Younger Schoolchildren." Primary Education 4, no. 4 (August 17, 2016): 32–34. http://dx.doi.org/10.12737/21359.
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The article discusses the educational potential of the excursions in the auditorium of the Bolshoi Theatre for introduction to younger students the
peculiarities of architecture, interior design of the theater building, initiation to understanding the creative life of the theater group. The aim of the
tour is the aesthetic education of children, development of their imagination and the ability to co-creation, conscious perception of theatrical art.
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Budaeva, T. B. "Svetlana A. Serova on Life, Science and Chinese Traditional Theater." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 186–97. http://dx.doi.org/10.31696/2618-7302-2020-1-186-197.
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The names of specialists in Russian Sinology associated with independent research area are rare. This short list includes Svetlana A. Serova, a sinologist, theater historian, and theater expert, who devoted her academic endeavor to Chinese traditional theater. Deep historical roots of the Chinese theater, specifics in the simultaneous coexistence of dozens of its regional varieties, completely different from Western aesthetic views, stage embodiment and perceptions of this theatrical art — these are just some of the common features inherent in the genre of traditional theater. In Svetlana A. Serova’s seven monographs Chinese theater consistently appeared in its most diverse forms. Among them are genres of Beijing musical drama Jingju and Kunshan drama Kunqu (both became popular nationwide), acting skills and stage art, creative views of playwrights who influenced the development of Chinese theater as a whole, historical retrospectives up to the ancient ritual origins of the theater, parallels with Western theater, etc. It is obvious, that even the most objective and impartial scientific work is the result of not only professionalism, but also the personality of the scientist, his worldview. But when we deal with such a subtle and ephemeral matter as art, the author involuntarily steps at the avant scène, being forced to pass all the material through himself. Therefore, our interest in a researcher of such magnitude as Svetlana A. Serova is dictated not by a common interest, but rather by a need to understand her life values, providing additional opportunity to obtain more holistic view of her heritage.
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Prokopovych, L. V. "Socio-philosophical analysis of the visualization of cultural identity in the “theater” of everyday life." Науково-теоретичний альманах "Грані" 22, no. 1 (March 26, 2019): 57–67. http://dx.doi.org/10.15421/17198.
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The purpose of the study is to identify the specific features and socio-philosophical foundations of the visualization of cultural identity in the “theater” of everyday life. The research methodology is based on: 1) the theory of the image, which evolves from the perception of the image as a simple sign to the understanding that in some cases it can become a symbol (with broad interpretational possibilities); 2) method of sociocultural analysis in the framework of concept of theatricality of sociocommunicative manifestations of culture. The effectiveness of the concept of theatricality of sociocommunicative manifestations of culture is due to the fact that it allows you to “collect” at one point performative, medial, iconic, semiotic and other concepts of philosophical understanding of social processes and phenomena. This approach showed the need for a new look at the dramatization of life, where not only “the whole world is the theater, and the people in it are actors”, but also every person is a “theater”. A look at the modern world as a combination of individual, personal “theaters” (the scientific novelty of the research) made it possible to identify the special functions of costume and jewelry in the scenography of these “theaters”. These functions are manifested in situations that require a person to create a certain image. Then the costume and jewelry become: 1) an active component of the sociocommunicative space, as mediums of information of a certain nature; 2) a form of self-presentation; 3) a way to visualize cultural identity. It is shown that the causes of the emergence of cultural phenomena of fashion and theatricalization of life are the same: in both cases, the desire of people to “try on” different roles is realized. This correlates with the possibility of simultaneously determining several identities for one person, which means not a loss of identity or the replacement of one’s own identity (imposed), but the search for additional personal identities. Costume and jewelry provide ample opportunities for such personal creative experiments with identity/roles in the “theater” of everyday life. Characteristic features of the modern “theater” of everyday life, as well as the cultural situation in general, are dynamism, frequent changes of form and states. Therefore, the change of images (which is easily accomplished by changing jewelry and accessories) contributes to this sociocultural game.
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Fokin, Aleksandr. "Ilya Surguchev's theater in the history of Russian foreign theater." KANT Social Sciences & Humanities, no. 3 (July 2020): 40–51. http://dx.doi.org/10.24923/2305-8757.2020-3.5.
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Drama is defined as the main phenomenon of Ilya Surguchev's creative biography. ON this basis, the main chronology of his life and work during the period of emigration is presented. Biographical and historical-functional methods of literary research are used. The plays of the 1910s and 1940s, their themes and problems are characterized. An overview of the main premiere performances based on Surguchev's plays in theaters in Russia and Europe is presented. Questions of I.D. Surguchev's poetics of drama are raised; the prevailing genres, plots, themes, and stylistic dominants are highlighted. The role of Surguchev in the history of the theater of the Russian abroad is determined.
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Demeshchenko, Violeta. "From Theater to Cinematography: Creative Search of Les Kurbas." Culturology Ideas, no. 18 (2'2020) (2020): 109–19. http://dx.doi.org/10.37627/2311-9489-18-2020-2.109-119.
