Journal articles: 'Museum theater'

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Vaniuha, Liudmyla, Mariya Markovych, Nataliya Hryhoruk, Svitlana Matviishyn, and Yaroslava Toporivska. "The history of the creation, formation and development of the Museum of Theater, Music and Cinema Arts of Ukraine." History of science and technology 13, no. 1 (June 30, 2023): 78–100. http://dx.doi.org/10.32703/2415-7422-2023-13-1-78-100.

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The authors analyzed the stages of creation, formation, development and modern activity of the Museum of Theater, Music and Cinema Arts of Ukraine, which is the only one in Ukraine in terms of its specialization. This museum has a history famous for its names and events. It is widely known in Ukraine and abroad for its permanent exhibitions and mobile exhibitions, created on unique exhibits from the history of theater, music, and cinema. Collected during its existence – since 1923 – a large and multifaceted collection of monuments from the history of the development of arts, which is constantly replenished with new materials, is the basis for scientific research, scientific advisory, expositional and exhibition work, a rich source for popularizing the achievements of the national theater, music and cinema. The article emphasizes that theater museums, film and music museums are an integral part of the development of world culture. They arose, developed and formed into a separate typological group of art museums. The uniqueness of each theater museum was determined by stationary expositions and temporary exhibitions, which were the main sphere of operation and a form of use and popularization of the processed funds. Reproducing the phenomena and events of the theatrical heritage, expositions and exhibitions visualized the most significant assets of both the past and modern theater and theater science in the language of museum exhibits. Research and analysis of the historical experience of exposition and exhibition activity of theater museums, film and music museums will be important for an objective assessment of the positive and negative consequences of the influence of national and cultural processes on their functioning and development. The challenges faced by theater museums, film museums and music museums in the course of their activities have common features and may vary depending on the specific situation and context. The article analyzes the typical problems and features that theater, film and music museums face in their activities. The article shows that these problems may differ for each specific theater museum depending on its size, financial resources, location and other factors. Their features may vary among theater, music, and film museums, depending on their resources, scale, and specialization. However, solutions to these challenges may include working with conservation professionals, attracting grants and sponsors, developing educational programs, and using new technologies to improve visitor audience engagement.

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Portnova, Tatiana V. "Theater museums as a base for excursion and tourism programs." Revista Amazonia Investiga 9, no. 27 (March 21, 2020): 333–39. http://dx.doi.org/10.34069/ai/2020.27.03.36.

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The article discusses excursion work related to theatrical museum collections, which is one of the interesting, but little developed types of activities in the field of tourism. Гhe author refers to the specifics of the theater museums involved in updating knowledge and raising the professional level, developing practical skills and professional competencies of tourism service specialists in the field of a holistic presentation of the history of the development of such a museum as a specific sociocultural institute. It touches on the interesting history of the creation, formation and composition of collections, as well as the modern activities of major museums and the latest museum centers around the world, hosting tourists. It is noted that the purpose of excursion and tourist programs using the collections of theater museums is not only to improve the modern tourist structure, but also to create a special spatial and artistic image that complements the content of the text, overcomes psychological discomfort due to the frequent presence of tourists in the bus or in open spaces , by creating favorable environmental conditions, the realization of the aesthetic potential of the museum atmosphere, capable of Favorably affect the emotional state and enrich the tour. In this regard, today, an important complex of problems that lie in the aesthetic field arises in the context of intensive tourism development processes, along with the need to solve infrastructure and technological issues, problems of implementing socio-economic problems in the tourism sector. Theater museums in excursion programs are considered as a special historical and cultural phenomenon. Their development is a continuation of world and domestic experience and, at the same time, a unique cultural phenomenon, inextricably linked both with the regional traditions of the countries and with the theater school - the academic school, for which the theater exhibit has become the most important area for the realization of creative potential. An attempt is being made to reflect the optimal combination of considering general theoretical and methodological issues and concrete and practical material on museum theater pedagogy.

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Forbes, Maggie. "Museum Theater in a Children's Museum." Journal of Museum Education 15, no. 2 (March 1990): 10–12. http://dx.doi.org/10.1080/10598650.1990.11510141.

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Karamanov, Oleksij, Olha Zheleznyk, and Oksana Surnach. "Theatricalization in the Space of the Museum: Possibilities of Interaction between School and Museum." Pedagogika. Studia i Rozprawy 32 (2023): 147–55. http://dx.doi.org/10.16926/p.2023.32.09.

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The authors of the article analyze the phenomenon of theatricalization in the museum space from the perspective of museum pedagogy and museum communication. They examine various aspects and forms of theater pedagogy and the conditions for conducting a theatrical performance in a museum with a children’s audience using appropriate communication methods. Presenting various forms of practical application of theatrical elements in Ukrainian museums, the authors pay special attention to the experience of Lviv, such as the organization of the Levenya Mobile Song Theater and volunteer work. The authors emphasize that theatricalization in the museum space is in line with modern trends in the development of education and culture, which contributes to the development of the child’s creative potential, creative and perceptual abilities.

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Karachentsev, Ivan S. "UNIVERSITY CHARTERS AS A LEGISLATIVE BASIS FOR MUSEUM BUSINESS IN RUSSIAN UNIVERSITIES (XIX – EARLY XX CENTURIES)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 234–39. http://dx.doi.org/10.17223/22220836/41/20.

