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Journal articles on the topic 'Physical Theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Lanchak, Yaroslav, Andrii Maslov-Lysychkin, Iryna Maslova-Lysychkina, and Butko Butko. "Physical Theatre as a Form of Theatrical Art: Ukrainian Context." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 6, no. 2 (2023): 127–40. https://doi.org/10.31866/2616-759X.6.2.2023.288151.

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The article is devoted to the consideration of one of the newest experimental forms of performing arts – physical theatre. Physical theatre is a theatrical form that emerged and spread in the late twentieth and early twenty-first centuries in several European countries and the United States and is little studied in Ukrainian art history. <strong>The purpose of the study </strong>is to analyse the artistic and social experience of physical theatre in the context of artistic practices of the late twentieth and early twenty-first centuries, and identify its achievements and problem areas. This ph

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2

Habel, Ivan. "Implementing Agreements." Canadian Theatre Review 123 (June 2005): 11–14. http://dx.doi.org/10.3138/ctr.123.003.

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In discussing working conditions in the professional theatre in Canada, it is important to understand the diversity of practices that exist in the theatre community. Theatre is produced using a range of models, including the conventional model of a play mounted by a company; but theatre can be created by collectives or by an individual. The theatre, also, no longer reflects just the Anglo-American tradition of drama but has expanded to reflect the storytelling, physical and visual traditions of theatrical practice derived largely from outside the European tradition. This expansion in the metho

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3

Foreman, Kathleen, and John Poulsen. "Transforming Traditions: Commedia dell’Arte and masQuirx (Contemporary Mask Performance)." Canadian Theatre Review 104 (September 2000): 93–97. http://dx.doi.org/10.3138/ctr.104.014.

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masQuirx is a collective of seven artists from a variety of visual and performing arts backgrounds—theatre, painting, dance, photography, mime and improvisation. Working together since 1991, our work has been described as “Jim Henson meets Hieronymus Bosch” (Raby). We create and exhibit masks, and perform in a variety of venues: theatres, art galleries, theatre festivals and roving street performances. Based in Alberta, we have toured nationally and internationally offering audiences our unique blend of visual art and physical theatre.

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Rodosthenous, George. "“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind." Arts 9, no. 2 (2020): 56. http://dx.doi.org/10.3390/arts9020056.

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Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in no

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5

Coetzee, Marié-Heleen, and Marth Munro. "Embodied knowledges: Physical theatre and the physicality of theatre." South African Theatre Journal 24, no. 1 (2010): 10–15. http://dx.doi.org/10.1080/10137548.2010.9687918.

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6

Grace-Warrick, Christa. "Vancouver Getting Physical." Canadian Theatre Review 47 (June 1986): 125–30. http://dx.doi.org/10.3138/ctr.47.011.

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Poltergeists are loose in Vancouver theatre. Things are moving on the physical plane. Disciplines won’t stay apart and traditional associations are coming unglued. Dancers are acting, directors are creating movement scores, mimes are speaking, and playwrights are writing visual plays. All this kinesthetic upheaval is being caused by the emerging prominence of physical theatre.

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7

Staniškytė, Jurgita. "Reinstalling the Fourth Wall: Digital Performance and Spectatorship in (Post-)Pandemic Era." Art History & Criticism 19, no. 1 (2023): 31–38. http://dx.doi.org/10.2478/mik-2023-0003.

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Summary Theatre can be interpreted as a place where various modes of participation in the community or patterns of citizen behaviour can be rehearsed. In pre-pandemic Lithuanian theatre (as well as theatres of other Baltic countries) various forms of audience engagement were conspicuously emerging, ranging from physical co-creation practices to interactive forms of entertainment. After the global lockdown of theatre institutions the emerging forms of “virtual theatre”, ranging from performance recordings to zoom theatre, redefined the role of theatre spectatorship, in particular the notions of

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8

Irwin, Kathleen. "Challenging Bodies: Very Physical Theatre." Canadian Theatre Review 122 (March 2005): 41–44. http://dx.doi.org/10.3138/ctr.122.010.