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The article examines the artistic path and creative pursuits of Les Kurbas, the Ukrainian and soviet director, who undoubtedly remains an outstanding figure in the history of Ukrainian cultural life in the 1920s and 1930s. He was the founder of Ukrainian political theater, and later philosophical theater; also fruitfully worked in early cinematography. The article emphasizes the relevance of studying the creative work of the director, his original creative method of educating actors nowadays. In his own way, Kurbas became a standalone theatrical institute for young people, raised more than four dozen professional directors who later became theater managers and directors of Ukrainian theaters, teachers. The director created Ukrainian theater and cinema school of acting; his innovative artistic ideas still remain relevant today. He developed his own aesthetic-theatrical concept of conditional-metaphorical theater based on life itself. Being the man of art, Kurbas influenced the formation of stage constructivism in Ukrainian theatrical art. In addition to the positive memories of his contemporaries, we also encounter some legends, various testimonies and assessments of events of that time, which create a certain mythological space around the artist. Hence, today we need to carefully analyze numerous documentary evidence, facts, memoirs, literary and theatrical sources, as well as try to be objective in reconstructing events and reflecting on the fate and work of the director.
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Broder, Lesley, and Milly S. Barranger. "Margaret Webster: A Life in the Theater." Rocky Mountain Review of Language and Literature 60, no. 1 (2006): 139. http://dx.doi.org/10.2307/4143899.
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Shalom, Efrat. "Affinity between Urban Life and the Theater." International Journal of Social, Political and Community Agendas in the Arts 12, no. 3 (2017): 15–20. http://dx.doi.org/10.18848/2326-9960/cgp/v12i03/15-20.
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Weigert, Andrew J. ":Life as Theater: A Dramaturgical Source Book." Symbolic Interaction 14, no. 3 (August 1991): 371–74. http://dx.doi.org/10.1525/si.1991.14.3.371.
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Freedman, Ariela. "Charlotte Salomon’s Life? Or Theater? A Melodrama?" Criticism 55, no. 4 (2013): 617–36. http://dx.doi.org/10.1353/crt.2013.0028.
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CROWLEY, JOHN. "MY LIFE IN THE THEATER, 1910 - 1960." Yale Review 99, no. 1 (December 22, 2010): 127–47. http://dx.doi.org/10.1111/j.1467-9736.2011.00694.x.
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CROWLEY, JOHN. "MY LIFE IN THE THEATER, 1910 – 1960." Yale Review 99, no. 1 (2011): 127–47. http://dx.doi.org/10.1353/tyr.2011.0009.
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Barnes Lipscomb, Valerie. "“The play’s the thing”: theatre as a scholarly meeting ground in age studies." International Journal of Ageing and Later Life 7, no. 2 (April 12, 2013): 117–41. http://dx.doi.org/10.3384/ijal.1652-8670.1272a6.
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Addressing three current critical turns in gerontology, this article proposes the theatre as a fertile ground for various theoretical angles in age studies - including the performative on and off stage, the narrative in the script and the critical questioning of age and ageism in the multiple realities of performance. Beginning from a shared site in the theatre, researchers may be able to establish greater common ground, resulting not only in multi-disciplinary efforts but also in truly interdisciplinary work. With a foundation in performance studies, this article suggests promising directions for age studies and theatre scholarship by examining three aspects of theatrical production: a play script, Jan de Hartog’s popular The Fourposter (1951); a collaborative development of a script and production, Jeanette Mathewes Stevens’ 2010 senior drama ElderSpeak; and a performance, a 2011 song-and-dance revue staged by an established senior theatre troupe, the Sarasota Senior Theater.
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Angraini, Desti. "Some Benefits of Using Readers Theatre in EFL Classroom." JURNAL INOVASI EDUKASI 1, no. 2 (March 2, 2019): 47–53. http://dx.doi.org/10.35141/jie.v1i2.482.
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Reading plays an important part in developing learners’ knowledge. By reading, learners will get many benefits, such as adding their knowledge, knowing information and having pleasure. There are many ways of making them engaged in learning English especially reading skill. One kind of activities is using Readers’ theatre. RT was introduced in EFL classroom to enhance the learning of communication skills. Readers’ theater offers learners’ an opportunity for interpretive oral reading as they use voices, facial expressions, and hand gestures to interpret characters in stories. Readers’ theater also builds readers’ confidence, brings stories to life through performance, animates content areas, and improves reading ability, comprehension, and oral reading skills.
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Chare, Nicholas. "To Play Many Parts: Reading Between the Lines of Charlotte Salomon/CS’s Leben? oder Theater?" RACAR : Revue d'art canadienne 43, no. 1 (August 7, 2018): 63–80. http://dx.doi.org/10.7202/1050821ar.
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This conversation with Griselda Pollock, Professor of the Social and Critical Histories of Art in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds, UK, focuses on her most recent book, Charlotte Salomon and the Theatre of Memory (New Haven and London : Yale University Press, 2018). The latter provides new readings of Leben ? oder Theater ? (Life ? or Theater ?), the artistic project of the German Jewish artist Charlotte Salomon (1917–1943), who painted as CS — the cipher the artist purposely used to disguise both her gender and her ethnicity — thus challenging previous interpretations that treat this remarkable intermedial work as straightforwardly autobiographical.
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Ivanshina, E. A., and V. V. Zyatkova. "ABOUT THE MEANING OF THEATRE “THE MASTER AND MARGARITA”." Bulletin of Udmurt University. Series History and Philology 30, no. 2 (May 7, 2020): 303–10. http://dx.doi.org/10.35634/2412-9534-2020-30-2-303-310.
