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Journal articles on the topic 'Loges (Theaters)'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Николаевич Гордеев, Пётр. "Royal Loges and Reserved Seats: From the History of State Theaters in 1917." Journal of Modern Russian History and Historiography 5, no. 1 (2012): 94–120. http://dx.doi.org/10.1163/22102388-00500004.

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Февральская революция внесла значительные изменения в деятельность бывших императорских театров, ставших теперь государственными. Одним из них стала борьба за бывшие «царские» ложи, владельцы которых (члены императорской фамилии) уже не могли ими пользоваться. Наряду с этим, дебатировался вопрос о том, кто при новом режиме имеет право на получение бесплатного места в зрительном зале. Некоторые радикально настроенные артисты и театральные критики предлагали отменить любые привилегии при посещении театров. Но представители правительства (комиссар Временного Правительства над бывшим Министерством

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2

Meroth, Katja, and Sebastian Stauss. "Enkulturativer Bruch und Formen der Vermittlung. Empirische Befunde zum deutschen Musiktheater." Forum Modernes Theater 33, no. 1-2 (2022): 22–39. http://dx.doi.org/10.24053/fmth-2022-0003.

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Der Beitrag unternimmt den Versuch, das Theater von René Pollesch strukturell als Komödie zu begreifen. Um dies zu tun, rücken die auffallenden kleinen Dinge und körperlichen Gesten der Schauspieler*innen wie das Gestikulieren oder Zappeln in den Vordergrund der Betrachtung, um als Elemente einer Komödienstruktur begriffen zu werden. Die Komödie ist für Pollesch ein Vehikel, über verschiedene Formen des Theaters, seine Spielweisen und Darstellungskonventionen zu sprechen. Damit verbunden ist die Frage nach einer anderen, zeitgenössischen Form von Subjektivität, die den Aporien spätmoderner Sub

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3

Secchi, Simone, Veronica Amodeo, Fabio Capanni, Riccardo Renzi, and Lamberto Tronchin. "The restoration of the Theatre of Arts Academy in Tirana - Acoustic analysis and design of the new Orchestra pit." RIVISTA ITALIANA DI ACUSTICA, no. 1 (November 2023): 55–62. http://dx.doi.org/10.3280/ria1-2023oa14809.

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The origin of the Theatre of Arts Academy of Tirana dates back to the early 20th Century, based on the design of the Italian architect Gherardo Bosio. It was almost abandoned in the last 20 years and only recently a complete renovation has been undertaken, including the extension of the Orchestra pit.&nbsp;Measurements were carried out at different points in the platea, in the gallery and in the lodges, using both balloon bursting and sine sweep convolution technique. The results of the measurements achieved in each of the areas with the two different techniques were compared with each oth

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4

Bensen, Rebecca. "A CONCEPTION OF LOGOS IN PLATO’S THEATETUS." Southwest Philosophy Review 19, no. 2 (2003): 89–92. http://dx.doi.org/10.5840/swphilreview200319239.

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5

Czardybon, Marcin. "The Theater of Werner Schwab." Tekstualia 3, no. 42 (2019): 51–62. http://dx.doi.org/10.5604/01.3001.0013.4414.

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The article offers an analysis of Werner Schwab’s output as a playwright. Schwab is described as an artist whose idee fi xe was a complete rejection of the norms and demands of the „bourgeois” theater. Such a rejection further signifi es the playwright’s opposition to all the forms of order that go by the name of Logos.

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Mazzoleni, Elena. "Les fourberies de la Foire : une révolution sociopolitique et théâtrale." Romanica Wratislaviensia 67 (July 23, 2020): 159–69. http://dx.doi.org/10.19195/0557-2665.67.12.

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Between the 17th and 19th centuries, the competition between the official Parisian theatres and the popular trestles, such as the lodges of the fairs and the stages of the Boulevard, contributed to the development of an experimental dramaturgy characterised by theatrical crossing and the primacy of the actor’s gesture. To circumvent the prohibitions imposed by the Comédie-Française and the Opera, the impresarios of the Fair elaborate dramaturgical strategies full of invention, based on shows with simple units suitable for the combination of different genres. This theatre is thus able to develo

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Garrioch, David. "Playing with Fire: Love of Light and Nocturnal Shadows." Eighteenth-Century Life 48, no. 3 (2024): 82–100. http://dx.doi.org/10.1215/00982601-11309330.