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For the first time in the museum literature, the article traces the influence of university charters on the museum business in Russian universities in the XIX – early XX century. Using the original act documents extracted from the “Complete Collection of Laws of the Russian Empire”, the author showed that the charter of 1804 and all subsequent legislative acts provided for the formation of auxiliary educational institutions in universities – offices, assemblies, anatomical theaters. It is particularly stipulated that the charter of 1804 did not use the term “museum”, since it was not widely used in Russia at that time. In the act documents at the beginning of the XIX century, the word “cabinet” was used, which was in some sense a synonym for it and was used in the sense of storage, collection. But the work prescribed by legislative acts on the selection, description and preservation of exhibits, tools, and other objects necessary for teaching, allows us to talk about the birth of museum functions in universities. Starting in 1835, the charters introduced the term “museum”, they expanded the list of educational materials and aids. Taking into account the obvious lack of knowledge on the subject under study, the author gives the entire list of educational and auxiliary institutions listed in the statutes. These are the cabinets: physical, mineralogical, botanical, zoological, technological, and the collection of machines and models for applied mathematics, collections – architectural models, pharmacological, surgical instruments, obstetrical instruments, anatomical theater and collection of exhibits, zootomic theater, and collection of exhibits, as well as the Museum of Fine Arts and Antiquities. The statutes prescribe ways to replenish university collections, including through the unhindered discharge of benefits from abroad. In the university charters and staff schedules attached to the charters, it was mandatory to specify monetary amounts, determine their distribution for the maintenance of offices and museums, as well as the heads and general staff of these university departments. The article emphasizes that the charter of 1863 spelled out in detail the procedure for approving the position of curators of cabinets and museums, and in addition, their pension provision was separately prescribed. The charter of 1884 provides an expanded list of university museums, establishes the number of employees, and addresses issues of museum management. At the end of the article, it is quite appropriate to conclude that the university charters defined the legislative foundations of the museum business in Russian universities of the XIX-early XX century

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Oestreicher, Lee. "Museum Theater: Coming of Age." Journal of Museum Education 15, no. 2 (March 1990): 4–5. http://dx.doi.org/10.1080/10598650.1990.11510138.

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Qafarova, Gunay N. "Azerbaijan National Museum of Art: On the history of foundation." Issues of Museology 13, no. 2 (2022): 214–30. http://dx.doi.org/10.21638/spbu27.2022.205.

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The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibition activities of the museum is given, in which both collections of Russian and foreign museums were exhibited in different years. In various years, the museum hosted exhibitions of the fraternal republics, as well as China, India, Iran. After each exhibition, the museum’s collection was replenished with new exhibits. The museum constantly held and held personal exhibitions of representatives of various schools of painting in Azerbaijan. The country’s artists are proud that their paintings are exhibited and stored in one of the country’s major museums. In the context of the article, a special place is given to the work of the first theater artist R.Mustafayev, whose name the museum bore for many decades, and whose works are kept in his collection. Unfortunately, the name of this talented artist is little known to the younger generation, although his contribution to the development of national scenography and the protection of architectural monuments is invaluable. Thanks to his artistic flair, the performances “Koroglu” and “Arshin Mal Alan” designed by him have been successfully staged on the stage of various theaters. Тhe analysis of his work is an important thematic contribution to the history of the study of the Azerbaijan National Museum of Art.

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Jordan, Hanuš. "Cirkusové fotografie v divadelní sbírce Národního muzea." Časopis Národního muzea. Řada historická 190, no. 1-2 (2022): 19–42. http://dx.doi.org/10.37520/cnm.2021.002.

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Circus Photos at the Theatre Collection of the National Museum The specialized circus fund of the theater collection of the National Museum contained over 9 000 images when it was created in 2004. The study describes its time limitations for the years 1950–1990, it also deals with older images, forms of shooting circus and variety shows, and the issue of describing photographs as a historical source. Authors of circus photos Vladimír Lammer, Václav Gína and Oldřich Mazůrek.

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Odazhiev, Petar. "An Innovative Form of Access to the Cultural Heritage of Musical Theatre: A Perspective from Bulgaria." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 178–92. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_013.

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Providing as an example the Virtual Museum of Bulgarian Musical Theatre, institutionalized as an independent and constantly evolving Internet platform at the Museum of the Bulgarian Musical Theater (MBMT), this study represents a new contribution to the application of digital technologies to management and cultural promotion. The research answers questions regarding the current development and applications of digital technologies for designing multimedia content aiming to represent cultural heritage. The results offer an original virtual museum constructing method for interactive access to archival samples of performances in the following genres: opera, ballet, operetta, and musical. Additionally, the museum offers access to a presentation of the achievements of music and stage art through permanent thematic collections of repertoire programs, up-to-date information about the creative process of artists, conductors, directors, scenographers, choreographers. Keywords: Digitization, Preservation, Cultural Heritage, Digital Collections, Musical Theatre, Opera, Ballet

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Blackstone, Sarah. "The Theatre Museum of Repertoire Americana." Theatre Survey 41, no. 1 (May 2000): 89–93. http://dx.doi.org/10.1017/s0040557400004403.

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Sarah Blackstone is Chair of the Department of Theatre at Southern Illinois University and serves on the Advisory Board for the Theatre Museum of Repertoire Americana. Neil and Caroline Schaffner started collecting memorabilia from the repertoire theater movement during the 1950s. They dreamed of one day establishing a museum that would display their collection and other items connected with this wide-spread popular entertainment form. In 1973, with the help of the Midwest Old Settlers and Threshers Association, and endless hours of effort, their dream was realized in the small town of Mt. Pleasant, Iowa. Since that time, the Museum of Repertoire Americana has prospered, and it currently houses an impressive collection of uniquely American research materials. Dedicated to preserving the rural theatrical heritage of the Midwest, the Museum has materials related to opera houses, circle stock companies, Uncle Tom shows, showboats, and tent shows of all descriptions. I offer here a brief description of the collection, together with information about the National Society for the Preservation of Tent, Folk, and Repertoire Theatre and the annual Theatre History Seminar this organization holds at the Museum each April.

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Vodička, Libor. "Divadelní tisky, almanachy a další periodické i neperiodické prameny jako zdroj pro heuristické bádání v teatrologii: Zpráva o této sbírkotvorné činnosti Divadelního oddělení Národního muzea." Muzeum Muzejní a vlastivedná práce 60, no. 2 (2022): 65–76. http://dx.doi.org/10.37520/mmvp.2022.018.