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The article deals with the semantic field of the theater in "The master and Margarita", which extends to all novel chronotopes and can be structured as a two-level one. Considering different cases of theatricalization of space and different signs of theatricality in the novel, the authors correlate the real theater (theatre as a historical reality ) and the literary theater (the art of acting ) and actualize the confrontation of literature and historical reality in "The Master and Margarita". The text of the novel is considered as a model of counterculture, from the standpoint of which the author chooses those literary codes from which his own model of theatrical behavior is built. At the same time, special attention is paid to the actualization of the metaphor "theater - court" and the semantics of exposure, and the novel itself is an act of vengeance of the author and the implementation of his inner freedom. As an example of such an artistic concept of the relationship between art and life, the film "Once upon a time... in Hollywood" by Tarantino is considered.
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Similar, Anca. "The Hybrid Theater of Robert Pinget." Theatrical Colloquia 10, no. 2 (December 1, 2020): 58–69. http://dx.doi.org/10.2478/tco-2020-0020.
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AbstractThe theatre of Robert Pinget was acclaimed at the Avignon Festival till the 1980s, until it became in spite of itself a representative of the theatrical avant-garde greeted by numerous critics and academic texts. It appears, however, that Pinget’s theatre was the victim of a real misinterpretation. Adventurous life, where romance and destiny mingle, lay the foundations of pingétienne irony, this search for personal tone subjects to uncertainties and other contradictions Robert Pinget’s affiliation with Max Jacob’s is an attempt to approach the avant-garde, but to turn away from it in a subtle way in the last moment. This waltz-hesitation of Pinget will be the basis of a tendency to put this work in the “new novel” or the theatrical avant-garde. The literature of Pinget can be considered as a form of the art of the escape the expression of an incessantly renewed amazement through an acousmatic voice. It is through the theory of the double and the quest for secrecy that we can now reposition Pinget’s theater in the perspective of a classical theater on the very margins of the avant-garde and a striking example of an ontological incomprehension between adaptation and the message left by the author.
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Krutova, Marina S. "“An Actor Is a Priest in Buffoon’s Clothes”." Observatory of Culture 16, no. 3 (July 19, 2019): 278–89. http://dx.doi.org/10.25281/2072-3156-2019-16-3-278-289.
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The article raises the actual questions: if the theater can be Christian and who in that case the actor is — “a priest” or “a buffoon”. The purpose of this article is to consider the issue of “Christian theater” at different levels: historical, psychological, social. The article analyzes the issues of actors’ personalities formation and their religious searches. There are considered the conditions of Christian upbringing in families and faith preservation in the complex historical period of the Russian history of the late 19th — mid-20th century. The novelty of this study lies in the fact that it introduces into scientific circulation little-known manuscript materials stored in the Manuscripts Department of the Russian State Library: 44 autobiographies of recognized actors, which were published in 1928 in edited form by the writer V.G. Lidin; as well as some other unpublished documents. The sources show that actors brought up on Christian ideals followed them in their work, despite the difficult conditions of socio-political life in the country. Among them are well-known actors of the Moscow Art Theater, Moscow Art Academic Theater, State Academic Maly Theater, Vsevolod Meyerhold State Theater, Bolshoi Drama Theater, Vakhtangov State Academic Theater (and others): V. Kachalov, I. Ilyinsky, R. Apollonsky, L. Vivyen, G. Ge, A Koonen, A. Orochko, G. Martynova and other masters. The article also uses some little-known writings of the actors, their questionnaires on the psychology of acting, photographs, as well as manuscripts and published memoirs of their contemporaries (E.D. Golovinskaya, E.A. Korotneva, V.D. Markov, Yu. Panich), allowing to consider the issue of “Christian theater” from different sides.
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Steele, Thomas J. "The Matachine Agüelo: A Life outside the Theater." Western Folklore 60, no. 1 (2001): 25. http://dx.doi.org/10.2307/1500194.
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Sari, Dian Purnama, Iwan Triyuwono, Rosidi, and Ari Kamayanti. "Signification of Income in a Doctor's Life Theater." Procedia - Social and Behavioral Sciences 219 (May 2016): 676–81. http://dx.doi.org/10.1016/j.sbspro.2016.05.050.
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BEUMERS, BIRGIT, and MARK LIPOVETSKY. "The Performance of Life: Documentary Theater and Film." Russian Review 69, no. 4 (September 16, 2010): 615–37. http://dx.doi.org/10.1111/j.1467-9434.2010.00584.x.
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Торлопова, Любовь Андреевна. "Театр как «образ жизни» человека с инвалидностью: антропологические наблюден." Вестник антропологии (Herald of Anthropology), no. 1 (53) (March 15, 2021): 50–60. http://dx.doi.org/10.33876/2311-0546/2021-53-1/50-60.
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В статье на основании пилотного исследования методом кейс стади прослеживаются связи инвалидности с искусством: какой путь проходит человек с инвалидностью, стремясь к театральному творчеству? Ответ на этот вопрос строится через попытку рассмотреть жизнь человека с инвалидностью как своеобразную социальную драму, и увидеть то, какие трансформации происходят при взаимодействии реальных жизней с реальным театром. Контекст привычного нам театра смещается от формата выдуманных персонажей и их историй, упакованных в рамки воображаемого мира одного автора, в сторону персонажей, со-творящих художественный проект реалистичными деталями своих индивидуальных жизненных нарративов. Это становится возможным благодаря феномену социального театра. Он, как и его форма – инклюзивный театр, вмещает в себя, помимо эстетической составляющей, иную иерархию – горизонтальную, где каждый участник – творец на равных, имеющий свои зоны ответственности. Образ инклюзивного театра раскрывается на конкретном примере крупного российского проекта «Инклюзион», работающего в семи городах России. На Новосибирском кейсе этой сети театральных школ иллюстрируется, какие ценности позиционируются артистами с инвалидностью как те, что делают жизнь человека «наполненной», несмотря на «ограниченные возможности». Based on a pilot study, the article traces the links between disability and art: what path does a person with a disability take on the way to theatrical creativity? The answer to this question is built through an attempt to consider the life of a person with a disability as a kind of social drama, and to see what transformations occur when real lives interact with real theatre. The usual context of a theatre is shifting from the format of fictional characters and their stories, packed in the framework of the imaginary world of one author, towards characters who co-create an artistic project with realistic details of their individual life narratives. This is made possible by the phenomenon of social theater. Social and inclusive theater contains, in addition to the aesthetic component, a horizontal hierarchy, where each participant is a creator on an equal footing, with his/her own areas of responsibility. The image of an inclusive theater is revealed in the article on the concrete example of the big Russian project “Incluzion”, which works in seven cities of Russia. The Novosibirsk case of a theater network demonstrates which values are positioned by artists with disabilities as those that make a person’s life “fulfilled”, despite “limited opportunities”.
