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Journal articles on the topic 'Performing Arts / Theater / General'
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1
Matsudaira, Izumi, and Yasuyuki Taki. "Perceived stress levels in older adults with financial strain are diminished after theater practice." F1000Research 11 (May 23, 2022): 563. http://dx.doi.org/10.12688/f1000research.110340.1.
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Background: Participating in theater has been shown to be useful for reducing cognitive decline in older adults. This study focused on the social inclusion aspect of the performing arts and aimed to examine whether participation in the theater could help prevent dementia in older adults who are vulnerable to social exclusion. Methods: Our participants were 371 community-dwelling older adults who belonged to the Gold Arts Club organized by the Saitama Arts Theatre. The change in perceived stress levels after a month and a half of theater practice were compared between older adults with and without financial strain. Results: It was revealed that older adults with financial strain had a significantly greater reduction in perceived stress levels than those without financial strain after a month and a half of theater practice. Conclusions: Since stress is one of the risk factors for cognitive decline, the results of this study suggest that participation in theater may be an effective way of reducing cognitive decline associated with dementia in the older people who feel strained financially.
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Yu, Eun Hye, and Jeongbae Park. "A Study on the Audience Perception of Liveness and Viewing Immersion in the performing arts video." Global Knowledge and Convergence Association 5, no. 2 (December 31, 2022): 85–107. http://dx.doi.org/10.47636/gkca.2022.5.2.85.
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This study examined the liveness of the digital theatre in the academic world by applying qualitative analysis techniques, focusing on the effect on the audience's viewing immersion based on previous studies. The conclusions are following: First, viewing immersion was analyzed from the general characteristics of the respondents. In addition, the research questions were derived by analyzing the qualitative contents of the relationship between the digital theatre and the liveness variable. It was confirmed that there is a certain relationship between liveness of the digital theatre and viewing immersion by analyzing watching experiences of the digital theatre in research question 1.2.3, the influencing relationship between liveness and audience's perception in research question 4.5, and the future assignments associated with viewing immersion in research question 6.7.8.9.10. For the future development of the performing arts industry, the following is suggested from the implications of the study. First, the paradigm of the performing arts industry is changing under the technological progress and the digital revolution made up of the development of technology. Audiences are no longer watching at the theater or concert hall only, but they are using various media such as smartphones, computers, TVs, movie theaters, and VR devices everywhere. Therefore, the communication method and interaction with the audiences in the digital era should be different from the previous performing arts. Next, the digital theatre that occurred in a pandemic situation is not a complete substitute for the existing on-site theatre, but a diversified into a new type of performing arts industry, which suggests setting up countermeasures. There are several limitations indicated in this study, therefore follow-up studies are needed. The reasons are not only that it has a limitation of generalization by setting respondents’ pool for in-depth interviewing in order to make a qualitative analysis but also that it was not able to be more intensive discussion due to the lack of previous studies directly related to the digital theatre·liveness·viewing immersion. In particular, there are limitations that there was not specific statistics or data set suggested which is able to indicate the difference between the audiences of a face-to-face performance (i.e., offline theatre) and the audiences of a non-face-to-faceperformance (i.e., online theatre).
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Wang, Mingjin. "A Comparative Study of Public Art Education by the State Theaters in Korean and China." SHS Web of Conferences 158 (2023): 02008. http://dx.doi.org/10.1051/shsconf/202315802008.
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As a contributor to the construction of a modern public cultural service system, theaters, together with libraries, art galleries, cultural centers, etc., shoulder the social responsibility of public art education. Public art education takes public art service institutions as the carrier. At present, schools are the most popular and developed institutions among public cultural service institutions. With the advancement of socialization, public cultural and art institutions are flourishing. Funded and operated by the government, more and more public institutions bear the social responsibility of public art education in the new era and shape the diversified forms of public arts education. With National Theater of Korea and the National Theater for the Performing Arts as the objects for its research, this paper analyzes the similarities and differences between the measures for public art education in the two countries through a comparative study.
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Tomchuk, David, Kyle Schneider, and Jacklyn Bascomb-Harrison. "COVID-19 Symptom Reporting Compliance Rates Among University Performing Arts Majors." Medical Problems of Performing Artists 38, no. 2 (June 1, 2023): 89–96. http://dx.doi.org/10.21091/mppa.2023.2011.
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AIMS: The COVID-19 pandemic negatively affected the performing arts sector by temporarily closing venues. As venues reopened, COVID-19 symptom self-reporting and monitoring were one tool to identify potentially symptomatic cast and crew, who would then undergo contact tracing, testing, or isolation to prevent spreading COVID-19. However, the compliance rates for submitting a COVID-19 self-monitoring checklist among undergraduate performing art majors remain unknown. METHODS: This retrospective medical chart review investigated 282 cast and crew (68 males and 214 females) regarding their daily COVID-19 symptom report documents across the genres of dance, musical theater, and vocal performance throughout the production runs of 11 performances at a midwestern United States university’s integrated performing arts campus. Compliance regarding the completion of the COVID-19 symptom checklist was compared between gender identity, performance semester, and performance type throughout the 2020–2021 academic year. RESULTS: There was no statistically significant difference on masking compliance when comparing males (mean 73.6%) and females (73.8%). The completion of the symptom self-reporting during the fall 2020 semester was statistically significantly higher than in the spring 2021 semester (F = 6.065, t = 4.485, df = 229.661, p = 0.014, d = 0.52). Additionally, those participating in musical theater were more compliant than those in vocal performance (F(2,280) = 4.410, p = 0.013, d = 0.031). There was no statistically significant difference between dance and musical theater or vocal performance and dance genres regarding overall compliance. CONCLUSIONS: These findings can help understand the groups of performing artists who would comply with the public health measure of completing a daily symptom checklist for COVID-19 or similar communicable diseases.
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Lomelí, Karla, and Karina Gutierrez. "Examining the Intersections of Culturally-Relevant Pedagogies and Youth Literature in Theatre Performing Arts and Its Implications for a More Inclusive Learning Experience for BIPOC Students." Journal of Education and Culture Studies 6, no. 4 (November 29, 2022): p91. http://dx.doi.org/10.22158/jecs.v6n4p91.
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This work aims to examine the potential impact of theater guides based on the literary work of BIPOC authors and the culturally relevant pedagogical experiences rendered for students of color. We examine the ways that the exclusion of culturally relevant pedagogies in the creation of theater guides for BIPOC and non-BIPOC students hold the potential to further marginalize BIPOC narratives. We posit that standard approaches to the construction of theater guides of authors of color fails to center familial and cultural knowledge that centers the cultural authenticity of the literary work intended by the authors. This work acknowledges the historical exclusion of BIPOC voices in theatre performance and to that end, this work seeks to analyze how educational guides can work in tandem with Latina/o/x/e literature to center a more authentic experience of BIPOC communities. In this work we reimagine pedagogical practices that are 1) culturally competent and 2) bolster the intersectionality of the lived experiences of BIPOC communities in the educational guides of theatrical productions. This work will provide culturally competent two dramaturgical tenants for educators to consider.
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Gian, Carlo U. de Jesus, and Katrina P. de Jesus Ana. "Revitalizing Philippine Theater: A Framework for Theater as Creative Entrepreneurship." Asian Trade Association 10, no. 1 (June 30, 2023): 85–101. http://dx.doi.org/10.22447/jatb.10.1.202306.85.