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The Canada Summer Games, based in Regina in August 2005, and the University of Regina’s Transdisciplinary Fund are enabling the production of a unique performance experiment called Challenging Bodies. This project, part theatre, part dance, part multimedia event, attempts to investigate the link between the spark of creative imagination and the act of fully realized physical expression. As well, it will attempt to problematize the notion of physical excellence by celebrating movement, however limited in scope, and enhancing and amplifying that movement through sophisticated technology. Indeed,

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9

Shen, Dianhuai. "Method of Physical Action (MPA) in TAO Dance Theater." Communications in Humanities Research 9, no. 1 (2023): 290–96. http://dx.doi.org/10.54254/2753-7064/9/20231427.

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TAO Dance Theater is one of the contemporary dance companies with significant influence in the world. Its individualized and pure physicality prompts viewers to reevaluate and redefine aesthetics. This paper aims to investigate TAO Dance's "Method of Physical Action" which resembles Polish theatre master Grotowski's concept of "art as a vehicle." In other words, TAO Dance Theater achieves a suitable execution of self-constructed performance procedures, penetrating conscious and emotional manipulation under the influence of society and culture. It breaks away from the constraints of everyday li

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10

Powell, Grant. "Enhancing Physical Performance Through Digital Theatre." ITNOW 66, no. 2 (2024): 7–9. http://dx.doi.org/10.1093/itnow/bwae037.

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11

Zheng, Hong. "Public Space: Civic Culture and Subordinate Culture." Journal of Social and Political Sciences 1, no. 2 (2018): 306–13. https://doi.org/10.31014/aior.1991.01.02.21.

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Public space is a physical spot where public activities occur. By comparing the theatre of Dionysus in Athens polis and courtyard theatre in ancestral hall in Ming and Qing dynasty, in view of the component of the space, the activities in the space and sense of time and space on the stage, this article describes how the civic culture and subordinate culture occurred in the theatres, analyses the effects that theatre spaces and senses of the time and space made on the political culture. In the last part, the article in view of environmental psychology reveals the connection between the space an

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12

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, a

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Almuwail, Fadhel. "Theatre Tradition in Islamic Culture." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 5, no. 2 (2022): 84–91. https://doi.org/10.31866/2616-759X.5.2.2022.266507.

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The purpose of the article is to identify the features of the theatrical tradition and to characterise the main forms of manifestation of theatre in Islamic culture. Research methodology. The author has applied the historical-cultural, historical-typological and historical-genetic methods, which helped to understand the peculiarities of formation and development of theatrical traditions within Islamic culture, as well as to consider the phenomenon of theatrical forms in Muslim countries over time; typological method, which revealed the features of traditional theatrical forms in Isla

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Joo, Hayoung. "A Study on the Possibility of New Convergence in Physical Theatre: Theater-Re‘s Nature of Forgetting." Institute of British and American Studies 10, no. 1 (2022): 157–88. http://dx.doi.org/10.25093/ibas.2022.55.157.

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Physical theatre is a form of theatrical performance that tells a story primarily through physical movements rather than language. Physical theatre provides a live, human experience, which is very different from any other form, and audiences are affected much more viscerally. The performance, emphasizing the metaphorical aspect, allows the audience to use their imagination to the maximum and induces emotional immersion through the dynamics of mime, gestures, physical movements, modern dance, and acrobatics. Since the 2000s, scientific studies on human behavior and cognitive neuroscience have c

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15

Green, Reina. "The Challenges of Park Performance: Pericles in Halifax’s Point Pleasant." Canadian Theatre Review 128 (September 2006): 47–52. http://dx.doi.org/10.3138/ctr.128.010.