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Sändig, Brigitte. "Tragédie et psychologie." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 52, no. 1 (April 24, 2017): 70–79. http://dx.doi.org/10.1075/rro.52.1.07san.
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Abstract His dislike for psychological analysis accompanied Albert Camus throughout his life and had a profound impact on his idea of theatre. Especially in his early years, he sees psychology as the antagonist of the kind of theater that he envisages, the “modern tragedy”. In the last decade of his life, Camus worked on the novel “Requiem for a Nun” by William Faulkner, whom he greatly respected, in order to stage it. The confrontation with this work and its highly psychologically driven plot makes Camus virtually give up on his anti-psychological attitude.
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Gangarade, Sandhya. "'POET'S THEATER'." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3603.
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The creator, the Creator, the creator, by whatever name, calls the ultimate power that colors the sky blue, the earth green, the sun gold and the moon silver. The colors of Pushpavali in the forest division are countless and the colors of water creatures in the ocean are amazing. Colorless water is also the miracle of the same and the white, black and red color of Ganga, Yamuna and Saraswati is also an expression of the same. Some also create 'Kavirmanishi Paribhu Swayambhu', the poet of the world of life, nature's colors with full sensibility Does. In poetry, there are mainly three basic colors - white, black, white, black and red.
सृष्टा, रचेता, विधाता जिस भी नाम से पुकारें उस परम शक्ति को जो आकाश को नीला, धरती को हरा, सूरज को स्वर्ण और चाँद को रजत रंग में रंग देता है। वन प्रान्तर में पुष्पावलि के रंग अनगिनत है और सागर में जल-जीवों के रंग अद्भुत। रंगहीन जल भी उसी का चमत्कार है और गंगा, यमुना और सरस्वती का श्वेत, श्याम और लाल रंग भी उसी की अभिव्यक्ति है।कवि भी रचेता है ‘कविर्मनीषी परिभू स्वयंभू’ जीवन के जगत के, प्रकृति के रंगो को कवि पूरी संवेदन शीलता से संयोजित करता है। काव्य में मुख्य रूप से तीन रंग आधारभूत रंग है- श्वेत, श्याम, रतनान-सफेद, काला और लाल।
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Fernandez, Stephen. "“Ich Bin Ein Schauspieler”: Making Crip Performance in Toronto with Theater HORA’s Disabled Theater." Canadian Journal of Disability Studies 7, no. 3 (November 26, 2018): 1–30. http://dx.doi.org/10.15353/cjds.v7i3.449.
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This paper attends to the making of crip performance in the 2015 production of Disabled Theater in Toronto, where eleven performers with intellectual and physical disabilities took to the stage to perform a series of dance solos set to popular music. The performance was directed by the French choreographer Jérôme Bel and produced by the Zurich-based Theater HORA, a professional theatre company that is fully comprised of performers with disabilities. As an experienced choreographer, Bel is portrayed in the performance program as the “brains” behind Disabled Theater. It seems as though the performers were simply executing Bel’s artistic ideas through the embodied materiality of their dance performances. As such, the performers’ desire to be seen as proper artists exists amid the specter of an ableist ideology in “normative” culture that could potentially influence the audience members’ interpretation of their dance solos. Drawing on the work of Rosemarie Garland-Thomson, Carrie Sandahl, and Robert McRuer on the intersection of disability and performance, as well as the Italian dramaturge Eugenio Barba’s concept of the “pre-expressive state” of the actor’s body, I argue that the inclusion of persons with disabilities who confidently describe themselves as “actors” through the German phrase, “Ich Bin Ein Schauspieler”, unfolds the possibility of crip performance in Disabled Theater, which, unlike an ableist conception of performance, acknowledges disability as a reality that is constitutive of everyday life. Through crip performance, persons with disabilities do not need to downplay their disability in order to be publicly acknowledged as artists.
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Lecińska-Ruchniewicz, Monika. "Rys historyczny Teatru Muzycznego Takarazuka – w poszukiwaniu nowego „teatru narodowego”." Slavia Occidentalis, no. 74/2 (December 10, 2018): 51–64. http://dx.doi.org/10.14746/so.2017.74.22.