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Purpose – Despite the rich culture of the Philippines, the country has not been able to create products, services, and experiences that sustainably cater to domestic and international markets. Instead of harnessing its creative force to drive economic growth, it remains a creative labor supplier. The country is envisioned to become “a major creative hub in the Asia-Pacific, with strong and thriving creative industries” (British Council, 2017). Performing arts, including theater, is a key creative industries sector. However, theater is beset with precarity and instability (Santiago, 2021). This study sought to analyze the challenges and opportunities for revitalizing theater as an industry. Design/Methodology/Approach – In this investigation, a critical review was employed. This methodology not only describes the phenomena, but also formulates a re-conceptualization based on an integrative review of old and current models. A comparative analysis of creative economy models was made between Philippine theater and theaters internationally. Findings – Philippine theater is not fully utilizing its economic potential because current models involve high production costs, need for highly specialized creative labor, and lack of enabling policies. Among the four creative economy models (Potts and Cunningham, 2010), Philippine theater may benefit from Model 3, the Innovation Model, which may evolve into Model 4. Mapping representative theater companies and genres across the models provides insights into directions for theater innovations. A conceptual framework for innovating Philippine theater through Creative Entrepreneurship is forwarded. Research Implications – The framework yields valuable insights for theater managers, educators, heritage and cultural advocates, tourism creatives, and entrepreneurs.
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Trna, Jan. "Diskursive Aspekte der Sprachvermittlung an der Theater-Fakultät der Janáček-Akademie für Musik und Darstellende Kunst in Brno/Tschechien." Brünner Beiträge zur Germanistik und Nordistik, no. 2 (2023): 197–208. http://dx.doi.org/10.5817/bbgn2023-2-13.
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The article takes a look at some specifics of teaching German at the Theater faculty of the Janáček Academy of Music and Performing Arts (JAMU) in Brno/Czech Republic. Specifically, it addresses the question of how to enable students of theater directing to actively participate in discursive practices in German as a foreign language. In the following, the question of how the discourse skills acquired in Czech subject teaching could be made fruitful in German teaching is explored.
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Rensing, Tom, Kun-young Chiu, Gregory P. Hayes, George Southworth, and Earl Shimp. "Loadbearing Architectural Precast Panels Provide Solution for Performing Arts Center Theater Expansion." PCI Journal 44, no. 4 (July 1, 1999): 44–54. http://dx.doi.org/10.15554/pcij.07011999.44.54.
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Grebenik, E. N. "DIFFERENTIATION OF THE PUBLIC BY THE LEVEL OF ORIENTATIONS TO STAGE ART." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 92 (2023): 79–84. http://dx.doi.org/10.37313/2413-9645-2023-25-92-79-84.
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At the moment, an important feature of the existence of the theater as a socio-cultural institution is its functioning in market conditions. Performances become the subject of sale and purchase, and the hedonistic function of the theater is opposed by great competition: cinema, the Internet, social networks, entertainment shows and show programs. In this regard, in order to remain in the consumer market, the theater uses innovative technologies and experimental forms, which lead to the loss of the uniqueness of the theater and a decrease in the level of the public. The effective implementation of the ideological and educational functions of the theater is directly related to the level of training of the theatrical public. The questions of his typology, the classification of the level of art education, are decisive in the perception of the performance. The genre orientation and subject orientation of theaters certainly depend on the ability of the public to perceive works of theatrical art. The article deals with the analysis of sociological studies of the interaction of the individual with art, as well as the study of sociocultural processes that form the orientation of the theater audience towards works of theatrical art. The author of the article pays special attention to the leisure activities of individuals and the formed stereotypes of the theatrical audience. The author also carried out an analysis of the cultural and leisure behavior of the public and derived the differentiation of the public according to the level of orientations and preferences for the performing arts.
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Nellhaus, Tobin. "Online Role-playing Games and the Definition of Theatre." New Theatre Quarterly 33, no. 4 (October 11, 2017): 345–59. http://dx.doi.org/10.1017/s0266464x17000483.
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Online role-playing games are a form of entertainment in which players create characters and improvisationally perform scenes together within a digital virtual world. It has many theatre-like aspects, which raises the question of whether it is in fact a form of theatre. To answer that question, however, one must first have a definition of theatre – an issue with disciplinary consequences – and in this article Tobin Nellhaus develops a definition founded on social ontology, suggesting that theatrical performance, unlike other social practices, replicates society's ontology. From that perspective, online role-playing meets the definition of theatre. But its digital environment raises another set of problems, since embodiment, space, and presence in online role-playing are necessarily unlike what we experience in traditional theatre. Here, Nellhaus brings these three aspects of performance together through the concept of embodied social presence, showing how they operate in both customary theatre and online role-playing. Tobin Nellhaus is an independent scholar who was Librarian for Performing Arts, Media, and Philosophy at Yale University. He has published mainly on the relationship between theatre and communication practices, and on critical realist theory in theatre historiography. He is the General Editor of the third edition of Theatre Histories (London: Routledge, 2016), and the author of Theater, Communication, Critical Realism (New York: Palgrave Macmillan, 2010).
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Masunah, Juju, Putri Lilis Dyani, Vanessa Gaffar, and Maya Sari. "Production of Shadow Puppet Performances in Building Artistic Entrepreneurship." Journal of Sustainable Tourism and Entrepreneurship 3, no. 2 (December 30, 2021): 89–100. http://dx.doi.org/10.35912/joste.v3i2.1221.
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Abstract: Purpose: This research describes the efforts to promote entrepreneurial motivation through shadow puppet performances. Research Methodology: This research used a project-based approach, and the activities are initiated by: 1) diagnosing the problems of performing arts entrepreneurship, 2) creating art incubation designs, 3) implementing activity plans, and 4) evaluating activities through performances. The participants were students with educational backgrounds in dance, music, and fine arts at Universitas Pendidikan Indonesia, as well as partners in the Indigo Moon Theater, a community-based in London. Results: A production of shadow puppet performance art with a Jungle Book story can foster students’ entrepreneurial motivation, shown through paid performances and business planning sales of show packages, merchandise, and a shadow puppet workshop model for children and families. Limitations: This research cannot assist the participants in managerial work to continue their business. Contributions: This research contributes to developing art entrepreneurship in the performing arts field as part of Indonesia’s creative industry sub-sector. Keywords: 1. entrepreneurial motivation 2. art entrepreneurship 3. performing arts 4. shadow puppet 5. arts education
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Koswara, Puji. "Lighting in the Performance "Kapai-Kapai" by Arifin C Noer." Scaffolding: Jurnal Pendidikan Islam dan Multikulturalisme 4, no. 3 (January 2, 2024): 742–53. http://dx.doi.org/10.37680/scaffolding.v4i3.4288.
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This article focuses on lighting using GrandMA2 equipment, the work steps of a lighting designer, and the simulation of lighting arrangement work in the performance "Kapai-Kapai" by Arifin C Noer. This study aims to make lighting designs in theater performances with the script "Kapai-Kapai" by Arifin C Noer. This research is a type of action research that uses a qualitative approach, with library research methods to collect information, theories, and concepts related to lighting in the performing arts, especially theater. Research data sources include books related to performing arts, journal articles, and documents related to the performance "Kapai-Kapai." Meanwhile, data collection was obtained from observation and interviews. Data analysis is carried out qualitatively. Observational and interview data were analyzed to identify patterns, trends, and findings related to the application of lighting in the performance of "Kapai-Kapai." Modern equipment such as color-adjustable LED lights, special effects with projection, and automatic control allow performances to become even more dynamic and creative. Some lighting designers use computer simulations to plan light effects before the show begins. This allows them to test various scenarios and ensure that the lighting matches the artistic vision.
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Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (April 19, 2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.