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Work on the material culture of the eighteenth century has shown that light was more than a metaphor. The everyday social practise of the Enlightenment reposed on a contrast between light and dark. There was a growing emphasis on brightness in clothing and furnishings, and elite homes, social venues, fashionable shops, and even the main streets were more brightly lit. Fireworks displays became more frequent and more spectacular. Furthermore, in many Enlightenment practices, such as theater, Freemason lodges, salons, and coffeehouses, light was not simply a practical necessity, but was central

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8

Jannarone, Kimberly. "A Sucker Punch of Horror: The Oyoun Theatre's Gaza Mono-Logues." TDR/The Drama Review 56, no. 3 (2012): 178–82. http://dx.doi.org/10.1162/dram_a_00195.

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The Oyoun Theatre brought their performance of The Gaza Mono-logues from Gaza to Haifa for the RS/PS: Richard Schechner and Performance Studies conference, hosted by the University of Haifa. They were part of the larger Gaza Mono-Logues project, conceived by the Ashtar Theatre in Ramallah, which commissioned 33 first-person pieces written by children about their experiences during the three-week-long 2008 war in Gaza.

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9

Abel, Iris. "Szenografie forscht." Bühnentechnische Rundschau 116, no. 2 (2022): 82–86. http://dx.doi.org/10.5771/0007-3091-2022-2-082.

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In Kassel entstand zum Spielzeitauftakt 2021 mit der Raumbühne „Pandaemonium“ ein modernes Logen-Total-Theater. Auditorium, Klang- und Szenenfläche wurden in diesem Aufbau zu einem Ort des gemeinschaftlichen Theatererlebnisses gemischt. Ein Schritt auf der Suche nach einer zeitgemäßen Form des Musiktheaters. von Iris Abel

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10

Mills, Liz. "A Space for Sound." Recherches sémiotiques 36, no. 1-2 (2018): 311–25. http://dx.doi.org/10.7202/1051190ar.

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The focus of this article is Western theatre voice practice and discourse. With the voice conceived as the trace of language, the main intention is to reveal interstices for creative vocal or sonorous play by unsettling the relationship between voice and language.The project references the shift to the ‘natural voice’ in Western theatre voice practice and how, in spite of this shift to sound that is strongly located in the person of the performer, voice does not exploit the riches of either its originating practice in orality or its own essential nature as sonorous vocality. This article propo

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11

Lee, Won-Seung. "Methodology of Church Community Theatre - A Study of Logos Play -." Journal of acting studies 16 (December 31, 2019): 59–74. http://dx.doi.org/10.26764/jaa.2019.16.4.

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Solomon, Alisa. "Paradise Lost: One Again, the Living Theatre Loses Its Home." TDR (1988-) 37, no. 2 (1993): 21. http://dx.doi.org/10.2307/1146247.

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13

Gantner, Eszter. "Logos, Industrial Palace, and Urania: The Urban Forms of Knowledge in Budapest, 1873-1914." Journal of Urban History 43, no. 4 (2017): 602–14. http://dx.doi.org/10.1177/0096144217705344.

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The article focuses on the interaction of knowledge transfer and urbanization in Central Europe, 1880-1914. This happens through analyzing three cases of urban forms of knowledge production and communication: the Industry palace, the scientific theater “Urania,” and the philosophical journal “Logos” in Budapest between 1873 and 1914. The article formulates the hypothesis, that these various “knowledge formats” of scientific activities had been products of the urban development of Budapest. The application of the concept of “knowledge formats” enables to analyze and capture the complex interact

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Mee, Sharon Jane. "Rhythm Beyond the Cinematic Medium/The Pixel Beyond the Movie Theatre." Cinéma & Cie. Film and Media Studies Journal 22, no. 38 (2022): 121–37. http://dx.doi.org/10.54103/2036-461x/17923.