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The Takarazuka Revue (Takarazuka Kagekidan) occupies an important place among Japanese modern theatres and enjoys unwavering popularity both in Japan and abroad. Both the artistic and commercial character of the idea that brought the first Japanese all-female revue to life in 1914 determined its further development and process of conversion from a simple choir to a full scale musical theater. Kobayashi – the founder of the Takarazuka Revue, an opera aficionado and theater critic – was driven by the need to create a new, affordable and easily understandable national theater that would meet the needs of modern Japanese society. Currently, the Takarazuka Revue is one of the most active and successful modern Japanese theaters. Its harmonious combinationof trends in mass culture and Japanese and Western theatrical traditions is fascinating. The highly characteristic fusion of simplicity and splendour, kitsch and sophistication that can be seen in the revue’s works, creates a unique, albeit somewhat controversial style, complemented by musumeyaku (female emploi) i otokoyaku (male emploi) played by actresses taught in a special school affiliated to the Takarazuka Revue.
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Bergstrom, Janet. "The Theater of Everyday Life: Ulrike Ottinger's China: The Arts, Everyday Life." Camera Obscura: Feminism, Culture, and Media Studies 6, no. 3 (September 1, 1988): 42–51. http://dx.doi.org/10.1215/02705346-6-3_18-42.
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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.
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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.
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Zlotnikova, Tanjana S., and Svetlana V. Girshon. "Amateur theaters: soviet past and current practices." Yaroslavl Pedagogical Bulletin 1, no. 118 (2021): 202–9. http://dx.doi.org/10.20323/1813-145x-2021-1-118-202-209.
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This work offers an overview of sources devoted to amateur theater as a socio-cultural phenomenon that existed on the territory of the Soviet state and in post-Soviet Russia. Since amateur theater as a socio-cultural phenomenon has a complex nature, it is advisable to apply an interdisciplinary approach to the study of its activities. The activities of amateur theaters are considered in historical, cultural and sociocultural contexts. The authors consider the sociological, pedagogical, organizational aspects of the activities of amateur theaters, as well as their contribution to the culturalpractices of the regions. Throughout the existence of the Soviet state, amateur theaters were considered as means of propaganda and education of amateur artists and their audiences in the spirit of Soviet ideology. Unlike professional theaters, amateur groups in the 60s instantly reacted to a change in ideological paradigms, asked sharp, uncomfortable questions, and reflected an active civic position. The thaw period was marked by the creative heyday of amateur studio theaters, which ended in clashes with Soviet censorship. In the 90s, after the Soviet dissolution and the abolition of the leading role of the CPSU in the life of the state, amateur groups entered the period of experiments both organizationally and aesthetically. A certain boundary of this period was the professionalization of some amateur groups and the cessation of the activities of others. The authors consider the cultural practices of amateur theaters since the 2000s, when the process of transferring part of amateur groups from departmental subordination to municipal was completed. Attention is also given to the conditions for the existence of amateur theaters in the Yaroslavl region nowadays. Amateur theaters position themselves mainly as a way of organizing active creative leisure of the adult population. The pedagogical component in their activities has an insignificant part, the repertoire is entertaining in nature. In the presence of two or three groups known outside the region, the main part of amateur theaters in the Yaroslavl region carry out a cultural and educational function in small settlements where there is no professional theater
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Malpede, Karen. "Theatre of Witness: Passage into a New Millennium." New Theatre Quarterly 12, no. 47 (August 1996): 266–78. http://dx.doi.org/10.1017/s0266464x00010265.
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Karen Malpede's monologue, ‘Baghdad Bunker’, whose origins in an experience of vicarious empathy she describes in the following article, was first performed by Ruth Maleczech at La Mama in June 1991. It subsequently became the centrepiece of Malpede's play Going to Iraq, about life in New York during the Gulf War. Later, in The Beekeeper's Daughter, she addressed our lack of empathy in the face of ‘racial cleansing’ in the former Yugoslavia. Here, Karen Malpede uses both this latter play and a play by the dissident Croatian playwright Slobodan Snajder, Snakeskin, as examples of an approach to writing and experiencing plays she calls ‘theatre of witness’ – in which the witnessing imagination affirms connections ‘based upon the human capacities to experience compassion and empathy for the self and for the other as powerful, motivating forces’. Karen Malpede is a widely performed and published American playwright and director, currently with the Theatre Three Collaborative in New York, where she also teaches at NYU's Tisch School of the Arts. Her People's Theater in America (1972) was a seminal study of its subject, as was her Women in Theater (1984) of the feminist theatre aesthetic.
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Edmondson, Laura. "The Generation of Plays: Yoruba Popular Life in Theater, and: Ghana's Concert Party Theatre (review)." Theatre Journal 54, no. 3 (2002): 511–13. http://dx.doi.org/10.1353/tj.2002.0080.
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Schwartz, Laura. "When life becomes art: A librarian’s experience acting the part." College & Research Libraries News 78, no. 6 (June 6, 2017): 319. http://dx.doi.org/10.5860/crln.78.6.319.
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In fall 2014, I was approached by a theater/dance undergraduate student who wanted to put on a play in the Fine Arts Library (FAL) at the University of Texas (UT)-Austin. Because we had done a variety of performing arts programming in our magnificent space, I was inclined to say yes. She had written and was directing a play that took place in a library. Being the liaison to the Art and Art History Department, I thought it prudent to bring the theater/dance librarian into the discussion.
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Poliakova, Yu Yu. "Researches of Kharkiv’s Theater Culture of the 19th and the first half of the 20th cc.: Problems of Historiography." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 142–63. http://dx.doi.org/10.34064/khnum1-51.08.