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Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and eventifying Afrikaans writing and performance, but also in communicating a particular vision of the Afrikaans-speaking and ‘Afrikaner’ cultural context. Using the Klein Karoo Nasionale Kunstefees in Oudtshoorn as a case study, in this article Temple Hauptfleisch discusses the nature, content, and impact of this particular festival as a theatrical event, and goes on to explore the polysystemic nature of the festival phenomenon in general. Temple Hauptfleisch is a former head of the Centre for South African Theatre Research (CESAT) and Chair of the University of Stellenbosch Drama Department. He is currently the director of the Centre for Theatre and Performance Studies at Stellenbosch and editor of the South African Theatre Journal. His recent publications include Theatre and Society in South Africa: Reflections in a Fractured Mirror (1997), a chapter in Theatrical Events: Borders, Dynamics, Frames (2003), and one on South African theatre in Kreatives Afrika: Schriftstellerlnnen über Literatur, Theater und Gesellschaft (2005).
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CHASTINA, Alla. "The history of one architectural monument in Chisinau: the building of the first stone circus, the “Express” cinema, the Moldovan drama theater and the National Philharmonic (1911-2021)." Arta 31, no. 1 (September 2022): 52–58. http://dx.doi.org/10.52603/arta.2022.31-1.07.
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In the second half of the XIX century provincial traveling circuses were quite common in Bessarabia. The first attempt to build a permanent circus in Chișinău was made on April 22, 1911. In March 1912, the owner of the Bristol hotel, Constantin Kolomandi, wrote to the Construction department of the Bessarabian Provincial Board a new request for the construction of a stone two-story building of the circus theater at the corner of Mikhailovskaya and Schmidt streets (today Mihai Eminescu and Metropolitan Varlaam streets). In May 7, 1912, he received an official building permit. In general, the construction of the building of the circus theater, which was supervised by the city architect Vladimir Țiganco, was completed on October 21, 1913. Later, the “Express” cinema was opened here. In the post-war period, this building was housed by the Moldavian Drama Theater. And in 1954, the premises were transferred to the Moldavian Philharmonic. But on September 24, 2020, the cultural heritage of Moldova was damaged as a result of a fire which seriously damaged most part of the building of the National Philharmonic „S. Lunchevici”. Today the building is in the need of restoration in order to preserve its historical, architectural and artistic value.
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Weaver, Erica. "Performing (In)Attention." Representations 152, no. 1 (2020): 1–24. http://dx.doi.org/10.1525/rep.2020.152.1.1.
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The central regulatory document of the tenth-century English Benedictine Reform, Æthelwold of Winchester’s Regularis concordia, contains an important performance piece: the Visitatio sepulchri, which standard theater histories understand as an anomalous originary text that marks the reemergence of drama in the European Middle Ages. This article resituates it alongside the schoolroom colloquies of Æthelwold’s student Ælfric of Eynsham and his student and editor Ælfric Bata to argue that these texts together cultivated monastic self-possession by means of self-conscious performances of its absence. By staging (in)attention, they thereby modeled extended engagement in moments and spaces that could otherwise seem too quiet or empty to hold concentration for long, from the classroom to the sepulcher to the page, while also exposing the limits of “distraction” and “attention” as analytical terms.
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González Almarcha, Patricia. "Análisis de la práctica teatral video registrada: Amiga, de Irina Kouberskaya." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 50 (June 28, 2023): 145–74. http://dx.doi.org/10.32621/acotaciones.2022.50.06.
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The article outlines a system of analysis of the theater prac-tice in situations of reconstruction. The repercussions of the absence of communicative interaction in the reception of the viewer are argued, especially as a result of the Corona virus and the global health crisis. It starts from the awareness that theater artists are in a constantly chang-ing world that brings with it specific demands to know what is really done on stage. Some analytical possibilities that open up with the audio-visual record of the theater are shown, comparing the cinematographic and theatrical genres, expanding the context of the research work to various hybrid audiovisual subgenres such as the trailer or the theatrical tea ser.For the analysis of the video recorded stage show Amiga, produced by Irina Kouberskaya at her Theater Company, Tribueñe, we first pro-ceed in general terms, explaining how the practice could be broken down into manageable and, in turn, relevant segments. Afterwards, the most typical theatrical activities in the staging are analyzed. Finally, we reflect on the preliminary usefulness of these explorations and the knowledge resulting from their application. The reality of the film re-cord studied shows that the applicability of video as documentation of theatrical praxis is subject to multiple intervening variables.
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Hovik, Lise. "From interactivity to intra-activity in performing arts for children." Teatervitenskapelige studier, no. 6 (October 1, 2022): 37–48. http://dx.doi.org/10.15845/tvs.v.3756.
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This essay will give an introduction to dilemmas and experiences of making interactive theatre for children based on findings from the SceSam Project. This artistic research project bridged artistic practice and theoretical perspectives on interactive dramaturgies in the context of cultural politics, interdisciplinary, and participatory art. Further developments in our critical times of mass extinction and climate change, have turned our interest away from the focus on human interactions towards the intra-actions of more-than-human agents of performing arts for children; space, environments, nature and material entanglements. The Animalium project will serve as example of how this might look like within theatre for the very young.
Authors quote from the conference presentation: «Theatre connects deeply with how we relate to one another as human beings, both as artists and audiences, how we are able to imagine new human and non-human worlds together, and how entanglements and sympoiesis create a community of differences in the theatre space."
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Stykhun, Nataliia. "Extrapolation of the experience of developing the professional skills of teachers by means of theatrical art in a modern domestic school." Bulletin of Luhansk Taras Shevchenko National University, no. 5 (359) (2023): 50–54. http://dx.doi.org/10.12958/2227-2844-2023-5(359)-50-54.
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The possibilities of extrapolation of teacher professional skills experience in modern educational system by means of performing arts of researched period are found out. It deals with the feasibility to use arts complex not only during the lessons of liberal but also of physical and mathematic cycle (Ya. Mamontov’s artistic and didactic method); the organization of school amateur teacher theatres, teaching and drama studios for conducting of different trainings, lectures in performing arts basics, enhancement of collaboration between schools and theatres in upbringing of spiritual and moral, artistic and esthetic, theatre, speech culture of students; creative partnership of teachers, actors, stage directors; improvement of teacher professional skills basing on self-education in performing arts; considerable experience of teacher in drama theatre; additions to the methodological resources of innovative and more effective methods, forms, approaches, technologies of performing arts; improvement of future teacher vocational training to theatre creative work in educational process at school.
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Frey, Bruno S., and Werner W. Pommerehne. "L'Art Pour L'Art? Behavioral Effects of Performing Arts Organizations." Empirical Studies of the Arts 5, no. 1 (January 1987): 59–78. http://dx.doi.org/10.2190/bwxe-5x8r-qkc8-4w7u.
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The institutional forms of cooperative, profit-oriented (private) and government subsidized non-profit performing arts companies affect the behavior of their management systematically. Thus, the managers of profit-oriented theaters, operas, and orchestras tend to let plays run longer, to have a smaller number of new productions and a more narrow repertoire than do public companies. The number of rehearsals will, ceteris paribus, be smaller, and more plays suiting the preferences of the general public will be offered. These propositions are derived using the economic model of behavior looking also on the incentive effects of different types of government subsidies.
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Bezghin, Oleksii, and Olga Uspenska. "Educational and creative training at the third level of higher education: methodological principles of program design." Culturology Ideas, no. 24 (2'2023) (2023): 125–33. http://dx.doi.org/10.37627/2311-9489-24-2023-2.125-133.