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In The Affect Theory Reader, Gregory J. Seigworth and Melissa Gregg write about Roland Barthes’s splendid notion of ‘shimmer’: an ‘exhaustively nuanced space’ that may be inventoried as patho-logies (by which to contemplate pathos) of bodies (human and nonhuman). In Alex Garland’s 2018 film Annihilation, a refracting effect — the Shimmer — which has appeared around a lighthouse and is slowly spreading outwards, is being studied. Military groups have entered the Shimmer never to return. A group of female scientists — of which Lena (Natalie Portman), a biologist, is one — enter the Shimmer and b

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Bertacchini, Francesca, Eleonora Bilotta, Lorella Gabriele, Pietro Pantano, and Assunta Tavernise. "Toward the Use of Chua's Circuit in Education, Art and Interdisciplinary Research: Some Implementation and Opportunities." Leonardo 46, no. 5 (2013): 456–63. http://dx.doi.org/10.1162/leon_a_00641.

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This paper considers the merging of Chaos with art, including such forms as digital images, sounds and music, based on dynamic systems derived from Chua's Circuit and using appropriate coding methods. Design elements, logos, musical instruments, software environments, multimedia theater performances and virtual museums with strange attractors have also been realized. In the field of education, the paper introduces environments that have foreseen the virtual manipulation of patterns derived from Chua's Circuit, which has fostered a deeper understanding of the evolution of dynamic systems throug

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Grasso, Elsa. "L’ousia dans le Théétète et le Sophiste." Chôra 18 (2020): 41–71. http://dx.doi.org/10.5840/chora2020/202118/193.

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The Theatetus and the Sophist present in succession two “battles” regarding ousia. In so doing, ousia is placed at the heart of what is essential to both dialogues : in fact, ousia interconnects with the conditions of possibility, both physical and metaphysical, of logos and epistèmè.However, each dialogue brings differing conceptions of discourse and science into play, and both articulate a different train of thought regarding being. Ousia appears differently in the two dialogues and it is not the same thing as the notion of ousia, usually considered to be truly Platonic, presented in the cen

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Nicoleta-Elisabeta, Pascu, Adir Victor, and Adir George. "Logo and the urban environment." New Trends and Issues Proceedings on Humanities and Social Sciences 6, no. 4 (2019): 14–23. http://dx.doi.org/10.18844/prosoc.v6i4.4352.

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Our study focused to understand the importance of graphic representations, as logos, in urban environment and to identify the principles of logo design used to create them. In this paper, we have discussed about logos in the historical centre of Bucharest and it was hard work, including walking by foot along the streets to identify all these logos which convey different messages to the people and to show what typology was used and what graphics were drawn. As it is known, daily, the people are assaulted by signs, symbols, colours, which are everywhere on panels, buildings, walls, cars, buses,

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18

Ziropoulou, Constantina. "Elli Papadimitriou’s Koinos Logos (Common Discourse) – Narrating Collective Trauma on Stage." CONCEPT 29, no. 2 (2025): 58–72. https://doi.org/10.37130/sythf992.

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This article delves into Koinos Logos (Common Discourse) by Elli Papadimitriou, along with its highly acclaimed stage production at the 2013 Athens Festival, directed by Vangelis Theodoropoulos, which significantly influenced contemporary Greek theatre. The issue raises several challenges that extend beyond the performance itself and into the dramaturgy, as the work is based on oral testimonies of female refugees from Asia Minor, collected by Papadimitriou in the aftermath of the Asia Minor Catastrophe. The study focuses on both textual and performance analysis, with particular emphasis on the

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Stewart, Nigel. "Actor as Refusenik: Semiotics, Theatre Anthropology, and the Work of the Body." New Theatre Quarterly 9, no. 36 (1993): 379–86. http://dx.doi.org/10.1017/s0266464x00008277.

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‘Theatre’, Eugenio Barba has said, ‘is a possibility of shaping revolt’. Barba touched upon this belief in NTQ16 (1988), and he professed it again with considerable passion at the conclusion of the seventh public session of the International School of Theatre Anthropology (ISTA) in April 1992. Directed by Barba and hosted by the Centre for Performance Research (CPR), the ‘Brecon ISTA’ was held in two parts – Working on Performances East and West, a practical exploration at Christ College, Brecon, from 4 to 10 April, being followed by a conference on 10 and 11 April at Chapter Arts Centre, Card

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Keenaghan, Eric. "The Impersonal Is Political: On the Living Theatre and William Carlos Williams’s Many Loves." William Carlos Williams Review 33, no. 1-2 (2016): 101–27. http://dx.doi.org/10.1353/wcw.2016.0017.