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Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources, which contain the data on the history of theater in Kharkiv; to characterize their authors; to define the degree of their mastering of accessible information while writing books and articles on various periods in the development of theater culture in this city in the 19th c.; to establish the main challenges to researchers they have to face under modern conditions. In this study, the author has chosen to apply the traditional cultural-historic method of research. It generally consists of collecting primary information on a certain phenomenon or a prominent figure, working it out, finding its correlation with appropriate historic events, and then making an attempt to substantiate the meaning and importance of the phenomenon / figure studied, in the context of the development of arts in the region. The article based on memoirs, archive materials, periodic publications (containing articles on the activities of theater companies, theatrical managers, actors etc.) and literature on the history of drama as well as general publications, which include items on the theater life in the city. Due to the lack of an entire elaborated bibliographic system, researchers have to engage themselves in painstaking browsing through the entire corpus of periodicals. In Kharkiv, the main sources of relevant information are such periodicals as the “Ukrainskiy vestnik” magazine (1816–1819) and some newspapers: “Kharkovskie gubernskie vedomosti” (1838–1915), “Yuzhnyy kray” (1880–1919), “Utro” (1906–1916), Kharkov (1877–1880), Kharkovskiy listok (1898–1905) and more. Results. The former newspaper “Kharkovskie gubernskie vedomosti” published, in 1841, the essay “Theater in Kharkov” by dramatist and a prominent public figure Hryhoriy Kvitka-Osnov’yanenko (1778–1843), who described the very first period in the history of theater in Kharkiv (1780–1816). In the 1870s, the “Kharkovskie gubernskie vedomosti” started to publish regularly analytical and summarizing articles, which were an attempt at creating theater’s history of a certain period. There was, for one, an article “The Kharkov Drama Theater in Recent Ten Years” by Ivan Ustinov, published in 1877 and dedicated to the 10th anniversary of the Diukovs’ private theater company. I. Ustinov not only gave a brief analysis of the theater’s repertoire between 1867 and 1877, but also included biographies and short characteristics of the actors, which were playing then on Kharkiv stage. Ustinov also is famous as the compiler of the bibliographic index “The Books on Kharkov Governorate” (1886), with certain information on the history of theater in this city. In the 1880s, Konstantin Schelkov, a graduate of the Kharkiv University’s Law School, wrote his articles on the theater in the “Kharkovskie gubernskie vedomosti”. The newspaper published, among others, his article “Materials for the History of Theater in Kharkiv” (1881), in which he described the activities of the theater’s management headed by N. D. Alferaki in 1845–1848. In the early 1880s, another big newspaper, the “Yuzhnyy kray”, was started. Its columnist Nikolay Chernyaev took a great interest in the history of theater in Kharkiv. Mr. Chernyaev’s works include a systematic review of theater culture in Kharkiv from Catherine II epoch until 1843 as well as a number of essays on the development of theater in Kharkiv up to 1880. The author collected wide documentary material dedicated to specific periods of history as well as to certain artistic figures. Chernyaev studied many various sources: dailies and magazines, published in the capital cities and in provinces, many collections of documents, memoirs and so on. Chernyaev’s works proved to be useful to historians D. I. Bagalei and D. P. Miller who covered the history of theater in their famous book “The History of the City of Kharkov during 250 Years of its Existence.” In the first half of the 20th c., there were no integral and systematic researches on the history of the city of the previous century, so the monograph “The Beginnings of the Theater in Kharkov” by Arkadiy Pletniov, published in 1960, one can consider as summarizing. The author based much of his study on the works of N. I. Chernyaev. He also widely used the materials resting in the A. A. Bakhrushin Museum of Theater, Moscow, and in many archives. In his monograph, Dr. Pletniov did not limit himself with listing the events of theatrical life, but thoroughly analyzed the activities of the Board of Trustees and such managers as I. Shtein and L. Mlotkovskiy. In several supplements, one can find lists of main roles played on Kharkiv stage by its prominent actors (N. Rybakov, L. Mlotkovskiy, K. Solenik). Pletniov’s work, enriched by references and commentaries, played an important part in creating the complex picture of Kharkov’s theatrical life. Due to abundance of the facts and clear style, Dr. Pletniov’s book stays up to now a valuable source on the subject. Conclusions. The analysis of historiography concerning the theater in Kharkiv of the 19th and early 20th cc. enables the author to come to conclusion that the main challenges a modern researcher has to face are as follows: the absence of system in bibliographic manuals; lacunas in the funds of periodicals of most libraries; the absence of important documents in archives. Theater life in Kharkiv has been studied far from satisfactory level yet. The following problems of history especially need thorough research work from historical point of view: theater critique; drama art; architecture of theater buildings in Kharkiv; amateur theater companies; charity for theaters; and some other points. The task of modern researchers, as we see it, lies in gradual filling the gaps mentioned above.
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Mazurek, Aleksandra. "Availability of public theaters for persons with disabilities." Men Disability Society 43, no. 1 (March 30, 2019): 59–72. http://dx.doi.org/10.5604/01.3001.0013.3140.
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Accessibility is a prerequisite for participation in social life. The possibilities of a person with disability and environmental barriers determine the level of accessibility in various areas of cultural life. The degree of infrastructure adaptations and less visible symbolic interactions have a significant impact on the possibility of social participation and access to cultural artifacts by people from groups at risk of social exclusion. Theater is an area of art, an inseparable element of which is a meeting, and thus openness to what is different, conditions for establishing dialogue and performative interaction. In the Polish theater of recent years, the context of disability is more and more often perceived as a subject of artistic creation. The article discusses institutional theaters constituting significant culture-forming centers in individual regions and taking part in international festivals. The formal infrastructural availability of theatrical spaces to the needs of people with disabilities and the adaptation of the cultural offer to perceptive capabilities of people with different disabilities were analyzed. Other activities related to the social phenomenon of disability were also indicated, if it was possible.