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The paper introduces the specific issue of sources for theaterological research and deals more closely with the historical genesis of the emergence and development of theatrical periodical and non-periodical press from the 18th century to the present day, from synopsis to theatre signs, almanacs, theater calendars, monthly periodicals, yearbooks and other printed periodicals. The paper establishes the historical typology of this source and its transformation since the modernism era. The final part of the paper focuses on the collections of the Theater Department of the National Museum and the way these sources are recorded and made accessible to the public, including the methodology of documentation of contemporary theatre sources with the focus on the digital sources.

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Solomon-Godeau, Abigail. "Masterpiece theater redux." Rundbrief Fotografie 29, no. 1 (April 1, 2022): 47–53. http://dx.doi.org/10.1515/rbf-2022-1006.

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Abstract The recent exhibition at the Musée Jeu de Paume in Paris, entitled „Chefs-d’œuvre photographiques du MoMA: la collection Thomas Walther“, the first presented under the new directorship of Quentin Bajac, was well received. A closer examination of the exhibition and its premises, however, beginning with the title’s grandiose term “masterpieces”, raises a number of issues when a private collector’s sales to a major museum are presented in ways that occult the commercial underpinnings of the purchase and sale of private collections. We may also ask if a collector’s personal selection of photographs from a specific time period -- here, 1900 to 1940 – operates to replace history with connoisseurship. Last, such an exhibition seems to suggest a different direction for the museum which under the previous directorship of Marta Gili strove for gender equity in its exhibitions, and a distinctly ecumenical approach to the medium.

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Heo, bokyung, Min Lee, Juhyun Lee, and Youjin Hong. "A Study on the Exhibition of Public Space in Performance Hall Applying the Concept of Museum Theater." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 385–404. http://dx.doi.org/10.33645/cnc.2022.10.44.10.385.

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This study started with interest in inter-genre fusion through the application of the museum theater concept. To this end, the museum theater concept was applied to the documentary music play <1919 Philadelphia> which was performed three times in 2022, and the exhibition was planned and installed in the lobby of the concert hall. Out of the 20 performances, 9 exhibition and performance visitors were surveyed focusing on their reactions and the effects of inter-genre intersection. The study found that the synergy effect between the media, the need to utilize the content and commemorative and experiential elements, the need to communicate with the audience, and the environment of the exhibition space should be considered. It is expected that the museum theater project will lead to a follow-up study that can verify the degree of understanding and immersion of viewers and the synergy effect between genres.

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Ovcharenko, T., O. Shchekina, N. Dobroier, and V. Shchekina. "THE VARIANTS OF COMMUNICATION MODEL "MAN-PAPPET" EXISTENCE IN THEATRE AND MUSEUM CULTURAL PRACTICES." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 24 (2022): 66–79. http://dx.doi.org/10.34079/2226-2849-2022-12-24-66-79.

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Relevance of the study. The museum is the place where information turns into a system of codes, signs and symbols, and any thing, getting in our hands, enters into dialogue with us. Main objectives of the study: to trace the dynamics and transformation of the communication model "Man-doll" in the museum space. Methodology: observation, comparative, analytical, structural-functional, hermeneutic. Results: This article is the result of the author's research in the field of theatrical art, collecting theatrical objects (theatrical doll). As a result of our research, we came to the following conclusion: a doll is a universal cultural artifact that exists in different cultural practices: play, therapeutic classes, collections of private and public collections, and of course in the space of the theater. A museum is the place where information turns into a system of codes, signs and symbols, and any thing that falls into the hands enters into a dialogue with us. Scientific novelty: the study was tested in the international project GameHub, the purpose of which was to create interactive dolls, computer heroes and, subsequently, the development of a game scenario to solve conflict situations in the educational process, to improve the quality of education. Analysis of scientific sources. We managed to reveal all aspects of this: Semiotics questions (Lotman); problems of cooperation and communication (J.Habermas); the nature of the doll as an artifact and the possibilities of its use in different cultural spaces -cinema, theater (Vasilkova A);); discussion of the doll as things (Miroslav Petrzhichek, Jan Pyatochka, E. Husserl); and also, looked at such authorities as therapeutic, psychological, Educational. Practical sig:nificance the main provisions and conclusions of the article can be used in scientific and pedagogical work, will be of interest to scientists, researchers from different fields of humanitarian science. This article is a result of the author's research in the sphere of theatre, collecting theatrical items (theatre puppet), that passed a test of the international project GameHub, which purpose was to create interactive puppets, computer heroes and, including the development of a game script for solving conflict situations in the educational process, for improving the quality of education. Conclusion: a pappet is a universal cultural artifact existing in various cultural practices: game, therapeutic activities, private and public collections, and of course in the theater space. Keywords: communication "man-pappet", a theatrical pappet as a text of culture, artifact, a thing in collections, cultural practices.

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Bridal, Tessa. "Further Reading on Museum Theater Tessa Bridal." Journal of Museum Education 15, no. 2 (March 1990): 14. http://dx.doi.org/10.1080/10598650.1990.11510143.

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Pidvalna, Uliana, and Lesya Mateshuk-Vatseba. "Mortui vivos docent [The dead teach the living]." Journal of Morphological Sciences 36, no. 04 (December 2019): 291–94. http://dx.doi.org/10.1055/s-0039-1698377.

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AbstractMedical museums are a record of the history of the medical thought processes. The Anatomical museum of the Department of Normal Anatomy located in the Danylo Halytsky Lviv National Medical University was founded in 1894 by Professor Henryk Kadyi (1851–1912). The museum includes a number of unique objects and displays > 2,000 specimens. These medical artifacts include both normal anatomy and malformed artifacts. The museum is divided into three sections that are arranged according to the systems of the body and a method of preparing specimens. The vast array of preserved specimens represents comparative, developmental, gender, systemic, dynamic, plastic, and descriptive anatomy. Besides the Anatomical museum, the historical treasure is the Anatomical Theater, the oldest auditorium at the Danylo Halytsky Lviv National Medical University that preserved its authenticity. These educational places teach us not only about morphology, but also help us appreciate the beauty of the human body.