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As Peter Brook notes, any space can be a theatre. He writes, “I can take any empty space and call it a bare stage. A man walks across this empty space while someone else is watching him, and this is all that is needed for an act of theatre to be engaged” (9). While theatre can happen anywhere, the space in which theatre occurs is one of the most crucial defining aspects of theatre production. As Ric Knowles argues, a theatre space may appear empty before a performance, but it is never empty of meaning (63). The physical characteristics of that space and the macro- and micro-cultures within whi

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16

Orrell, John, and Andrew Gurr. "What the Rose can tell us." Antiquity 63, no. 240 (1989): 421–29. http://dx.doi.org/10.1017/s0003598x00076390.

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What is known of the physical size and shape of the Elizabethan theatres for which William Shakespeare wrote his plays? And how is our knowledge changed by the discoveries in spring 1989 at the site of the Rose theatre, Southwark, on the south bank of the Thames in London? John Orrell and Andrew Gurr, theatre historians who are themselves involved in the plans to rebuild the more famous Globe theatre (Gurr & Orrell 1989), on the bank of the Thames just a few yards west of the Rose site, near to the original Globe site which is due for excavation in the next few months.An earlier version of

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17

Gaines, Andrew M. "Physical Theatre Education: Beyond Knowledge Transfer." Teaching Artist Journal 14, no. 4 (2016): 199–205. http://dx.doi.org/10.1080/15411796.2016.1259204.

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18

Sichel, Adrienne. "Grappling with South African Physical Theatre." South African Theatre Journal 24, no. 1 (2010): 41–50. http://dx.doi.org/10.1080/10137548.2010.9687921.

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19

Feldman, Peter. "Action to Image." Canadian Theatre Review 50 (March 1987): 4–9. http://dx.doi.org/10.3138/ctr.50.001.

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What is an image in acting terms? It usually means one of three things: verbal imagery (in the traditional literary sense, a word-picture); an imaginary object, place, situation or physical state to be explored as if it were real (in acting parlance, called an adjustment, particularization, or substitution); and the visual/physical statement the actors make with their bodies in a space. Today, directors are exploring such imagery in ways that fulfill some of the ideals of V.E. Meyerhold, Antonin Artaud, the Surrealist writers, and the Futurists. Their work also can be looked at in relation to

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20

Antoniou, Vaki, Olivia Burke, and Roland Fernandes. "Introducing a reserve waiting list initiative for elective general surgery at a District General Hospital." BMJ Open Quality 8, no. 3 (2019): e000745. http://dx.doi.org/10.1136/bmjoq-2019-000745.

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Cancelled operations represent a significant burden on the National Health Service in terms of theatre efficiency, financial implications and lost training opportunities. Moreover, they carry considerable physical and psychological effects to patients and their relatives. Evidence has shown that up to 93% of cancelled operations are due to patient-related factors. An analysis at our District General Hospital revealed that approximately 18 operations are cancelled on the day of surgery each month. This equates to 27 hours of allocated operating time valued by the trust as £67 500, not being use

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21

Antoniou, Michaela. "Performing Ancient Greek Tragedy in Twentieth-Century Greece: Dimitris Rontiris and Karolos Koun." New Theatre Quarterly 33, no. 1 (2017): 31–46. http://dx.doi.org/10.1017/s0266464x16000610.

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In this article Michaela Antoniou gives an account of the two prevailing acting schools in ancient Greek tragedy in the twentieth century, as formed and developed by Dimitris Rontiris at the National Theatre and Karolos Koun at the Theatro Technis (Art Theatre). She discusses how these two great theatre masters directed, guided, and taught their actors to perform tragedy, arguing that Rontiris's approach stemmed from a text-based perspective that focused on reciting and pronunciation, while Koun's developed from a physical and emotional approach that prioritzed actors and their abilities. Her

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22

Ljupcho, Jovanov, Vasic Toni, and Jovanchevska‐Milenkoska Jovanka. "The Significance of Adolphe Appia in Contemporary Theatrical Space in the EU and Macedonia." AICEI Proceedings 9, no. 1 (2014): 249–60. https://doi.org/10.5281/zenodo.4553259.