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Hennigan, Máiréad, Simon Henderson, and Ezra Burke. "When Occam's razor loses its edge: the simplest explanation isn't always correct." Dental Update 50, no. 6 (2023): 527–30. http://dx.doi.org/10.12968/denu.2023.50.6.527.

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Dental infections are common in children. Occam's razor, typically paraphrased, suggests that the simplest solution is most likely the right one. We report a case of an 11-year-old child who presented with right-sided facial swelling, fever, trismus, and a heavily broken-down right maxillary molar with a large apical radiolucency. After admitting the child, intravenous antibiotics and fluids were prescribed in preparation for the extraction of the UR6 and LR6 in theatre early the next morning. However, 9 hours later, before surgery, the patient unexpectedly and rapidly deteriorated neurologica

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Humpál, Martin. "Roman som skuespill: Sjangerhybriditet i Erlend Loes Stille dager i Mixing Part." European Journal of Scandinavian Studies 49, no. 1 (2019): 42–54. http://dx.doi.org/10.1515/ejss-2019-0003.

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Abstract Erlend Loe’s novel Stille dager i Mixing Part (2009, Quiet Days in Mixing Part) focuses on a marital crisis of a Norwegian couple on vacation in Germany. The husband, Bror Telemann, is a dramaturg who dreams of writing a major play, and he tries in vain to begin to write one. The novel is a third-person narrative, but it actually contains few narrative passages: most of the text consists of dialogues. The text is, in fact, a hybrid of two genres – part novel, part play. This seems to be a consciously chosen aesthetic strategy on Loe’s part. The main thematic aspects of Stille dager i

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23

Ana, Carolina Santos Pellegrini. "E il teatro va... Que existe, todos lo dicen; dónde está, nadie lo sabe = E il teatro va... It exists, everybody says; where it is, nobody knows." rita_ Revista Indexada de Textos Académicos, no. 11 (May 5, 2019): 86–95. https://doi.org/10.24192/2386-7027(2019)(v11)(08).

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En 1979, la Bienal de Venecia encargó al arquitecto Aldo Rossi el proyecto para el Teatro del Mondo: un edificio flotante que evocara las construcciones análogas de las fiestas populares de los siglos antecedentes, los escenarios adornados que navegaban por la laguna y los canales entreteniendo a la población que los acompañaba. Como era característico en la obra de Rossi, el Teatro del Mondo reunía la intención de recuperar el pasado y la memoria con la adopción de un lenguaje formal contemporáneo. Después de formar parte d

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Keenaghan. "The Impersonal Is Political: On the Living Theatre and William Carlos Williams’s Many Loves." William Carlos Williams Review 33, no. 1-2 (2016): 101. http://dx.doi.org/10.5325/willcarlwillrevi.33.1-2.0101.

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Klišienė, Neringa. "Lithuanian Dramaturgy and Its “Crises”." Literatūra 63, no. 1 (2021): 43–57. http://dx.doi.org/10.15388/litera.2021.1.3.

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The cultural shift that has been taking place over the thirty years since Lithuania regained its independence is bound up with the role of a rapidly changing – in terms of both stage and text – theatre. These changes were mostly expressed through rhetorical formulations of a discourse of “crisis”. It is no exception that this word has been used as a usual descriptor of the state of Lithuanian dramaturgy. Through a discussion of the differing aspects of the relationships between the defenders of the logos theatre and the proponents of stage praxis, this article argues that during the transition

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Boime, Albert. "Maria Deraismes and Eva Gonzales: A Feminist Critique of "Une Loge aux Theatre des Italiens"." Woman's Art Journal 15, no. 2 (1994): 31. http://dx.doi.org/10.2307/1358602.

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Cushman, Mitchell. "Ministry of Mundane Mysteries." Canadian Theatre Review 197 (June 1, 2024): 92–93. http://dx.doi.org/10.3138/ctr.197.018.

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The Ministry of Mundane Mysteries is a telephone-based improvised immersive experience produced by Outside the March that ran for three years during the COVID-19 pandemic. It featured over 1,100 private performances between a single performer and a household (ranging from one person to a whole house party!), connected solely over the phone. This mostly audio-based project produced little photo documentation. Instead, find in this folio the design artifacts from the project’s many iterations, from our Theatre for Young Audiences version to the French-language version to our partnership with SOU

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Sherman, Jason, and Guillermo Verdecchia. "Three In The Back, Two In The Head." Canadian Theatre Review 91 (June 1997): 70–72. http://dx.doi.org/10.3138/ctr.91.016.