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Sidorova, O. V. "ALEXEY DMITRIEV'S EXHIBITION PROJECT "NOMAD" AND PROFESSIONAL TRAINING OF MUSEOLOGY STUDENTS AT THE STATE ART MUSEUM OF ALTAI KRAI." Topical Issues of Culture, Art, Education 40, no. 2 (2024): 104–12. http://dx.doi.org/10.32340/2949-2912-2024-2-104-112.

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The publication introduces the author's exhibition project "Nomad" by artist Alexey Dmitriev at the State Art Museum of the Altai Krai (Barnaul, Russia). The exposition solution of the exhibition was spatial and was in tune with the current trends in the exhibition activities of leading Russian museums, which in their practice turn to such a phenomenon as museum scenography, creating dramatic images in the museum space, filling the exhibits with a variety of situational meanings. A seminar was held within the framework of the exhibition, which examined the relationship of theater with the art of the book, identified the possibilities of "theatricalization" in the construction of an exposition museum space. The main audience of the seminar were students of the Novoaltaisk State Art College, studying in the specialty "Graphic Design" and students of the Museum of the Altai State Institute of Culture, for whom the museum has been operating a basic professional department for the seventh year, in which they acquire initial professional experience in their chosen field of study.

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Gómez Merino, José Luis. "Escaneado 3D e interpretación virtual del Teatro romano de Córdoba." Virtual Archaeology Review 3, no. 6 (November 1, 2012): 20. http://dx.doi.org/10.4995/var.2012.4422.

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The remains of the Roman Theater in Córdoba are located in the cellars of the Archaeological Museum. We have scanned the remains in order to use them to explain the visitors the features of the theatre. With this scanned 3D information we have made videos and images across the path for visitors to perform visual information for them. The challenge consists in making the public enjoy using technical graphic information.

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Korneeva, Anastasiia A. "Museum-type institutions with literary themes in Russia and abroad: History of genesis and present condition." Issues of Museology 14, no. 1 (2023): 37–47. http://dx.doi.org/10.21638/spbu27.2023.103.

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The article discusses the history of the genesis and the present condition of museum-type institutions in Russia and abroad, dealing with the preservation, representation or popularization of the literary heritage. The reasons and history of the formation of the term “paramuseum” abroad in the 1980s and the term “museum-type institution” in Russia in the 2000s are considered, examples of researchers who addressed this topic are given. An attempt has been made to give a broader definition of the existing term “museum-type institution” based on a comparison of museum-type institutions with institutions closest to them — museums and to highlight their main differences. The reasons for the emergence of museum-type institutions are revealed and their classification is given. It is indicated what is meant by literary themes in the context of this article. Examples of various types of museum-type institutions with literary subjects in Europe (Netherlands, Italy, Finland, Sweden, Russia and others), Asia (Japan, Korea and others) and North America (USA) are given. Their main features are indicated — a different amount of museum functions performed, the principle of location. Examples are given of theme parks (Efteling, Pinocchio Park, Astrid Lindgren’s World, Moomin World, Canadian World, Petite France and others), cultural centers (Patrick Kavanagh Centre, John Dos Passos Cultural Center, Cultural Center. A.I. Solzhenitsyna and others) and children’s museums (such as “Tower of Snegurochka”, “Wizard Forest”, interactive museum-theater “Pushkin’s fairy tales”) with literary themes, rooms of writers and expositions dedicated to them in libraries and educational institutions, cafe-museum and restaurant-museum. Based on these examples, the author concludes that many institutions seem to be very promising and have the potential to become full-fledged museums.

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Nielsen, Vibe, Henrietta Lidchi, Jesmael Mataga, Annelise Schroeder, Gwyneira Isaac, and Riley Rogerson. "Review Essays." Museum Worlds 10, no. 1 (July 1, 2022): 230–56. http://dx.doi.org/10.3167/armw.2022.100120.

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How to Practice Decoloniality in Museums: Practicing Decoloniality in Museums: A Guide with Global Examples, Csilla E. Ariese and Magdalena Wróblewska (Amsterdam: Amsterdam University Press, 2021)Listening to Art as the Voice of Our Time: The Online In-Conversation Series Indigenizing the (Art) Museum (Wapatah Centre for Indigenous Visual Knowledge/OCAD University, Toronto)National Museums in Africa: Some Reflections from the Continent: National Museums in Africa: Identity, History and Politics, Edited by Raymond Silverman, George Abungu, and Peter Probst (London: Routledge 2022)From Paddock to Peace Garden: Heritage Politics and the Development of the Japanese Memorial Site at FeatherstonShadows, Strings & Other Things: The Enchanting Theater of Puppets

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Schwind, David R. "Acoustical design of the Randall Jr. Museum Theater." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2440. http://dx.doi.org/10.1121/1.4781946.

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Lobko, Nataliia, and Karina Kartava. "Stages of the Life and Work of Anna Zatyrkevich-Karpynska." Sums'ka Starovyna (Ancient Sumy Land), no. 63 (2023): 76–86. http://dx.doi.org/10.21272/starovyna.2023.63.7.

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The article examines the main stages of the life and work of the outstanding Ukrainian artist, teacher, and theater actor Hanna Petrivna Zatyrkevich-Karpynska. The sources of writing the article are materials from periodicals, memories of her contemporaries, and materials from the Romny Museum of Local History. Hanna Petrivna was born on February 20, 1855, in the noble family of the Kovtunenkos in the town of Srybny, Prylutsky District. At first, she participated in amateur performances. Since 1883, Hanna Petrivna Zatyrkevich began to perform with luminaries of the Ukrainian theater and their colleagues. She worked in professional Ukrainian theaters under the leadership of M. Kropyvnytskyi, M. Starytskyi, M. Sadovskyi, M. Starytskyi, P. Saksaganskyi, and I. Kavaleridze. It was found that the factors that influenced her development as an actress, in particular, were her environment – a serf nanny and peasants with whom she communicated all her life. Her parents and studies at the Kyiv Institute of Noble Girls contributed to her interest in the theater. During her almost forty years of work in the theater, H. Zatyrkevich-Karpynska played about 130 roles and created a whole gallery of the most diverse and unsurpassed stage images. She was famous as a comical, characteristic actress. Her work and talent contributed to the formation of the Ukrainian National Theater. The outstanding actress educated a whole constellation of students, most of whom became leading masters of the Ukrainian theater. She spent the last years of her life in the city of Romny, where she took an active part in the theater created there. H. Zatyrkevich-Karpynska is buried in Romny Central Cemetery.