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Theatrical space occurs as an interaction between stage and auditorium, between scenic and architectural space. This interaction is a complex process, and the theatrical space is constantly evolving. Usually this is in correlation with the spirit of time, which often fails to treat the theater as one building and space. Modern technology, which is increasingly employed in the theater, requires a change in the architectural space (both the exterior and interior). Back in the late 19th and early 20th centuries, Adolphe Appia advocated key changes, which influenced the creation of new theatrical

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23

Felton-Dansky, Miriam. "Clamorous Voices: Seven Jewish Children and Its Proliferating Publics." TDR/The Drama Review 55, no. 3 (2011): 156–64. http://dx.doi.org/10.1162/dram_a_00106.

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How can a play go viral? Following its 2009 premiere at London's Royal Court Theatre, Caryl Churchill's Seven Jewish Children—a politically provocative mini-drama staging the contested history of Israeli-Palestinian relations—did just that, spawning counter-plays and performative revisions that proliferated worldwide, in physical theatres and in the internet's intangible arena.

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24

Adumati, Abiola Olubunmi. "Performing the ‘Invisible’ in <i>Yemoja</i> and ‘Our Family Secret’ through multimedia and virtual theatre." Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists 23, no. 1 (2024): 85–95. http://dx.doi.org/10.4314/ntj.v23i1.8.

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Modern technology has necessitated the digitalisation of stage performances, especially in the 21st century. Although, technology applies to many industries as it enhances productivity and creativity, however, theatre industry seems to benefit from technology more than other industries as the use of digital devices has boosted the industry beyond the physical stage and it has also given stage theatre popularity in the media space. It is on this premise that this study examined the exploration of “Multimedia Theatre and Virtual Theatre” towards making the invisible visible in the performances o

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25

Logie, Lea. "Developing a Physical Vocabulary for the Contemporary Actor." New Theatre Quarterly 11, no. 43 (1995): 230–40. http://dx.doi.org/10.1017/s0266464x00009118.

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One of the distinguishing qualities of live theatre is its built-in ephemerality: yet all too often this involves the loss not only of the fruits of theatrical experience but of ‘experience’ itself, understood as the learning of craft – and this puts experimental companies and practitioners alike in danger of constantly reinventing the wheel. Connecting this to the needs of serious performers to acquire a wide range of expressive movements, and to explore the process of relating these movements to thoughts and feelings, Lea Logie discusses both common elements and contrasting approaches in the

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Bustamante Rosero, Ana. "SUZANNE BING, EL LEGADO DE UNA MAESTRA OLVIDADA." Acotaciones. Revista de Investigación y Creación Teatral 45 (December 18, 2020): 37–64. http://dx.doi.org/10.32621/acotaciones.2020.45.02.

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This article focuses on the life and legacy of Suzanne Bing. She was the pedagogical director and driving force behind the actor’s training research at Théâtre du Vieux Colombier. She played a deci- sive role in the apprenticeship and pedagogical process of an entire ge- neration of practitioners that changed 20th-century European theatre. This brief overview is revealed as a necessity because her figure, despite being crucial in the emergence of physical theatres, has been excluded and forgotten by Theatre’s history. It is a need to restore and contribute to the diffusion of her eminently ped

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Faidit, Jean-Michel. "Paul Mathevet et ses spectacles d’Alcides (années 1820 et 1830) : incidences sur l’émergence des gymnases." STADION 48, no. 2 (2024): 210–32. https://doi.org/10.5771/0172-4029-2024-2-210.

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How did gymnasiums and stadiums emerge in the 19th century? These two issues, both societal and architectural, were studied, firstly from the perspective of an expansion of military and school gymnastics into the civilian world and, secondly in relation to three concomitant factors: the development of British sports such as football and rugby, cycling and horse racing, and the revival of the Olympics for athletics events. However, there is another common approach that has been little explored. Based on documentary material from the press of the time and theatre programmes, it can be seen that

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28

Barton, Bruce. "Navigating Turbulence: The Dramaturg in Physical Theatre." Theatre Topics 15, no. 1 (2005): 103–19. http://dx.doi.org/10.1353/tt.2005.0001.