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The article examines the methodological principles of creating educational and creative programs at the third level of higher education in the specialty “Performing Arts”. On the example of the program of the I. K. Karpenko-Kary Kyiv National University of Theater, Cinema and Television, the necessary requirements for the conceptual and methodological foundations of the construction of such programs were identified and considered. The components of such a program aimed at acquiring in-depth knowledge and improving professional training in the field of performing arts are analyzed. It is noted that the quality of the final learning results is ensured through the acquisition of competencies in the field of research, teaching and creative work. The proposed options for filling the program with components that can satisfy the requirements for the preparation of the degree holder at the educational and creative level of higher education and will contribute to the maximum disclosure and realization of his or her creative potential in further professional activity. The obtained conclusions and recommendations can create a methodological base for further improvement of the training system for those who obtain the degree of Doctor of Arts (D.A).
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Xian, Hu. "Theatrical Mask of China's Theater Culture: search for national identity. Abstract." Bulletin of Lviv National Academy of Arts 49, no. 49 (December 25, 2022): 71–74. http://dx.doi.org/10.37131/2524-0943-2022-49-7.
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The art of mask in Chinese culture is presented, the scenic image of which is the embodiment of theatrical art in the context of becoming a national identity. Cultural, historical, and art-based approaches have been used to enable an objective study of the historical and scientific aspects of the development of this art in China. The role of the mask in the performing arts is analyzed, which allows to evaluate its significance and functions in Chinese culture, forms, techniques and methods of using and creating the artistic image; artistic features and characteristic genre traits, productivity of use in national theater are revealed. It is well known that for centuries the mask has been an important attribute of theatrical spectacles, and in the form of tragic and comical grimaces has become an emblem of theatrical art as a whole. The semantics of this word indicate that the mask is functionally defined as the object by which the performer changes appearance. The article points out the peculiarities of figurative interpretation of universal formative properties of theatrical Chinese mask, which is still considered a separate type of visual culture, which played a special role in the development of artistic genres and styles, identified the main stages of certain artistic models of Eastern theater. The theatrical mask is described as a means of acting tools, an integral attribute of the stage action, a means of expressing the emotions of the character, the role and significance of the mask in the creation of the artistic and stage image are generalized. The purpose of the study is to present the main directions of scientific research of theatrical masks in Chinese culture in the context of the development of performing arts. And the task of the research is to present as accurately as possible the historical importance and natural necessity of the presence of a stage mask in traditional theatrical culture, its organicity in the creation of productions, high artistic value in revealing the image of Chinese theater characters.
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Karpova, Nataliya L. "Literature and theater in logopsychotherapy." National Psychological Journal 51, no. 3 (2023): 191–200. http://dx.doi.org/10.11621/npj.2023.0319.
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Background. Fiction and art therapy methods are applied to increase the effectiveness of therapy for speech disorders. Objective. The article aims to show the use of bibliotherapy and performing arts in the restoration of impaired speech communication in stuttering on the example of family group speech therapy. Methods. Theoretical analysis of sources on the topic; analysis, comparison, generalization of research conducted in logopsychotherapy; dynamic psychotherapeutic diagnostics of Yu.B. Nekrasova; bibliotherapy; art therapy; family group logopsychotherapy. Results. A comparative analysis of approaches to the definitions of bibliotherapy and drama therapy in Russian and foreign studies is carried out. The forms of appeal to works of fiction and the art of theater in the process of social rehabilitation for a person with a stutter are considered. The role of stage speech in the normalization of speech mechanism and the specifics of methods of bibliotherapy and art therapy in family group logopsychotherapy are demonstrated. Logopsychotherapy is a system applied to restore impaired speech communication in stuttering children, adolescents and adults with the active participation of their parents and relatives. The forms of application of bibliotherapy (individual, individual-group, group) at different stages of logopsychotherapy are analyzed. The use of theatrical techniques in active group speech therapy is shown. Conclusion. Methods of bibliotherapy and art therapy in relation to the therapy of any mental disorder are adapted in order to solve a specific problem. In family group logopsychotherapy, when referring to bibliotherapy and theatrical art techniques, attention is directed to the word in the text and spoken communication of actors in order to achieve the freedom of stuttering to change mental states in different situations of spoken communication. Methods of bibliotherapy and art therapy contribute to the organization of intragenic behavior of all participants in logopsychotherapy to achieve results in speech and communication.
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Koloka, Maria, and Eirini Papadaki. "Performing Arts Organizations' Communication Through Posters in Greece." International Journal of Semiotics and Visual Rhetoric 6, no. 1 (March 17, 2023): 1–16. http://dx.doi.org/10.4018/ijsvr.319802.
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This paper proposes an analysis of a sample of Greek cultural organizations' visual messages as polysemiotic, multimodal signs, in an attempt to examine the role of such messages for the communication strategy of cultural organizations. The sample constitutes visual messages from three Greek cultural organizations, each representing a different type of performing art. These organizations are Greek National Theatre, the National Opera of Greece, and the International Short Film Festival in Drama. All messages included in the study are messages promoting specific cultural events and, simultaneously, the organization as a brand. Through morphological and semiotic analysis of the respective messages of the selected organizations, a series of issues are going to be examined, including the way cultural organizations' messages are composed and projected, their relevance to the specific organization, and the impact of messages both in promoting a cultural event and the organization's brand, as well as maintaining and developing an organization's audience.
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Li, Qiang. "Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (October 22, 2023): 56–77. http://dx.doi.org/10.34064/khnum1-67.04.
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Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Italian vocal art to Chinese. Objectives, methods, novelty of the research. In this investigation, we tried to find common and distinctive features in Italian and Chinese musical theater by comparison, as well as to identify the factors that influence the perception of the theater work by the Chinese public. The scientific novelty of the study lies in the fact that for the first time the path taken to adapt Italian vocal art to the Chinese language, the national musical theater and its audience is analyzed, and the role of tradition in this process. The main research method is comparative, with the help of which the common and distinctive features of Chinese and Italian musical theater are revealed; methods of historical musicology and cultural studies were also used. Research results. The development of Italian and Chinese musical theater in certain historical periods took place in parallel, so they have a number of similar typological features. Both Chinese and Italian theaters synthesize different types of art: singing, ballet, visual series (decoration, costumes), dramatic action. At the same time, they are fundamentally different manifestations of theatrical art. In Chinese opera, the visual component is of great importance – costumes, make-up, decor, etc., and the content and plot vicissitudes are deliberately simplified so that the audience is not distracted, but can enjoy the spectacle. The difference of Chinese opera is circus art: the actors had to have acrobatic and fighting skills and impress the audience with them. In Italian opera at the stage of its formation, the visual series was given great importance, but due to the fact that the authors of the first opera models (Florentines) considered as a model the Greek drama with its idea of moral improvement through catharsis, its dramaturgy is radically different from that of the Chinese theater; therefore, tragedies and dramas were not perceived by the Chinese audience who went to the theater to be entertained and enjoy the skill of the actors. For quite a long period after the penetration of European culture, the Chinese public did not perceive works of Western art, treated them as exotic and often did not understand their essence, aesthetics and value in general. The main obstacle was usually the language, but also the content of the theatrical works of European playwrights, translated into Chinese, did not find a response in the audience, despite the rather significant commonality in plots, themes, and issues. The public did not understand complex ideas that were accompanied by dramatic events or had a tragic ending. Conclusion. Italian and Chinese opera have many common features, but differ in their basis, and the Chinese audience did not perceive Western art for so long because of the fundamental difference in the approach to the visual and content aspects. The originality of Chinese theater drama consists in maximum visualization, which distinguishes it from European drama, in which the content is the basis of the work. The formation of modern opera performing art in China took place in the middle of the 20th century, and this process has a distinctive feature: modern national opera in European traditions was created in order to interest the Chinese public, to draw their attention to the new art. The first example of such an opera (yangban xi) – “The White-Haired Girl “(1945), created by the team of authors of the Academy of Fine Arts named after Lu Xin, became popular among the Chinese, which confirmed the correctness of the creative approach that combined European forms and Chinese performance traditions. In addition, the work was adapted for plastic (ballet), screen and traditional theater (xìqǔ) arts. The appearance of such productions contributed to the fact that the public gradually got used to European opera, and today Chinese opera art is widely represented on the national and world stages. In the years since the appearance of the first Western-style national opera, Chinese singers have mastered various classical vocal styles: Italian bel canto, traditional Chinese singing, Chinese bel canto, and now represent their own national vocal school on world stages.