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Dmitrieva, L. V. "Children's immersive theater in the party practices of the museum." Voprosy kul'turologii (Issues of Cultural Studies), no. 1 (January 1, 2021): 50–55. http://dx.doi.org/10.33920/nik-01-2101-06.

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The publication was prepared on the basis of practical experience with the children's audience of the museum. Approaches and principles of immersive theater are considered, which are the basis for designing an interactive excursion-performance as a form of mastering the historical landscape through partisan cultural practices. The proposed project is the basic part of the program of summer visiting practice of students of the “Cultural Education” profile in the museum-reserve “Tauric Chersonesos” (2017–2019).

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Jordan, Hanuš. "Divadelní fotografie a jejich autoři ve sbírce Národního muzea: Josef Heinrich a Čestmír Jírů – neznámí či zapomenutí?" Muzeum Muzejní a vlastivedná práce 60, no. 2 (2022): 52–64. http://dx.doi.org/10.37520/mmvp.2022.017.

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Theater photographs as a visual source of theater history have been consistently collected in the National Museum since 1924. Historical images created by studios after 1859 give only limited evidence of the appearance of characters in theater plays. The article describes the specifics of recording and technical limitations in studios until the end of the long 19th century. The first professional photographer working for one theater – Josef Heinrich. Between 1936 and 1950, he filmed 405 productions of all National Theater ensembles. Originally a reportage photographer of the Czechoslovak press office, Čestmír Jírů stood on the sidelines of the researchers’ interest. After documenting political events and working for a postcard manufacturer, he took a unique set of lifestyle photos of actors of all generations – at home, at hobby work, with family members.

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Fischer, Eva Maria. "Barock für heute." Bühnentechnische Rundschau 117, no. 6 (2023): 64–69. http://dx.doi.org/10.5771/0007-3091-2023-6-064.

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Unter dem Begriff „Markgräfliches Opernhaus Bayreuth – Welterbe und Museum“ sind in der fränkischen Stadt das Hoftheater und sein benachbartes ehemaliges Redoutenhaus zusammengefasst. Letzteres beherbergt ein hochmodernes, interaktives Museum für barocke Theater- und Festkultur, das mit einem ausgeklügelten Lichtdesign und dem weltweit einzigen Nachbau einer barocken Bühne samt Maschinerie aufwartet. Nun erhielt es sogar den German Design Award. Von Eva Maria Fischer

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Querner, Pascal, Michaela Morelli, Elke Oberthaler, Monica Strolz, Katja Schmitz Von Ledebur, Johanna Diehl, Isabell Zatschek, et al. "Ten years of Integrated Pest Management (IPM) at the Kunsthistorisches Museum in Wien." Journal of Entomological and Acarological Research 43, no. 2 (August 20, 2011): 185. http://dx.doi.org/10.4081/jear.2011.185.

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The Kunsthistorisches Museum Wien is one of the largest fine arts collections worldwide, comprising the Kunsthistorisches Museum, the Austrian Theater Museum, the Museum of Ethnology, all placed in Vienna, and Schloß Ambras in Tirol. We present results from up to 10 years of insect pest monitoring in different collections and the implementation of an Integrated Pest Management (IPM) concept. The Kunsthistorisches Museum was the first museum in Vienna to introduce such a concept. We also present specific insect pest problems such as a biscuit beetle (Stegobium paniceum) infestation of paintings lined with starch paste backings (linings) or the webbing clothes moth (Tineola bisselliella) infestation at the Museum of Carriages, both repeatedly occurring problems in the museum. With the help of the insect pest monitoring programs, these and other problems were found and the infested objects treated, usually with anoxia (nitrogen).

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Shlienkova, Elena V., and Khristina V. Kaygorodova. "From museum to postmuseum. Immersive environment as a metaspace of a polyloge." Urban construction and architecture 14, no. 1 (April 25, 2024): 157–64. http://dx.doi.org/10.17673/vestnik.2024.01.18.

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The article continues the research of the principles of museum design, which was devoted to such phenomenon as “protomuseum – immersion – spectator” and the visual nature of immersiveness and the spatial and sensory experience of its living. At this stage, attention is paid to the following typology of museumified environments: museum-at-the-crossroads (Modern times/ museum-theater, museum without walls, virtual museum, etc.) through the transition from “museum – techno-immersiveness – spectator” to “postmuseum – immersiveness – non-spectator”. The evolution of digital surfing and the construction of interactive strategies, the conflict of technological immersiveness and the cognitive properties of the viewer’s psyche are considered: what happens to him inside and outside the digital environment? Particular attention is paid to the narrative immersiveness and the role of the museum in the implementation of new “ritual” and “game” practices that can compete with the philosophy of downshifting in an attempt to get out of digital reality, return to the viewer the most important sense of “proprioception” and presence in the moment.

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Nesis, Yu L. "Improving the quality of the activities of cultural institutions through digitalization." Economics and Management 29, no. 2 (March 7, 2023): 150–58. http://dx.doi.org/10.35854/1998-1627-2023-2-150-158.