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Onstage at Simon Fraser University’s main theatre is the office of CIA Officer John Doyle. (Doyle: I ama GS12, which is practically nothing. I sit here andfrom this little office I sendand receive messages, cables....)It is an office composed in blues and greys. The floor is slate ; the desk various tones of blue-grey. There is a side table with a model of the Avro Arrow and a copy of Richard Sapper’s “Tizio” ha logen lamp on it, and a dark bl ue, almost black, sec tional couch. All the surfaces in this room are level, uncluttered, clean. The upstage wall of the theatre forms the rear wall of

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Badra, Mahasen. "Metagledališkost v Frielovi drami <i>The Loves of Cass McGuire</i>: semiotika pretvarjanja." ELOPE: English Language Overseas Perspectives and Enquiries 21, no. 1 (2024): 283–97. http://dx.doi.org/10.4312/elope.21.1.283-297.

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The purpose of the present paper is to explore the metatheatrical techniques in The Loves of Cass McGuire by Brian Friel. Those include the play-within-a-play, expressionism, as well as the self-reflexive techniques of Brecht’s and Pirandello’s metatheatre. In terms of structure, character delineation, language and setting, Cass McGuire draws attention to Friel’s self-conscious devices. The play dramatizes the frustrations of Cass who deliberately chooses to withdraw to the realm of illusions and dreams, after being disappointed at the unpleasant realities she found at home. The study will als

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Woltmann, Suzy. "Appetite, Anatomy, and Desire in Caroline Era Poetry and Theatre." Humanities 8, no. 2 (2019): 89. http://dx.doi.org/10.3390/h8020089.

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The Caroline Era in early modern England was characterized by political instability and theological revolution. In response, there were ideological attempts to regulate desire and a distinct focus on the creation of a public persona. These crises led to anxieties about gender, performance, and the body. Literary production at this time was founded in political conflict and was both a response to and an escape from these events. In this article, I argue that early modern writers literarily regulate gender and bodies through the personal, political and theological happenings that they respond to

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Amaral, Graciele de Fatima, Edson Santos Silva, and Níncia Cecília Ribas Borges Teixeira. "O fluxo de consciência e o monólogo lírico na peça "Fluxorama", de Jô Bilac: entre a dramaturgia negra e a poesia." Dramaturgia em foco 7, no. 1 (2025): 109–28. https://doi.org/10.5281/zenodo.14887565.

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Este estudo pretende analisar a peça “Fluxorama”, do dramaturgo brasileiro negro Jô Bilac, escrito e inscrito na obra <em>Dramaturgia Negra</em>. O texto retrata o tamanho do ser humano dentro do universo e o constante conflito entre a vida e a morte, em monólogos que refletem a fluência, o fluxo de consciência de cinco personagens. A forma de expressão, na materialidade do texto, é de caráter lírico, que o coloca como texto dramático e ao mesmo tempo poético. Utilizou-se para tal análise Patrice Pavis

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Delmanto, Ivan. "A dedirrósea aurora: feminismo e totalidade histórica em Vai raiar o sol, de Júlia Lopes de Almeida / The Dawn of Pink Fingers: Feminism and Historical Totality in Vai raiar o sol, by Júlia Lopes de Almeida." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 3 (2019): 137. http://dx.doi.org/10.17851/2358-9787.28.3.137-162.

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Resumo: A análise de um texto de Júlia Lopes de Almeida, que permaneceu inédito e desconhecido por muito tempo, procura tornar visível o papel desempenhado pelas mulheres na história da dramaturgia brasileira, buscando contribuir não só para recuperar uma parte das inúmeras vozes emudecidas pela historiografia oficial, mas também para mostrar que, a despeito de a organização social da produção teatral ter excluído sistematicamente através dos séculos a participação das mulheres, há contribuições decisivas de dramaturgas brasileiras na história de nossa formação negativa. Mais do que isso, pr

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Strawbridge, Sheelagh. "Story: A personal reflection." Counselling Psychology Review 20, no. 1 (2005): 11–15. http://dx.doi.org/10.53841/bpscpr.2005.20.1.11.