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Kraemer, George P. "Cultural Sustainability of US Cities: The Scaling of Non-Profit Arts Footprint with Population." Sustainability 14, no. 7 (April 2, 2022): 4245. http://dx.doi.org/10.3390/su14074245.
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The functional characteristics of urban systems vary predictably with Metropolitan Statistical Area (MSA) population, with certain metrics increasing apace with population (e.g., housing stock), some increasing faster than population (e.g., wealth), and others increasing slower than population (infrastructure elements). Culture has been designated the fourth pillar of sustainability. The population-dependent scaling of operating revenue, work space, and number of employees was investigated for almost 3000 arts organizations in the US, both in aggregate and by arts discipline (music, theater, visual and design arts, dance, and museums). Unlike general measures of creativity, the three measures of economic footprint did not scale supra-linearly with the population of metropolitan areas. Rather, operating revenue scaled linearly (e.g., like amenities), and work space and employee number scaled sub-linearly (e.g., like infrastructure). The cost of living, proxied by housing costs, increased with MSA population, though not as rapidly as did arts organization operating revenue, indicating a degree of uncoupling. The generally higher educational attainment of adults in larger cities, coupled with the growth of the education-dependent arts patronage, suggest a funding focus on less populous (50,000–1,000,000), as well as on under-performing, cities.
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Martin, Eric, and Claudio Battaglini. "Health Status of Live Theater Actors: A Systematic Literature Review." Medical Problems of Performing Artists 34, no. 2 (June 1, 2019): 108–17. http://dx.doi.org/10.21091/mppa.2019.2010.
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OBJECTIVE: Actors constitute an at-risk population based on the physical burden demanded from their profession, different health behaviors, and poor economic and health insurance status. The purpose of this systematic literature review was to search for evidence of the health and fitness of theater actors. METHODS: Pubmed, EBSCO (CINAHL and SPORTdiscus), the database of the Performing Arts Medicine Association, the Journal of Physical Education, Recreation, and Dance, and Medical Problems of Performing Artists were searched. Included studies had data extracted and were scored for methodological quality. RESULTS: The search identified 18 studies, examining actors at different career stages, including secondary school (n=2), university (n=3), and professional (n=13). Eight studies received a low methodological quality score (50% or less). Most studies reported cigarette smoking among 10–26% of their samples and regular alcohol use in 25–40%. However, among professionals, prevalence and risk of harm from levels of alcohol consumption were much higher. Marijuana consumption was reported by 11–25% of respondents, while use of other drugs ranged from 7–23%. Most respondents suffered 1–2 injuries each year, with one study indicating that 72% of injuries occurred during class or rehearsal. CONCLUSIONS: This systematic literature review highlights a large gap in the research about actors’ health. The high rates of substance use and injuries among actors indicate not only a large health burden but a hindrance to their ability to perform, which may negatively impact their livelihood.
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Popalisky, David J., and Marie G. Herbert. "“Defining the Performing Artist”: How a Health Psychology Course Integrates into University Performing Arts Training." Medical Problems of Performing Artists 15, no. 4 (December 1, 2000): 148–54. http://dx.doi.org/10.21091/mppa.2000.4029.
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University dance and theatre students are at risk for a range of eating disorders because their bodies are their primary instrument of focus and performance and because of the developmental challenges of young adulthood. The head of the dance program and a psychologist from the same private university’s counseling center collaborated to create a course to address the psychological and physical health needs of this group of students. The history of the development of the course is presented, followed by a discussion of its content, preliminary assessment of its effectiveness, and future directions.
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Collins, Christopher. "Performing the Rural in Contemporary Irish Theatre." New Theatre Quarterly 35, no. 04 (October 8, 2019): 341–51. http://dx.doi.org/10.1017/s0266464x19000381.
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In this article Christopher Collins considers how the rural is represented in contemporary Irish theatre through a performance analysis of WillFredd Theatre’s award-winning production of FARM, staged in an industrial Dublin warehouse. Adopting a relational perspective, the article explores how the rural in contemporary Irish culture is a valuable commodity that is produced for urban consumption, and examines how the representation of the rural in FARM offered a critique of economies of capital that obscure the inherent labour of producing the rural. It also highlights how the performance explored the workings of the Irish cultural economy that produces rural nostalgia as an affective practice at the expense of some of the lived realities of rural life that extend beyond labour to loneliness, depression, and gendered essentialism. Consequently, Collins questions what, if anything, has changed from the representation and reception of the rural as nostalgic utopia, and the role nostalgia plays in articulating regional and national identities. Christopher Collins is an Assistant Professor of Drama at the University of Nottingham. He has published widely on modern and contemporary Irish theatre, including two monographs on the plays and performances of J. M. Synge. In 2016 he was appointed as Secretary General (Communications) for the International Federation for Theatre Research.
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MALLEY, SHAWN. "Theater/Archaeology: Performing Material History in Charles Kean's Adaptation of Saradanapalus." Nineteenth Century Studies 21, no. 1 (January 1, 2007): 139–61. http://dx.doi.org/10.2307/45196990.
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MALLEY, SHAWN. "Theater/Archaeology: Performing Material History in Charles Kean's Adaptation of Saradanapalus." Nineteenth Century Studies 21, no. 1 (January 1, 2007): 139–61. http://dx.doi.org/10.2307/ninecentstud.21.2007.0139.
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Mezhenin, Anton, and Yuliya Tsyvatа. "Specificity of the actor's skill in the context of post-dramatic theater productions." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 329–33. http://dx.doi.org/10.32461/2226-3209.2.2021.240114.
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The purpose of the article is to identify the features and determine a promising theoretical and practical approach to acting in the context of the specifics of post-dramatic theater. Methodology. An analytical method was applied to identify domestic and foreign scientific works on the theory of post-dramatic theater; the method of systems analysis and synthesis, thanks to which the approaches and methods of actor's mastery developed by K. Stanislavsky are considered in the context of dramatic and post-dramatic theater, with their inherent originality; the method of historical and cultural analysis and the comparative method, on the basis of which the differences in acting in the performances of dramatic and post-dramatic theater are revealed. Scientific novelty. The skill of the actor of the post-dramatic theater was investigated; the features of acting perception and practice of playing in performative practice are revealed; a promising theoretical and practical approach to acting, corresponding to the specifics of post-dramatic theater, is proposed; the expediency of using certain principles of the Stanislavsky system in search of new methods of acting by an actor in post-dramatic theater has been proved. Conclusions. A wide range of types of theatrical practices at the present stage of the development of the performing arts has led to the transformation of acting perception and acting. The post-dramatic theater offers the viewer not only the image of the hero but also the special existence of the actor, which is defined as “presence” and is the result of work on the material, the theme of the performance. In the context of the specifics of post-dramatic theater, in our opinion, a proactive approach is appropriate, providing for the rejection of prejudices and adherence to a single system, discourse or practice and cultivates a critical awareness of acting as a multiple and variable. This approach will contribute to the implementation of a certain set of actions - historically and procedurally considered and comprehended by the actor "absolute" while being part of the plurality. For example, the study showed that for the development of the actor's skill in certain types of post-dramatic theater, it is extremely useful to use certain aspects of the Stanislavsky system, in particular, the development of an actor's inner creative state of body and mind becomes extremely important.