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Tasks. The author considers the specific aspects of the activities of cultural institutions; identifies current problems in this field; defines the concept of the quality of the activities of cultural institutions and proposes ways to improve it, including through the creation of a unified state information system for the purchase of tickets to cultural institutions of the Russian Federation.Methods. This study uses an integrated approach, general scientific (concretization, abstraction, deduction, induction, analogy) and special methods of cognition (analytical and statistical methods).Results. The author proposes creating a new digital project in the field of purchasing tickets to cultural institutions (museums, theaters, etc.), which would increase the comprehensive quality of their activities. This includes improving the quality of services provided by cultural institutions, improving the planning of tourist and sightseeing routes, managing the flow of visitors in cultural institutions, eliminating the possibility of overflow, preventing the activity of theater and museum ticket speculators, obtaining significant economic effects in the public sector.Conclusions. The unified information system can be used by public authorities in the field of culture and cultural institutions (museums, theaters, etc.), and by the population consuming such services. The system proposed by the author is unique, and its implementation would contribute to improving the quality of services provided by cultural institutions, ensuring transparency of the ticket sale process for all interested parties, reducing the cost of tickets by eliminating intermediary commissions, increasing the revenue of the state budget by eliminating the possibility of ticket fraud, etc.

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Yellis, Ken. "Cueing the Visitor: The Museum Theater and the Visitor Performance." Curator: The Museum Journal 53, no. 1 (January 2010): 87–103. http://dx.doi.org/10.1111/j.2151-6952.2009.00010.x.

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Rutowski, Patricia. "Theater Techniques in an Aquarium or a Natural History Museum." Journal of Museum Education 15, no. 2 (March 1990): 5–7. http://dx.doi.org/10.1080/10598650.1990.11510139.

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Koroleva, L. "REVIEW OF MATERIALS FROM THE PERSONAL COLLECTION OF S. I. KARNIKOLA, ON THE HISTORY OF THEATER IN CRIMEA IN THE TWENTIETH CENTURY, FROM THE FUNDS OF THE CENTRAL MUSEUM OF TAURIDA." Scientific Notes of V.I. Vernadsky Crimean Federal University. Historical science 7 (73), no. 4 (2022): 55–67. http://dx.doi.org/10.37279/2413-1741-2021-7-4-55-67.

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The article is intended, based on the systematization, analysis of the materials of S. I. Karnicola’s personal collection, from the funds of the Central Museum of Taurida, to introduce into scientific circulation new sources on the history of theater in the Crimea in the XX century, to characterize the most unique visual and documentary material of the collection and to highlight important milestones in the life and work of a talented actor and artist of the Crimean Academic Russian Drama Theater named after M. Gorky, S. I. Karnikola, collector of the archive

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Ivanysko, Svitlana. "Museums of Ukraine during the russian-Ukrainian war (based on media sources)." Vita Antiqua 14 (2023): 94–108. http://dx.doi.org/10.37098/va-2023-14-94-108.

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It would seem that humanity received two doses of the vaccine in the 20th century to reject the desire to wage aggressive war forever. However, the beginning of the 21st century was also marked by the war of aggression that Russia started against Ukraine. The territory of Ukraine suffered (and continues to suffer) special losses: it was the theater of hostilities of the First World War, the Second World War, and now another war is destroying life, the country, and our cultural heritage. War, like any other type of destructive activity, negatively affects people's lives, the economy of countries, and the world in general; the sphere of culture suffers, including museums. At this stage, it is possible conditionally distinguish two periods in the Russian-Ukrainian war (respectively, two stages in the activity of museums at this time): 1) February 2014 - February 24, 2022; 2) after February 24, 2022. Russia's aggression against Ukraine began in February 2014 with the occupation of Crimea, the organization of pro-Russian rallies in cities in the east and south of Ukraine, and the occupation of certain areas of Luhansk and Donetsk regions. Museum institutions in these territories became automatically under occupation or under threat of destruction as a result of hostilities. The central government of Ukraine was not ready for aggression and occupation, museum collections were not evacuated, even information about these collections can be considered lost. According to the registers of the Ministry of Culture and Information Policy, by 2014 there were 99 museums in Crimea, 24 in Donetsk Oblast, 23 in Luhansk, which stored hundreds of thousands (perhaps millions) of movable cultural heritage items. After February 24, 2022, the entire heritage of Ukraine, both cultural and natural, is under threat of destruction, because Russian missiles can reach any point in Ukraine (and not only). Museums in the territory controlled by Ukraine or evacuated from the occupied territory must resume their activities. For the evacuated institutions, the problem of restoring the statutory and financial documentation and the museum staff actually arose. Other museum institutions have started the process of documenting the course of military actions in Ukraine and informing the world about the events in Ukraine. Museum institutions and individual employees are coming together to help each other in difficult times: the Heritage Rescue Headquarters and the Museum Crisis Center have been created, and initiatives that existed before the full-scale invasion continue to help museums (to cope with new challenges). Despite the disassembled exhibits, museum life in Ukraine has not stopped - new exhibitions, other cultural events, exhibitions of museum objects from Ukraine abroad are taking place, trainings and courses are organized on how to work in a crisis period, and foreign colleagues come to familiarize themselves with the experience of museums during war. Key words: museums of Ukraine, russian-Ukrainian war, museum collections, evacuation, cultural values.

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Suslova, Svetlana V. "Tatar costume in museum collections of Russia." Historical Ethnology 8, no. 2 (October 24, 2023): 202–21. http://dx.doi.org/10.22378/he.2023-8-2.202-221.

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The article is an overview of the collections on the folk costume of the Tatars, stored in the funds of numerous museums in Russia and Tatarstan. It contains information about the traditional types of upper and lower clothing, shoes and jewelry of the Volga-Ural Tatars (Kazan, Kasimov, Mishars, and Kryashens), as well as similar information on the costume of Astrakhan and Siberian Tatars living on the territory of the Russian Federation. Particular attention is paid to women's costume which characterizes folk arts and crafts to the greatest extent. A significant part of the collections is well passportised, indicating the region of existence, gender and age, and local terminology. The materials of the collections reflect the ethno-local and regional features of traditional clothing. On provision of firm attribution, museum objects have advantages over other historical sources. Artifacts from the early to mid–19th century and of the earlier period – medieval “imperishable” metal jewelry, leather goods, etc. are of particular value. They serve as a reliable illustration for the reconstruction of pre-national costume variations, which are extremely in demand in modern museum, theater, and ritual practices. When using the synchronous-diachronic methods of comparative historical analysis, museum artifacts considerably contribute to the study of the history of the Tatar costume, which largely reflects the ethno- and cultural genesis of the people as a whole.