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Iacobuţe, Ramona-Petronela. "Theater Festivals - a Collective Archive." Theatrical Colloquia 9, no. 2 (December 1, 2019): 216–23. http://dx.doi.org/10.2478/tco-2019-0028.
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Abstract Theatre can also be viewed as a collective archive that we go to when we need to better understand the world around us, artistic movements and trends, the state of mankind. Each participant in a theatrical act, whether spectator or creator, loads it with emotions and, therefore, with memories. Theatre, in all its forms, strengthens communities, and theatre festivals are a very good opportunity to popularize theatrical productions, from the level of some small communities, to the macro level. Diversity is an essential ingredient for stimulating imagination and a better understanding of an area of interest. This is why a theatre festival with international coverage, such as the International Theatre Festival for Young Audiences in Iasi (FITPTI), should make for its audience as many referrals as possible to the context and artistic life of a community as a whole. In order to achieve such an objective, in addition to the scenic representations, theatrical exhibitions, book launches, interactive installations, theatrical critique seminars, residences for young playwrights, reading shows are more than necessary. If we refer to the collective memory enriched by theatre, we could say that theatre shows have a short life. But, most of the times, those that really have a major impact and their creators are also found in books. And, it is known, books have a much longer life. FITPTI organizers understood this from the beginning and gave the theatre book an important place in the event.
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Veidlinger, Jeffrey. "Let's Perform a Miracle: The Soviet Yiddish State Theater in the 1920s." Slavic Review 57, no. 2 (1998): 372–97. http://dx.doi.org/10.2307/2501855.
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The history of the Soviet Yiddish State Theater (Gosudarstvennyi evreiskii teatr, or Goset) provides an illuminating glimpse into the life of Jewish entertainers and the position of Yiddish culture in the Soviet Union during the 1920s. While Solomon Mikhoels, the theater's star actor and director from 1929 until 1949, is well known for his role in chairing the Jewish Anti-Fascist Committee during World War II, and for becoming the first victim of Stalin's anti-Semitic purges with his 1948 execution, little research has been conducted on the theater to which he dedicated his life. Art and theater historians have evaluated the theater's aesthetic approach to selected productions, and Mikhoels's contemporaries have provided anecdotal glimpses into that artist's life by writing biographies of him, but there has not yet been an attempt to assess the theater's relationship to the state during its heyday or to place the theater within the context of Soviet culture of the 1920s.
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Čopra, Aida. "Dancing in War. Perception of Theater in Wartime Sarajevo: Pippo Delbono, Giorgio Strehler and Peter Schumann." Društvene i humanističke studije (Online) 6, no. 3(16) (July 27, 2021): 81–94. http://dx.doi.org/10.51558/2490-3647.2021.6.3.81.
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„When I went to Sarajevo, I met a boy“, Pippo Delbono tells us. They talked, and suddenly the boy told him, „I saw an entire city in anger. I’ve seen people become monsters“. And Delbono replied, „And I’ve seen people look at me like I’m a monster. And all the things that turn into monstrosity“. Traveling, for Delbono, is a life experience that turns into a theatrical one at the same time. In 1998, Delbono created a play called War. The story of the boy he meets during his trip to Sarajevo is an introduction to Delbono’s magical world of theater through which he expresses the need to present a life that is born from suffering, illness, war, but in which we still „dancing“. Danzare nella guerra, „dancing in the war“, for Delbono means to oppose the war to the beauty, joy, and poetics of the movement. In 1995, Strehler directed a play called Mother Courage of Sarajevo based on the text written by Bertolt Brecht. For Strehler, Mother Courage of Sarajevo is not just a play, it is a symbol, a political act that portrays war as a human failure. Strehler based his vision of theater on Brecht’s epic theater. One year before, in 1993, with his puppet troupe, The Bread and Puppet, Peter Schumann came to Sarajevo to provide his support. In the first place, we want to show how Delbono’s conception of theater and experience during his trip to Sarajevo intertwine with the primary goal of Sarajevo theater in those years, as „spiritual resistance“, „spiritual needs“, „call to heal wounded souls“, a „super theater“, as Izudin Bajrović calls him, in which theater and life were the same. Through Strehler’s theater, his relationship with Sarajevo, and the breaking of the „fourth wall“, we will talk about theater as research of those eternal human values, but also returning to humane theater. In the third place, through Schumann’s work, we will show how the external theatrical reality intertwines with the internal one as a feature of strong political engagement.
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Yan, Cong. "Utilizing Fuzzy Comprehensive Evaluation Mechanism for Theater Performance Scheduling Management in China." Mobile Information Systems 2021 (September 2, 2021): 1–9. http://dx.doi.org/10.1155/2021/1488461.
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The prevailing theater industry requires new state-of-the-art mechanisms for better evaluation so as to meet the expectations of the audience and to capture the attention of more and more public, thereby making the industry profitable. In modern times, when technology is employed in approximately all walks of life, it is necessary to come up with an automated system that can evaluate the performance of theaters effectively, can provide with more efficient scheduling mechanisms for better management of human resource and other assets, and can improve the traditional booking and reservation mechanisms. This paper proposes a fuzzy logic-based comprehensive evaluation system to closely examine the theater performance in order to construct an intelligent model for rational arrangement of the theater performances as per the demand of the audience. From the perspective of e-commerce, an advanced ticketing system is proposed for better user experience where online reservation of theater seats is performed by using the online facility. This also provides real-time scenario of reservation/availability of seats for a particular program so that the user can make reservations as per his/her preferred schedule. The proposed model is rigorously tested and statistically studied to support the theoretical claims of the research. From the results of the chart analysis, it could be noticed that the evaluation model proposed in this paper is very effective.