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DENIKIN, ANTON A., and ALEXEY O. GOVYAZIN. "Posthumanistic Tendencies in Contemporary Theatrical Scenography: From Visualization of Images to the Material Becoming of Objects." Art and Science of Television 19, no. 1 (2023): 149–71. http://dx.doi.org/10.30628/1994-9529-2023-19.1-149-171.
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Posthumanistic tendencies in the modern stage design are viewed as a result of the transition from traditional theater to the postdramatic theater paradigm. Posthumanism entails rethinking of traditional principles of performing arts; it deconstructs humanistic values and challenges rational, self-sufficient subject and linear narration. Based on Karen Barad’s concept of intra-actions and the philosophical theory of New Materialism, the article analyzes such strategies in contemporary theatrical practice as the creation of stage assemblage bodies, the return of the “thing-power,” and the procedurality of actions and relationships. The directors stage non-linear, continuously unfolding and evolving events occurring between the various materials within the stage space, objects, actors, dancers, musicians, light, sound, text, etc., all masterfully equalized. The examples of the performances of Heiner Goebbels, Tadeusz Kantor, Kris Verdonck, and Kristina Zvykova help to study the spaces of distributed forces making the emphasis on the exploration of the potential, in which the human will is dispersed, relevant; however, the human presence and their ability to interact remain quite essential factors for the development and renewal of the artwork’s forms. Postdramatic theater and expanded scenography open up new possibilities for expressing the non-linearity, the dynamism of the world around, for comprehending and experiencing the involvement of human beings and non-human objects in the processes of co-construction of environments, spaces, and events.
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Nanova, Simona. "Performing Arts Streaming – a Necessity or an Extra: Opinions of Theatre Organization Managers." Vocational Education 25, no. 4 (August 21, 2023): 390–407. http://dx.doi.org/10.53656/voc23-454stre.
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This study is an empirical part of a dissertation on the topic "The Streaming Model of Distribution in the Performing Arts", provoked by the increasing digitization of performing arts work and their presentation through streaming and live-streaming online. It analyzes this new distribution tool through the prism of the managers of selected theatre organizations in Bulgaria. Like any new and unexplored phenomenon, steaming raises concerns. It has been accused of contradicting live art and could destroy it. At the same time, streaming provides a real opportunity to reach larger number of audiences and extend the life of highly artistic performances that can no longer be performed on stage. For the purpose of this research, which is one of the first in Bulgaria, the author created an open-ended expert questionnaire aimed at managers of state, municipal and private theatre organizations. Their answers and opinions were analysed and conclusions were drawn as to whether this new distribution channel in the performing arts is cost effective, feasible and artistically safe. An answer is sought to the question whether this new business model is a necessity or whether it is more appropriate to define it as an additional service, an extra. The research is relevant and necessary. It is part of a larger analysis that compares the opinions of theatre managers on SI streaming with audience attitudes. Exploring both sides of the same process gives a more holistic picture of how closely the views of audiences match or are similar to the views of those who create and sell theatre productions.
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Saal, Ilka. "‘Let's Hurt Someone’: Violence and Cultural Memory in the Plays of Neil LaBute." New Theatre Quarterly 24, no. 4 (November 2008): 322–36. http://dx.doi.org/10.1017/s0266464x0800047x.
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In this essay Ilka Saal examines one of the most perplexing aspects of Neil LaBute's work: his deployment of excessive and gratuitous violence. She insists that such deployment of violence has little to do with a humanist critique of the propensity for evil in all of us, nor with the playwright's biography (as suggested by a number of critics), but instead functions as a satirical interrogation of the mythological significance attributed to violence in American culture. The casual cruelties of LaBute's ordinary mid-Americans point up the central and ‘ordinary’ role that violence has played in the nation's history and self-understanding. Focusing on the example of the one-act play a gaggle of saints and drawing on the theories of Jan Assmann and Richard Slotkin, she shows in what ways LaBute uses violence to interrogate the country's cultural memory and to alert us to the general lethargy that has settled over the nation with regard to the historical violence it systematically exerted against its Others. Ilka Saal received her PhD in Literature from Duke University, North Carolina and is now working as Associate Professor of English at the University of Richmond, Virginia, where she teaches modern and contemporary American literature and culture. She is the author of New Deal Theater: the Vernacular Tradition in American Political Theater (Palgrave Macmillan, 2007), Dramatizing the Disease: Representations of AIDS on the US American Stage (Tectum, 1997), and co author of Passionate Politics: the Cultural Work of American Melodrama from the Early Republic to the Present (Cambridge Scholars Press, 2008).
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Kolchanova, Liudmyla. "HIS VOCATION – SCIENCE, ART, EDUCATION (CREATIVE WORK BY O. I. CHEPALOV, HONORED ART WORKER OF UKRAINE)." Aspects of Historical Musicology 25, no. 25 (December 31, 2021): 250–67. http://dx.doi.org/10.34064/khnum2-25.11.
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Introduction. The scientific and creative work of one of the most famous Ukrainian theater critics, Oleksandr Ivanovych Chepalov, is analyzed. O. Chepalov is a choreologist, playwright and journalist, Honored Art Worker of Ukraine, Doctor of Arts, and professor, who currently holds the position of Head of the Department of Choreographic Arts at Kyiv National University of Culture and Arts. The article turns the spotlight on the wide thematic range of O.Chepalov as a scientist and researcher: musical theater, historical explorations in the field of Ukrainian theatrical avant-garde of the early XX century, experiments in modern attempts to visualize the performing arts. Materials and methods. The biographical method is used as a basis for studying the work of O. Chepalov’s creative personality. The comparative method is used for parallel analysis of the artistic research, as well as the principles of general scientific methodology that can determine the logic and sequence of the cognitive tasks. In particular, the experience of the article author is reviewed, a graduate student communicating with O. Chepalov as with an academic advisor of the Ph.D. thesis “The phenomenon of actress and singer Y. P. Kadmina in the cultural processes of the late XIX century”. Similar experience of the academic advice work on theatrical research (V. Mizyak, Li Zhenxing) and dissertations in the choreological field (L. Kosakovska, O. Shabalina, K. Bortnyk, N. Kabachok, N. Chilikina, E. Yanina-Ledovska, I. Mostova) has been reviewed. Discussions. For convincing evidence, the analytical comments by reviewers of O. Chepalov’s books, as well as the texts of the bibliographic guide “Chepalov Oleksandr Ivanovych” (2015) with the involvement of the articles by famous scientists and masters of arts (L. Tanyuk, N. Kornienko, V. Sheiko, T. Vierkina, V. Mulerman, R. Poklitaru, D. Gorbachov) are included. Results. O. Chepalov’s monographs dated from 2001 to 2020 consider important theoretical questions about the role and place of the Ukrainian avant-garde artists (including M. Foregger, a director and choreographer) in the world art space of the respective time. In his "Choreographic Theater of Western Europe in the XX century" study, which has no analogs in the world science, the author managed to recreate a panorama of the modern dance development in all its diversity of stylistic and formative features. During 2011–2014, the magazine “Dance in Ukraine and the World” was regularly published on the initiative and under the editorship of O. Chepalov. This magazine covered the problems of national and world choreographic art, analyzed the most significant phenomena among cultural and historical events. In his book “Notes of the Phantom of the Opera” O. Chepalov considered the creative path of the Kharkiv ‘M. V. Lysenko’ National Academic Opera and Ballet Theatre in personalities and historical retrospection, where he held the position of Head of the Literary Department for 47 years. The monograph “Theatrical Insomnia in Summer Night” collected the best articles by O. Chepalov in the field of art journalism for about 40 years, which marked the range of his priorities and revealed the most characteristic cultural processes of today. Finally, in his latest book “Choreology” (2020), the famous researcher published the texts of lectures and articles since the introduction of choreology (dance theory) in the educational practice of the Ukrainian universities (2004). The directions of O. Chepalov’s research, in particular in the fields of theater studies and dance science, can serve as examples of the purposeful and fruitful expansion of artistic and scientific priorities. Conclusions. O. Chepalov’s writings distinguish the universality and systematization of the culturological approach, impressive professional knowledge in almost all types and genres of art, and extraordinary literary talent. O. Chepalov is also characterized by establishing a high professional level in the criteria of creativity. He also cares to ensure that representatives of his choreological and theater school meet the world’s scientific criteria.