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Fleishman, Mark. "Physical Images in the South African Theatre." South African Theatre Journal 11, no. 1 (1997): 199–214. http://dx.doi.org/10.1080/10137548.1997.9688204.

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30

주현식. "The Performative Aesthetics in Theatre Company Momggol's and Sadari Movement Lab's Physical Theatre." Journal of Drama ll, no. 48 (2016): 339–71. http://dx.doi.org/10.15716/dr.2016..48.339.

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31

Hunter, E. B. "Augmented Reality and Theatre." Theatre Journal 76, no. 2 (2024): 177–95. http://dx.doi.org/10.1353/tj.2024.a932167.

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Abstract: The technology industry’s recent spatial turn presents new opportunities for theatre and performance in the twenty-first century. One such opportunity is augmented reality (AR), a technology that overlays digitally rendered assets onto the user’s physical space, giving the appearance that those assets populate the physical world. Through an analysis of The Builders Association’s Elements of Oz , which incorporated mobile AR into its stage production, as well as Bitter Wind , the author’s adaptation of Agamemnon for the Microsoft HoloLens headset, this essay analyzes the interpretive

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Abdul Rahman, Mohd Kipli, Amandus Paul Panan, Rosdeen Suboh, and Hyung Suk Moon. "Igal Theatre's Sustainable Development Goals (SDGs): Well-being of People With Disabilities (PWDs)." Environment-Behaviour Proceedings Journal 10, no. 31 (2025): 241–47. https://doi.org/10.21834/e-bpj.v10i31.6564.

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This study explores igal theatre, a traditional performing arts practice by Bajau Laut ethnic as a mental and physical therapy for People with Disabilities (PWDs). Observational, participatory workshop performance approaches are applied to enable PWDs to convey personal narratives and engage in meaningful dialogue. Igal theatre-based communication techniques (ITBCT) are applied to manipulate participants' mental and physical well-being and help them create content, tell their life stories, and strengthen their identity. The results contribute to the mental and physical well-being of PWDs and p

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

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"This article represents a closer examination of the triadic perspective of creating, performing and appreciating a performative event. This type of analysis is directly linked to choreological studies, a domain which is not yet part of the Romanian academic field, but, in essence, it does exist through other forms of theatrical studies and practices. I localize every scholarly aspect in current performative practices, more precisely, in that of physical and dance theatre. Through this article I would like to bring more attention to the way these forms of performing arts are created, performed

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34

Chang, Chia-fen. "Quiet Decline of Lanling Theatre Workshop: A Postmodern Shift from Huaju to Grotowski-Inspired Physical Theatre in Taiwan." Asian Theatre Journal 42, no. 1 (2025): 105–28. https://doi.org/10.1353/atj.2025.a962137.

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Abstract: When discussing the Lanling Theatre Workshop, critics often cite the success of Hezhu's New Match in 1980 as a milestone in Taiwan's modern theatre. However, in hindsight, its success was more symbolic than artistic, signifying a break from Nationalist propaganda drama. The lack of discussion on its decline also obscures the theatre's trail and hinders researchers from achieving a comprehensive understanding. Furthermore, given Lanling's adoption of Western theatre techniques, it is essential to contextualize it within Taiwan's theatre scene as well as the broader cultural struggle i

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35

Lin, Erika T. "Recreating the Eye of the Beholder: Dancing and Spectacular Display in Early Modern English Theatre." Congress on Research in Dance Conference Proceedings 2011 (2011): 10–19. http://dx.doi.org/10.1017/s0149767711000246.