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A reflection on the relationship between story and therapy, concluding with a discussion of creative cross-fertilisation between the arts and sciences.As a psychologist specialising in psychotherapy and counselling psychology, I am conscious of how powerful is the Western bias towards logos in psychology and, in my personal struggle with this, my excursions into dramatherapy have proved invaluable. I am also conscious that this bias sometimes forces dramatherapy, alongside theatre and the arts in general, to justify itself, for the sake of professional recognition and funding, in borrowed logi

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Kaczmarek, Wojciech. ""Nacinanie sykomory" - czyli jak badać chrześcijański wymiar dramatu i teatru XX wieku." Colloquia Litteraria 21, no. 2 (2018): 11. http://dx.doi.org/10.21697/cl.2016.2.1.

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The paper approaches the problem of a research of a Christian dimension of literature and theatre in the period of the crisis of Christian anthropology, which has been deeply felt at the end of the 20th century. Destructive elements have appeared in the understanding of the history and the role which Christianity has played in the construction of the world. The fruits of the contemporary culture have become sour; they contradict achievements of humanism and create an entity which has been named by Pope John Paul II as the “culture of death”. A researcher of the 20th century literature and thea

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Purwanto, Purwanto. "Reformulasi Riset Penciptaan Keaktoran Teater yang Kreatif, Ilmiah, dan Terukur Berdasarkan Teks Drama." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 20, no. 1 (2023): 21–36. http://dx.doi.org/10.24821/tnl.v20i1.9407.

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The creation of research-based role art requires proper scientific and theoretical methods. Many actors' creation results have not used logical and measurable methods, theories and processes. The process of creation based on the work of drama requires the analysis of drama as the basis of creation. Subjective considerations need to be objectified. On the other hand, the originality demands of casting work are required by examining and analyzing similarities and differences with previous similar works. The theory used is also complex, ranging from the analysis of structure and texture, actors a

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Rastiagaev, Andrei V., and Iuliia V. Slozhenikina. "Narrative potential of the June issue of A.Sumarokov’s journal “Hardworking Bee” (1759)." Vestnik of Saint Petersburg University. Language and Literature 20, no. 2 (2023): 235–50. http://dx.doi.org/10.21638/spbu09.2023.203.

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Most of the studies of Sumarokov’s work as a journalist regard the writer as a satirist. In contrast, this article suggests a different perspective on the problem of Sumarokov’s literary legacy. Based on the analysis of the narrative potential of the June issue of “Hardworking Bee”, the study proposes to look at the public activity of Sumarokov the publisher as a special communicative strategy. The journal began to claim the formation of a public sphere, offering its conception of personal and social identity. Sumarokov’s journal became an entirely new institution with its audience, along with

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Wolf, Stacy. "The Cambridge Companion to the Musical. Edited by William A. Everett and Paul R. Laird. Cambridge: Cambridge University Press, 2002; pp. xvii + 310 + 18 illus. $65 cloth, $23 paper; Boy Loses Girl: Broadway's Librettists. By Thomas S. Hischak. Lanham, MD: Scarecrow Press, 2002; pp. x + 277. $39.95 cloth." Theatre Survey 45, no. 1 (2004): 129–31. http://dx.doi.org/10.1017/s0040557404270089.

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“Those who created this book, and many of its readers, think of the musical as art,” write Everett and Laird in their preface to The Cambridge Companion to the Musical (xv). Indeed, many of us who study or teach musical theatre feel the need to defend it as a viable artistic form worthy of scholarly examination. Both of these books demonstrate the musical's importance in cultural history and amply illustrate the artistry of its production.

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Shchukina, Marina S. "REPRESENTATION OF THE GOSPEL CODE IN THE NOVEL “GETTING INTO CHARACTERˮ BY H.L. OLDIE THROUGH THE PRISM OF SHAKESPEARE’S THEATRICAL METAPHOR". Vestnik of Kostroma State University 30, № 1 (2024): 107–11. http://dx.doi.org/10.34216/1998-0817-2024-30-1-107-111.