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Rudi, Hartono, and Rudi Rudi Hartono. "MAKNA ESTETIK PADA BENTUK DAN FUNGSI PERTUNJUKAN TOPENG BANJET ABAH PENDUL KAB.KARAWANG." JURNAL HERITAGE 9, no. 1 (June 30, 2021): 107–34. http://dx.doi.org/10.35891/heritage.v9i1.2414.
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Abstract: This article examines the aesthetic meaning of Abah Pendul's Banjet Mask Show which was born from the ideas or ideas of the community, in this case folk theater performances live and develop in the midst of their society, of course, have form and function. The approach used is the semiotic structuralism approach of the Levi-Strauss model which describes an object of study structurally through two sides, namely the outer structure known as the surface structure and the inner structure known as the deep structure. Performances in the community where the Banjet Mask is located and cultural communication events occur in the social interaction between the show and the audience. The purpose of this article is to explore the aesthetic meaning of the Abah Pendul Banjet Mask show. The importance of this research is to determine the correlations of the aesthetic meaning of performing arts. The research method used is qualitative by referring to the structure pattern of the form and function of the performance which is descriptive narrative with triangulation and documentation of performances. In the results of the description of the performance structure, parsing, analyzing and explaining the aesthetic meaning in the performing arts of the Banjet Abah Pendul Mask in the Karawang community.
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Nugroho, Khairana Zata, and Dhanang Respati Puguh. "From Komedie Stambul to Toneel: Theatre Arts Development in Batavia, 1891-1942." Indonesian Historical Studies 6, no. 2 (December 28, 2022): 132–49. http://dx.doi.org/10.14710/ihis.v6i2.16023.
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Performing arts became a popular entertainment form among groups in the colonial era. People who enjoy performing arts were always craving for something new, and in turn, performing troupes were trying to create new innovations for their performances. In the late 19th century, a theatre group Komedie Stamboel was established in Surabaya. This group soon became popular because their uniqueness: the hybridity of their dramaturgies and stories which combined the West and East aspects. Their popularity resulted in a tour across Java, one of tour destinations was Batavia. When they were in Batavia, many of Komedie Stamboel’s performances were influenced by Indische culture and Indo people. By implementing the historical method, this article find the role of the Indo people and the influence of the Indische culture in Batavia’s development of theatre arts. The increasing popularity of Komedie Stamboel resulted in imitators, both professional and amateur, with the majority of their performers consisted of Indo [hybrid] and Pribumi [local; indigenous]. Komedie Stamboel also developed into a theatrical genre known as komedie stambul. In the 20th century, a theatre form known as Toneel Melajoe emerged as a continuity of the Komedie Stambul with new additions. Other theatrical genre known as Indische Toneel, a colonial theatre created by playwrights of Dutch totok and Indo descent that often held in theatres in Batavia. They had komedie stambul influences and Indische culture references on them.
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Veledinsky, Oleg Valerievich. "Chinese Studios in the Russian Theater University. Ethnopsychological Approach in Teaching Stage Speech." Человек и культура, no. 5 (May 2022): 18–34. http://dx.doi.org/10.25136/2409-8744.2022.5.38935.
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The relevant topic of teaching foreign-speaking students in the field of modern Russian theater education is discussed. The subject of the research is the speech training of Chinese students-actors within the framework of an experimental Russian–Chinese theater and educational project of the Russian State Institute of Performing Arts (St. Petersburg) and the Central Academy of Drama (Beijing). The experience of voice and speech training in homogeneous Chinese groups is summarized, the real manifestations of significant ethnopsychological phenomena and the possibility of their use for educational purposes are generalized. The author, a direct participant in the project, analyzes the course and results of the experiment from the position of optimal compliance of the educational process with the identified psychological, mental and national-cultural characteristics of Chinese students-actors. The novelty of the research lies in the experimental substantiation of the variant of the ethnooriented model of voice and speech training of Chinese students in the Russian theater school, carried out using two languages (Russian and Chinese) in Russia, and then in China. This ensures the consistency and meaning of voice and speech education, the possibility of transferring acquired speech skills into national artistic practice. The result of the study ethnopsychological, mental and national-cultural features were found in practice and affecting the process of voice and speech training. Taking into account and using a combination of these factors implements an ethnopsychological approach to voice and speech training of Chinese students-actors.
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Toporišič, Tomaž. "Myth and Creolisation of Cultures and Performing Arts in the Mediterranean." Ars & Humanitas 9, no. 1 (April 30, 2015): 104–16. http://dx.doi.org/10.4312/ars.9.1.104-116.
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Theatre today speaks for a new type of cultural manifoldness, for a broad range of new differences that are developing. Creolisation is the intermingling of two or several formerly discrete traditions or cultures; it is an interweaving of similar and different threads of various colours, deriving from myths shared throughout the Mediterranean basin. Within such an understanding of culture theatre needs to speak out not only against domination but also needs to highlight the importance of marginality, otherness, and local contexts. It should not be hemmed in by literary-minded applications.As Benjamin Lee writes, “we have reached a time when no values from any single cultural perspective can provide frameworks adequate to understanding the changes affecting all of us”, which entails the decolonisation of cultural practices. We must think globally and act locally, be aware of universal myths, while remaining aware of the local circumstances and myths that surround us. In other words, a fruitful dialectical relation can ensue. In Slovenia, scholars often complain that, aside from specialists, nobody is “internationally” interested in local myths or national topics. This is not true: what is necessary is to find an appropriate way to present local or national topics within an international and global setting.
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Toporišič, Tomaž. "Myth and Creolisation of Cultures and Performing Arts in the Mediterranean." Ars & Humanitas 9, no. 1 (April 30, 2015): 104–16. http://dx.doi.org/10.4312/ah.9.1.104-116.
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Theatre today speaks for a new type of cultural manifoldness, for a broad range of new differences that are developing. Creolisation is the intermingling of two or several formerly discrete traditions or cultures; it is an interweaving of similar and different threads of various colours, deriving from myths shared throughout the Mediterranean basin. Within such an understanding of culture theatre needs to speak out not only against domination but also needs to highlight the importance of marginality, otherness, and local contexts. It should not be hemmed in by literary-minded applications.As Benjamin Lee writes, “we have reached a time when no values from any single cultural perspective can provide frameworks adequate to understanding the changes affecting all of us”, which entails the decolonisation of cultural practices. We must think globally and act locally, be aware of universal myths, while remaining aware of the local circumstances and myths that surround us. In other words, a fruitful dialectical relation can ensue. In Slovenia, scholars often complain that, aside from specialists, nobody is “internationally” interested in local myths or national topics. This is not true: what is necessary is to find an appropriate way to present local or national topics within an international and global setting.
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Raphael, Tim. "The Body Electric: GE, TV, and the Reagan Brand." TDR/The Drama Review 53, no. 2 (June 2009): 113–38. http://dx.doi.org/10.1162/dram.2009.53.2.113.