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Katrib, Ruba. "Representation and identity: Reflections on presenting contemporary art in an American museum." Journal of Contemporary Iraq & the Arab World 15, no. 1-2 (March 1, 2021): 199–214. http://dx.doi.org/10.1386/jciaw_00048_1.

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This text is a curatorial reflection upon the process of organizing the exhibition Theater of Operations: The Gulf Wars 1991–2011, which took place at MoMA PS1 in 2019. The text questions the possibilities and limits of decolonial curating in an American museum and analyses the reception of Iraqi contemporary art in a Western context.

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Röseler, Julia, and Michael Mondria. "Wissen macht Ah." Bühnentechnische Rundschau 116, no. 4 (2022): 22–25. http://dx.doi.org/10.5771/0007-3091-2022-4-022.

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Das private Samurai Museum in Berlin möchte mit rund 1000 Exponaten – darunter ein originales No-Theater – für die japanische Kultur und Geschichte begeistern. Seit Mai lädt es mit einem außergewöhnlichen Multimedia-Konzept dazu ein, die ferne Epoche und fremde Traditionen nicht nur zu entdecken, sondern auch zu erleben. von Michael Mondria und Julia Röseler

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PАLIJ, Оxana. "THE STAGE EMBODIMENT OF THE IMAGES OF NATIONAL DRAMA IN THE ACTING PRACTICE OF OLEKSANDR KOROLCHUK ON THE STAGE OF MYKOLA SADOVSKY’S KYIV THEATER (1907–1919)." Bulletin of the Lviv University. Series of Arts Studies 109, no. 21 (2023): 53–71. http://dx.doi.org/10.30970/vas.21.2023.12129.

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The article examines the peculiarities of Oleksandr Korolchuk’s acting Style based on the works of national drama on the Stage of the Kyiv Theater named after Mykola Sadovsky. Therefore, based on the extensive material of the Kyiv press, memories of contemporaries, materials of the Museum of Theater, Music and Film Arts of Ukraine (Vasyl Vasylko Foundation), the actor’s range of roles was considered, the means of Stage expressiveness of Oleksandr Korolchuk were characterized based on the material of national drama. Also, for the firSt time, we introduce the term into scientific circulation and argue the concept of the “transitional generation” of Ukrainian artiSts in the history of national Stage art. The dramatic material, the specifics of its embodiment, on which the “transitional generation” of Ukrainian actors was formed, the significance of this phenomenon in the hiStory of Ukrainian theater, using the example of Oleksandr Korolchuk’s creative work, are analyzed.

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Yuan, Ao. ""Rebirth" of Old Buildings - Impressing on Protecion & Reuse of the Old Buildings of Zeche Zollverein near Essen in the Ruhr Area, Germany." Applied Mechanics and Materials 409-410 (September 2013): 496–99. http://dx.doi.org/10.4028/www.scientific.net/amm.409-410.496.

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In Zeche Zollverein near Essen in the Ruhr Area, the old plants are rebuilt as culture & recreation places such as museum, restaurant and theater and so on, they get the rebirth. The industrial feel was conserved, and the buildings continue the history with immitting of new blood at the mean time. Symbiosis of old and new building proposed new ideas.

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Borisov, N. V., L. L. Nikitina, F. O. Nikolaev, A. A. Smolin, D. A. Stolyarov, and O. G. Volkov. "Application of Video 360° Technology for the Presentation of the Solovetsky Monastery Cultural Heritage." International Culture & Thechnology Studies 1, no. 1 (2016): 24–31. http://dx.doi.org/10.17586/2587-800x-2016-1-1-24-31.

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he paper describes the possibility of using video technology for 360 ° presentation of cultural activities (museum tours, musical concerts, sightseeing tours, theater performances, etc.) in virtual reality devices. Challenges that appear during shooting video 360° and their solutions are analyzed. Particular attention is given to the use of video technology for 360 ° presentation of the cultural heritage of the Solovetsky Monastery.

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PALII, Oksana. "CREATIVE WORK OF MYKHAIL ZHUK IN THE CONTEXT OF MODERN SEARCHES OF UKRAINIAN THEATRICAL CULTURE: TO THE HISTORY OF THE QUESTION (10–20 YEARS OF THE XX CENTURY)." Bulletin of the Lviv University. Series of Arts Studies 103 (2021): 34–38. http://dx.doi.org/10.30970/vas.22.2021.12178.

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The article is devoted to highlighting little-known aspects of the creative biography of the outStanding Ukrainian artiSt, playwright, translator Mykhailo Zhuk and actor, director, chairman of the board of the Maria Zankovetska Theater Oleksandr Korolchuk. For the firSt time in the history of Ukrainian theater art, we introduce the correspondence of Mykhailo Zhuk and Oleksandr Zhuk into scientific circulation, we present the full texts of the letters, preserving the spelling and Style of their author. The publication is based on primary source materials Stored in the name fund of Oleksandr Korolchuk in the collection of the Museum of Theater, Music and Film Arts of Ukraine (Kyiv). Mykhailo Zhuk entered the hiStory of Ukrainian culture as an artiSt, dramatiSt, scenographer, poet, translator, teacher, public figure. However, apart from these definitions, we Still do not have a special Study devoted to the theatrical activity of M. Zhuk, although he is an artiSt, and his creative output, without a doubt, deserves it.

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Lomb, N. R., and T. Wilson. "Sydney Observatory Goes Public." International Astronomical Union Colloquium 105 (1990): 357–59. http://dx.doi.org/10.1017/s0252921100087170.