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In the presented study the novel “Getting into Characterˮ (1991) by Henry Lyon Oldie (the pen name of Dmytro Hromov and Oleh Ladyzhens’ky) is considered as a part of Hamlet`s text of modern Russian-language literature. The peculiarities of the representation of the Gospel code of the novel are analysed. They are conditioned by the author’s concept of the artistic world, which assumes the recreation of reality according to the stage laws. It is established that the transformation of the Gospel code in the novel occurs at the level of the image system (Actor-Hamlet-Christ, mentor/Master-Messiah,

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Rizaieva, Ganna. "Christoph Willibald Gluck's soft skills in the case «Opera reform in the XVIII century»." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 136 (March 28, 2023): 87–101. http://dx.doi.org/10.31318/2522-4190.2023.136.276562.

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Relevance of research. The Viennese opera reform in the 18th century, which is closely related to the ideology of the Enlightenment, the activities of Masonic lodges, and the politics of Austrian Chancellor Kaunitz-Rietberg, is still often regarded as a cliché. Not a single domestic study has been devoted to the question of rethinking both the phenomenon of opera reform itself and Gluck's role in it, which determines the article's relevance. In this work, for the first time, the importance of the union of reformers in Vienna for the implementation of the opera reform in the 18th century is emp

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Kravva, Vasiliki. "PERFORMATIVITY, SENSOGRAPHY AND MUSIC: LEARNING AND TEACHING THE ‘OTHER’ HOLOCAUST AT A JEWISH INN." Teaching Anthropology 10, no. 2 (2022): 139–49. http://dx.doi.org/10.22582/ta.v10i2.503.

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The article reflects on my teaching experiences and the increased difficulty of teaching notions such as biopolitics and death politics to anthropology students. Such notions sound quite abstract and difficult to grasp. Nevertheless, they are essential in understanding the Holocaust, the Nazis’ mass production of death and the control of the human body and mind by this fascist-bureaucratic regime. Presenting the Shoah to anthropology students via lectures seems quite partial; apart from describing it from a macro-perspective, it would be more enlightening to introduce students to the sensual a

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Baccarani, Claudio, and Angelo Bonfanti. "Effective public speaking: a conceptual framework in the corporate-communication field." Corporate Communications: An International Journal 20, no. 3 (2015): 375–90. http://dx.doi.org/10.1108/ccij-04-2014-0025.

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Purpose – The purpose of this paper is to explore the concept of effective public speaking (EPS), and its antecedents and effects to provide a conceptual framework for the study of EPS in the field of corporate communication. Design/methodology/approach – This is a conceptual paper whose analytical approach draws heavily on theoretical evidence published mainly in the corporate-communication literature. Findings – Public speaking means communicating with rather than to the audience: it does not denote a one-way broadcasting of information but a conversation between the speaker and audience. St

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Savchenko, Viktor, and Vira Kudlach. "Masonic Movement in Central and Southern Ukraine in the 19th century: Loss of Hopes for Emancipation." Eminak, no. 2(46) (July 15, 2024): 186–203. http://dx.doi.org/10.33782/eminak2024.2(46).712.

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The epoch of world revolutions, the epoch of the formation of world ideas (the first half of the 19th century) gave rise to global projects of nationalism and the nation state, socialism and anarchism, emancipation, and public enlightenment, in the formation of which the Masonic ‘rulers of thoughts’ played an active role. The research paper uncovers the importance of the Masonic movement in the history of Ukraine and shows the contribution of the Masons to the formation of Ukrainian culture and the national idea, enlightenment, and self-organization of society. The purpose of the study is to f

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Лурье, З. А. "Iconoclasm and Reflection of the Image During the Reformation." Диалог со временем, no. 88(88) (September 9, 2024): 303–18. http://dx.doi.org/10.21267/aquilo.2024.88.88.022.

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В настоящей публикации рассматриваются иконоборческие споры в эпоху Реформации в контексте развития конфессиональных культур. В ходе первоначальной полемики об образах 1520-х гг. между Карлштадтом, Лютером и Цвингли сложились оп-ределенные представления о священных изображениях, нашедшие отражение в вероучительных текстах и литургической практике двух евангелических конфессий. Реформатство отличал более категоричный запрет на создание сакральных образов (Вторая заповедь декалога) и строгий тип литургического убранства, тогда как в лю-теранстве речь шла только о решении ряда дисциплинарных проб

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Cano, Rodrigo Zapata. "La monstruosidad y lo monstruoso en el Teatro Crítico y las Cartas Eruditas y Curiosas." Episteme – Filosofia e História das Ciências em Revista 14, no. 29 (2009): 85–111. https://doi.org/10.5281/zenodo.6582307.