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As host of NBC's General Electric Theater from 1954 to 1962, Ronald Reagan enacted a new relationship between popular culture, corporate capitalism, and electronic media. Through his affiliation with General Electric and the celebrity he achieved through television, Reagan played an instrumental role in promoting the re-branding of the imagined community of the American nation as a republic of consumption. This phase of Reagan's career was a crucible for the formation of his political persona and political base.
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Fuchs, Wladek. "The Geometric Language of Roman Theater Design, Part 1." Nexus Network Journal 21, no. 3 (March 14, 2019): 547–69. http://dx.doi.org/10.1007/s00004-019-00434-7.
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Fuchs, Wladek. "The Geometric Language of Roman Theater Design, Part 2." Nexus Network Journal 21, no. 3 (March 27, 2019): 571–90. http://dx.doi.org/10.1007/s00004-019-00436-5.
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Morrow, Martin. "Calgary’s Wild Ride: How the High Performance Rodeo Inspired and Transformed a Theatre Community." Canadian Theatre Review 124 (September 2005): 35–38. http://dx.doi.org/10.3138/ctr.124.004.
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Looking back, 1987 was a momentous year for theatre in Calgary. Two years before, the city had opened its impressive, multi-venue Centre for Performing Arts; in a year to come, it would host the XV Olympic Winter Games and Arts Festival. Now, in a general mood of optimism and anticipation, three major theatre-based festivals were launched: playRites, a showcase for new Canadian plays produced by Alberta Theatre Projects, the Calgary International Children’s Festival and the High Performance Rodeo. However, had you referred to the last one as “major” in 1987, people would have just laughed. And I would have been among them.
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Kloetzer, Laure, and Ramiro Tau. "Teaching and learning online through performing arts. Puppetry as a pedagogical tool in higher education." Scenario: A Journal for Performative Teaching, Learning, Research XVI, no. 2 (December 31, 2022): 1–20. http://dx.doi.org/10.33178/scenario.16.2.1.
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Due to the coronavirus disease 2019 (COVID-19) pandemic, a Swiss university course called “Psychology and Migration” had to move online over the Spring semester 2021. In this course, Psychology and Education students learn about the sociocultural considerations of migration, through a theoretical, personal and artistic exploration of the subjective experience of migration, based on performing arts. As part of the main pedagogical strategies, students are invited to collectively create a short theatre play based on some selected literary texts. Under the conditions imposed by the pandemic, puppetry arts were chosen as a new tool for distance-learning. Collaborating with theatre professionals, the students created a short play, and performed it online using sock puppets, image theatre or object theatre. Using data collected during the course (video recordings of online sessions and students’ diaries), this article explores the critical process of reduction and expansion, and the (potentially) productive tensions that the course creates. It analyses two main appropriation modes for course students: in adaptative appropriation, students aim to reduce these tensions by adapting to the perceived expectations of teachers; in transformative appropriation, students creatively use possibilities offered by the course to conduct a personal exploration, integrating theories with their own experiences and questions.
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Topaz, Muriel. "First General Assembly of the Americas Center of the World Dance Alliance (Walter Reade Theater, Lincoln Center, New York City, 9–10 June 1993)." Dance Research Journal 25, no. 2 (1993): 62–64. http://dx.doi.org/10.1017/s0149767700003508.
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Balcare, Kitija. "HUMAN AND MORE-THAN-HUMAN IN THE PERFORMING ARTS LANDSCAPE IN LATVIA." Culture Crossroads 23 (January 10, 2024): 226–38. http://dx.doi.org/10.55877/cc.vol23.388.
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Integrating performing arts research into the environmental humanities frame, the aim of this paper, firstly, is to uncover theoretical ideas of posthumanist thinkers about species interdependency [Tsing 2012; Haraway 2015] in context of the environmental issues and, secondly, to integrate these perspectives into practices of the ecotheatrical performances in Latvia. As it is no longer possible to separate nature from culture in a world outside humans [Haraway 2003], ecotheatre serves as a form of environmental imaginary [Woynarski 2015; May 2021] reshaping human and more-than-human relations, shifting from anthropocentric paradigm towards ecocentric worldview. Theatre of species rearranges the usual anthropocentric hierarchy and includes new actors in the theatre – non-human entities and the more-than-human world [Chaudhuri 2017]. The article provides close reading of three ecotheatrical performances, including Bee Matter (Iveta Pole, 2021), Mushroom Picking Championship (Ilze Bloka, 2021), Last Night of the Deer (Jānis Balodis, Nahuel Cano, 2022), looking how ecotheatre practitioners discursively, physically, and visually represent non-human species and their relationship with humans in the context of urgency of the environmental issues. In ecotheatrical performances, physicality as embodiment comes to the fore, alongside with invitation to the spectator not to think about but already to think with nature resonating posthumanism and postmodern shamanism ideas.
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Nair, Sreenath. "Editorial." Indian Theatre Journal 7, no. 1 (June 1, 2023): 3–5. http://dx.doi.org/10.1386/itj_00031_2.
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The present issue of the Indian Theatre Journal (ITJ) is an attempt to showcase the current research in the field of Indian performing arts to bring together some glimpses of traditional performance scholarship and the ways in which that interacts with contemporary demands. There are two articles on Kerala Kalamandalam, the internationally acclaimed Kerala’s traditional centre for performing arts. The articles feature the origin and development of the institution, the ways in which the centre became the nucleus of traditional performing arts in the region including recent experiments in the traditional performing arts scene in Kerala. Moreover, the article about the Purulia Chhau attempts to raise the argument that the Indigenous performances have not opened to accommodate the ‘woman’s space’ within its practice. The article on performative experience in Kathakali’ asks some valuable questions about the creative nature of the art of acting: what is the nature of the psychophysical process involved in a performance? At what degree and level this complex process has been understood and theorized? Above all, the exceptional interview with Neena Prasad, a prolific young dancer who received the presidential award for the overall contribution to Indian classical dance, is another highlight of the issue.
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Móring, Tibor, and Péter Kiszl. "Circus Arts in Content Service Systems." Art Libraries Journal 48, no. 4 (October 2023): 111–25. http://dx.doi.org/10.1017/alj.2023.24.
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The aim of this paper is to identify scientific content and compilations related to circus arts available in subscription databases and in renowned and free academic information systems. After providing terminological definitions for circus and circus arts, the article describes the search strategies applied and the issues which emerged during the searches, and then introduces quantitative results, thereby also identifying the major periodicals and the most often referenced articles of the topic. The analysis provides useful input for representatives of other arts related to circus arts (e.g., performing arts, theatre arts, visual arts, musical arts) and of other academic fields (e.g., literary studies, history, media science); but first of all, it serves as an unparalleled library information service guide for navigating between electronic information sources.
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Larre, Lindsey. "“Do Poor Tom Some Charity”: Performing Poverty and Pity in King Lear." Journal of Medieval and Early Modern Studies 52, no. 3 (September 1, 2022): 533–65. http://dx.doi.org/10.1215/10829636-9966121.
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The many disguises of Edgar in King Lear have led critics to dub the chameleonic figure a choreographer of human compassion in a play that holds compassion as a vital dramaturgical principle. This essay argues that Edgar's performances of suffering and his choreographies of deception reveal how costly are the demands of performing true compassion, and thus how rare is the response he will come to recognize as “good pity.” Examining closely the responses elicited by Edgar's performance of affliction alongside Edgar's response to witnessing the suffering of others, the article explores how the elusive Edgar serves as an embodied exploration of problems of poverty and almsgiving, of the moral status of playacting, and, most profoundly, of the complex nature of Christian charity and compassion. In the space Edgar opens between coerced care and complicit compassion, between the obligations of caritas and the possibilities of drama, Shakespeare questions what it entails to meaningfully respond to the suffering of another, and what tools — if any — theater might offer this project.