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In 1982, after a 124-year history of research, Sydney Observatory became a branch of a large local museum, the Museum of Applied Arts and Sciences. A four-year, million-dollar project was undertaken to restore the building and its grounds to their nineteenth century appearance. The services needed for a modern museum were also added. One of the larger areas became a modern lecture theater seating up to fifty people, with back projection video, film and slide projectors.Exhibition space within the building is limited to eight rooms of approximately 200 m2 total area. To overcome this lack of space, a proposal has been made for an extension to the rear of the building. An underground 100-seat planetarium is included in the proposal. There is a great need for this as there is no planetarium currently in Sydney.

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Khakimulina, Olga N., and Olga G. Fedchenkova. "Theater in museum: Continuation of the tradition of Princess M. K. Tenisheva." Issues of Museology 9, no. 1 (2018): 55–63. http://dx.doi.org/10.21638/11701/spbu27.2018.105.

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von Lintig, Bettina, and Susanna Aulbach. "Objects Hit Back: Intimate Theater in the Rautenstrauch-Joest-Museum für Völkerkunde." African Arts 29, no. 1 (1996): 70. http://dx.doi.org/10.2307/3337451.

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BAUM, LYNN, and CATHERINE HUGHES. "Ten Years of Evaluating Science Theater at the Museum of Science, Boston." Curator: The Museum Journal 44, no. 4 (October 2001): 355–69. http://dx.doi.org/10.1111/j.2151-6952.2001.tb01175.x.

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Hawkey, Roy. "All the (Natural) World's a Stage: Museum Theater as an Educational Tool." Curator: The Museum Journal 46, no. 1 (January 2003): 42–59. http://dx.doi.org/10.1111/j.2151-6952.2003.tb00076.x.

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Sparacino, F., G. Davenport, and A. Pentland. "Media in performance: Interactive spaces for dance, theater, circus, and museum exhibits." IBM Systems Journal 39, no. 3.4 (2000): 479–510. http://dx.doi.org/10.1147/sj.393.0479.

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CIOBOTARU, Anca-Doina. "Lessons Regarding Liberty." Theatrical Colloquia 14, no. 1 (May 1, 2024): 23–34. http://dx.doi.org/10.35218/tco.2024.14.1.02.

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Research represents a form of expression of the need for exploration from which questions and reformulations arise, but also a way of assimilating fundamental "lessons", about the profession, about life; and – thus –, the story goes on. Thus, exploring the "Horia Barbu Oprișan" fund, within the archive of the "Romanian Peasant Museum" (MTR), in Bucharest, has implicitly allowed me to approach the labor behind the books about the history of popular theater (with or without puppets). In my mind, questions sprout through which I return to his most well-known works, Teatru fără scenă [Theater without a Stage] and Teatrul popular românesc [Romanian Popular Theater]. What was not included in the volumes? What remains in the sealed files with strings, like crosses of the researcher's destiny. In fact, the three puppeteers – Ion Perjan, Ghiță - Artist of the World, and Rudy (Rudolf) Nesvadba - whose profiles are outlined by Horia Barbu Oprișan, urge us to reflect on the necessity of rearranging information. The history of animation theater in Romania - a puzzle of unknown theatrical destinies, but which have often produced unforgettable emotions, invites a reevaluation of informative resources - more or less known. Each reader has their own perspective, born from their own concerns; each spectator has their own reception, born from personal searches; the lesson of freedom of choice represents a possible meeting point.

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Fokin, Pavel E., and Ilya O. Boretsky. "The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)." Dostoevsky and world culture. Philological journal, no. 4 (2020): 219–41. http://dx.doi.org/10.22455/2541-7894-2020-4-219-241.

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The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

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Fokin, Pavel E., and Ilya O. Boretsky. "The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)." Dostoevsky and World Culture. Philological journal, no. 4 (2020): 219–41. http://dx.doi.org/10.22455/2619-0311-2020-4-219-241.

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The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.

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Roberts, Mary (Polly) Nooter. "Museum as Twenty-first Century Memory Theater: The Arts of Africa at LACMA." African Arts 46, no. 4 (December 2013): 1–4. http://dx.doi.org/10.1162/afar_e_00099.

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Barbieri, Claudia. "O espólio teatral do dramaturgo português Gervásio Lobato / The Theatrical Collection of the Portuguese Playwright Gervásio Lobato." Revista do Centro de Estudos Portugueses 40, no. 64 (February 3, 2021): 37. http://dx.doi.org/10.17851/2359-0076.40.64.37-55.

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Resumo: Gervásio Lobato (1845-1895) foi um proeminente dramaturgo português, além de romancista, contista, tradutor e jornalista. Há, contudo, dissonâncias entre a expressiva recepção crítica que sua obra teatral recebeu enquanto o escritor ainda era vivo e o subsequente apagamento de seu nome e de sua dramaturgia nos volumes de história do teatro português publicados a partir de 1960. O artigo tem por objetivos formular algumas hipóteses para explicar este descompasso entre recepção e crítica, além de discorrer sobre a organização do espólio do escritor, pertencente ao Museu Nacional do Teatro e da Dança, em Lisboa. A dificuldade de acesso aos arquivos, a ausência de reedições das peças, a variedade de suportes são alguns entraves que podem ser elencados e que precisam ser resolvidos ao longo do processo de resgate do teatro gervasiano.Palavras-chave: Gervásio Lobato; teatro português; organização de espólio.Abstract: Gervásio Lobato (1845-1895) was a prominent Portuguese playwright, as well as a novelist, short story writer, translator and journalist. There are, however, dissonances between the expressive critical reception that his theatrical work received while the writer was still alive and the subsequent erasure of his name and dramaturgy in the volumes of Portuguese theater history published since 1960. The article aims to formulate some hypotheses to explain this mismatch between reception and criticism, in addition to discussing the organization of the writer’s estate, belonging to the Museum of Theater and Dance, in Lisbon. The difficulty of accessing the archives, the absence of reissues of the plays, the variety of supports are some obstacles that can be listed and that need to be resolved throughout the process of rescuing the Gervasian theater.Keywords: Gervásio Lobato; Portuguese theater; theatrical collection organization.

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Journal articles on the topic 'Museum theater'

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