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RESUMEN: Este artículo analiza el cuerpo monstruoso y sus distintas representaciones en la obra del Benedictino español Benito Feijóo (1676-1764), el Teatro Crítico Universal (1726- 1740) y las Cartas Eruditas y Curiosas (1742-1760), tanto desde su dimensión social y cultural (historia del cuerpo) como desde la historia epistemológica de las ciencias. De una parte, para tratar casos específicos, el benedictino busca, en los relatos que la leyenda teje, las figuras monstruosas que le sirvan de punto de comparación para afirmar su realidad

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Lücke, Bärbel. "Von der Nachkriegszeit zur heutigen BRD. Die Dialektik von Erinnern und Vergessen, Verdrängen und Verschweigen im Lichte von Allegorie, Symbol, Parodie und Dekonstruktion: Zu Frank Witzels Roman Direkt danach und kurz davor." Literatur für Leser 41, no. 1 (2018): 69–85. http://dx.doi.org/10.3726/lfl.2018.01.06.

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Frank Witzels Roman Direkt danach und kurz davor1 beginnt mit einem kurzen Vorspann, der suggeriert, eine Geschichte zu erzählen. Aus kindlicher Perspektive wird der Umriss einer namenlosen Stadt in der unmittelbaren Nachkriegszeit skizziert (,,Trümmern“, ,,nicht komplett dem Erdboden gleichgemacht“, 9) – einem verschwommenen Gemälde Gerhard Richters aus seiner Unschärfe-Periode gleich (die Unschärfe-Kategorie wird vom Erzähler – wer spricht? – wiederholt kommentiert, z.B.: ,,Bezieht sich die Unschärfe auf den ungenauen Vorgang des Erinnerns?“, 42); und tatsächlich spielen Gemälde, Bilder, ein

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Lanchak, Yaroslav. "Features of Visual Identification of Modern Ukrainian Theatres by Means of Graphic Design." Collection of scientific works “Notes on Art Criticism”, no. 44 (December 21, 2023). http://dx.doi.org/10.32461/2226-2180.44.2023.293908.

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The purpose of the article is to reveal the features of visual identification of Ukrainian theatres by means of graphic design. Research methodology. The method of typology and techniques of figurative and stylistic analysis are applied, as well as the method of semiotic and visual-cultural analysis of brand symbols of Ukrainian theatres. A combination of the descriptive method and techniques of formal analysis are used to identify the means of artistic expressiveness used by the designer. The method of semantic and structural-semantic analysis help to clarify the cultural meanings of images c

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Mazzoleni, Elena. "Les fourberies de la Foire : une révolution sociopolitique et théâtrale." July 24, 2020. https://doi.org/10.19195/0557-2665.67.12.

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Between the 17th and 19th centuries, the competition between the official Parisian theatres and the popular trestles, such as the lodges of the fairs and the stages of the Boulevard, contributed to the development of an experimental dramaturgy characterised by theatrical crossing and the primacy of the actor's gesture. To circumvent the prohibitions imposed by the Comédie-Française and the Opera, the impresarios of the Fair elaborate dramaturgical strategies full of invention, based on shows with simple units suitable for the combination of different genres. This theatre is thus able to develo

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"Midwife loses fight to wear dress in theatre." Nursing Standard 25, no. 49 (2011): 9. http://dx.doi.org/10.7748/ns2011.08.25.49.9.p6047.

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"Midwife loses fight to wear dress in theatre." Nursing Standard 25, no. 49 (2011): 9. http://dx.doi.org/10.7748/ns.25.49.9.s13.

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Afonina, Olena. "Musical and Theatrical Creativity in the Logos of Music History." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 4 (December 20, 2023). http://dx.doi.org/10.32461/2226-3209.4.2023.293725.

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The purpose of the article is to analyse the productions of the 21st century musical and theatrical works of the 19th – 20th centuries in the aspect of postmodernism and baroque. The methodology of the work includes scientific methods (source studies, historical, generalising) and methods of comparative analysis to reveal the specifics of postmodern performances. The scientific novelty of the work lies in the fact that sources in foreign languages have been introduced into scientific circulation, and an analysis of musical and theatrical works has been carried out. Conclusions. It is noted tha

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