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Eriks Cline, Lauren. "The Long Run of Victorian Theater." Victorian Literature and Culture 48, no. 3 (2020): 623–31. http://dx.doi.org/10.1017/s106015032000025x.
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It's March 2020 as I write this, and the theaters are closed. Broadway is dark, and the Globe is once again shut due to a plague. Perhaps “self-isolation” is a strange condition under which to be thinking about crowded Victorian playhouses. As I make dates to watch movies with friends hundreds of miles away on the Netflix Party app, the media environment in which I pursue entertainment has perhaps never felt more dissimilar to that of nineteenth-century theatergoers. But, then again, maybe the photos of empty auditoria and deserted streets are the best demonstration of the space that public culture has taken up in our lives. The vacuum shows us that what's missing mattered. And if scholars of Victorian theater have shared a primary goal, it's to insist on how deeply the collective experience of playgoing influenced the everyday practices and beliefs of the period—even when theater and drama may not always appear on Victorian syllabi or conference programs. This essay considers three recent studies in Victorian theater—The Cambridge Companion to English Melodrama (2018), edited by Carolyn Williams; The Drama of Celebrity (2019), by Sharon Marcus; and Everyone's Theater: Literature and Daily Life in England, 1860–1914 (2019), by Michael Meeuwis—to register the force that theatrical performance exerted on Victorians and to explore how that force could change our sense of the field. By dwelling with archives and objects that might otherwise get classed as cultural “ephemera,” these studies push us to acknowledge that the run of Victorian theater hasn't ended. In the collective pause before a moment of intense feeling, or in a contradictory attachment to a public figure who is both imitable and extraordinary, they find a repertoire of spectator behavior from which many of our own modes of attention derive.
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Elbuzdukaeva, Tamara Umarovna. "THE DEVELOPMENT OF THEATER IN THE CHECHENO-INGUSH ASSR IN THE 40―60S’ OF THE XX CENTURY." History, Archeology and Ethnography of the Caucasus 15, no. 1 (March 19, 2019): 37–46. http://dx.doi.org/10.32653/ch15137-46.
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The selection of the topic for publication is brought into focus by the decree of the President of the Russian Federation on the announcement of 2019 as the Year of Theater, as well as preparation for the celebration of the 75th anniversary of the Victory over Nazi Germany. The relevance of the choice of theatrical culture of the Chechen Republic in the object of study is also related to its lack of information on this topic. The study analyzes the activities of republican theaters in military conditions; reconstruction of the basic principles and methods of functioning of the Chechen-Ingush theaters in the years of the restoration of autonomy and the “ottepel” (thaw) of the 1960s’.In the years of the Great Patriotic War, the Chechen-Ingush Theater was rebuilt in a military manner and confided to barracks. The propaganda teams that spoke in all corners of the republic, in hospitals and military units, in field camps and at enterprises raised the fighting spirit of the soldiers. Many artists of the republic went to the front and fought against the enemy in arms.The development of the Chechen-Ingush culture in the second half of the 1950s’ – 1960s’ of the XX century occurred in the conditions of democratization of life of the Soviet society, the restoration of the republic’s autonomy, the atmosphere of freedom of creativity. In the mid-1960s’, with the arrival of students of the academic M. Soltsayev and R. Khakishev’s Leningrad school, the repertoire of the Chechen-Ingush theater is replenished with works of heroic romance and high poetry. The performances of Russian, Georgian, Azerbaijani, Ossetian, Balkarian, Dagestan and other authors appear. In the 60s’ of the XX century, Chechen-Ingush Theater was among the ten best national theaters of the Soviet Union.The methodological basis of the research is the dialectical approach, which allowed studying the theatrical art of the Chechen-Ingush ASSR on the principles of historicism, objectivity and comprehensive study of the subject. The logical method made it possible to analyze the sources, to establish the degree of knowledge of the problem in the national historiography, to determine the purpose and objectives. With the help of the historical-genetic method, the theatrical life of the republic during the war, the restoration of autonomy and the “ottepel” of the 1960s’ is revealed.
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Rasooly, Yael. "On the Road – My life as a Theater Creator." Móin-Móin: Revista de estudos sobre teatro de formas animadas 1, no. 10 (April 16, 2018): 91–99. http://dx.doi.org/10.5965/2595034701102013091.
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Haynes, Jonathan, and Karin Barber. "The Generation of Plays: Yoruba Popular Life in Theater." African Studies Review 45, no. 3 (December 2002): 108. http://dx.doi.org/10.2307/1515121.
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Ariela Freedman. "Charlotte Salomon's Life? or Theater? A Melodrama?" Criticism 55, no. 4 (2013): 617. http://dx.doi.org/10.13110/criticism.55.4.0617.
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Lindsay, Lisa A., and Karin Barber. "The Generation of Plays: Yoruba Popular Life in Theater." International Journal of African Historical Studies 34, no. 2 (2001): 412. http://dx.doi.org/10.2307/3097490.
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McCall, John C. "The Generation of Plays: Yoruba Popular Life in Theater." American Ethnologist 29, no. 2 (May 2002): 429–30. http://dx.doi.org/10.1525/ae.2002.29.2.429.
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