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Shakespeare and his contemporaries regularly staged plays that exhibited feats of physical prowess, such as dancing, acrobatics, and combat. Spectacles of this sort existed in a kind of double space: even as they operated within a play's fictional narrative, they also served as legitimate entertainments in their own right. Jean Alter refers to these complementary aspects of theatre as its “referential” and “performant” functions: theatre as semiotic system, employing both mimetic and nonmimetic forms of representation, and theatre as spectacular show, akin to sports or the circus. My paper ana

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Grynyshyna, Maryna, Kateryna Pyvovarova, and Alisa Kolpashchykova. "Games With Space — Games in Space: Site-Specific Theatre in Ukraine." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 7, no. 1 (2024): 48–60. https://doi.org/10.31866/2616-759X.7.1.2024.301964.

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<strong>The purpose of the article </strong>is to analyse the practice of <em>site-specific theatre </em>in Ukraine from a theatrical perspective, taking into account the theoretical work of Western experts on <em>New theatre</em>, to identify its species commonality and aesthetic and artistic distinctiveness. <strong>Research methodology</strong>. The phenomenological methodology was used to characterise the subject of the study, the cultural and historical approach was used to theoretically substantiate foreign and Ukrainian theatrical experience, and the methodology

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Yang, Juan. "Healing in Antonin Artaud's Theatre." Highlights in Art and Design 4, no. 1 (2023): 130–32. http://dx.doi.org/10.54097/hiaad.v4i1.12084.

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Antonin Artaud was a distinguished French director, actor, theatre theorist and poet. Artaud's reputation in the theatre world is fundamentally due to his promotion of a series of "anti" theatre theories including, but not limited to, the "theatre of cruelty", which highlights the aesthetics of the therapeutic aspects of Artaud's theatre. The use of theatre as therapy for self-awareness and improvement of the individual's physical and mental condition is a value that has been in play since its emergence, and Artaud's influence on the development of theatre therapy is mentioned in the book Dram

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Astle, Robert, and Wendy Philpott. "Theatre Without Borders." Canadian Theatre Review 115 (June 2003): 116–18. http://dx.doi.org/10.3138/ctr.115.019.

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While preparing to teach advanced clown at Concordia University, Canadian performer (Heart of a Dog), director and teacher Robert Astle was faced with a surprising dearth. He found no recent publications on clown, mask, physical and other forms of mechanically based theatre practice in this country. Astle knew first hand this was no reflection of what is really happening, but these theatre practices, by their slippery natures, can slip through the cracks of documentation and seem to defy classification of genre or ism. They are, as Astle’s book of interviews clearly shows, a theatre without bo

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Rewa, Natalie. "Adolescents and Theatre." Canadian Theatre Review 60 (September 1989): 3. http://dx.doi.org/10.3138/ctr.60.fm.

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The desire to bring theatre to marginalized groups in contemporary society has often encouraged the development of theatrical forms especially adapted to specific audiences. Thus, feminist theatre explores the situations of women in society by confronting audiences, more or less assertively, with the physical female presences on stage, and various kinds of forum theatre invite audience participation in order to articulate the collective concerns of politically, economically or culturally suppressed peoples. In such cases theory and practice have evolved together, but a group which has been add

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40

Yang Eun Sook. "Rhizome Characteristics in the Movements of Physical Theatre." Journal of Korean Dance 34, no. 1 (2016): 125–47. http://dx.doi.org/10.15726/jkd.2016.34.1.006.

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41

Wollen, Will. "The active text: unlocking plays through physical theatre." Stanislavski Studies 4, no. 1 (2016): 83–84. http://dx.doi.org/10.1080/20567790.2016.1155370.

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Wallace, Bob. "Image Theatre." Canadian Theatre Review 50 (March 1987): 3. http://dx.doi.org/10.3138/ctr.50.fm.

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“There are no obviously identifiable characters, just human beings who express fear, love, ecstasy, violence and death by colliding with spoken words, as if only an expressive body could adequately convey the intensity of the exploded script.” Hélène Beauchamp’s summary of the Omnibus production of René-Daniel Dubois’s Deux contes parmi tant d’autres pour une tribe perdue included here applies to much of the other work discussed in this issue, work that pursues physical more than literary values. With the “explosion” of the script in this work, the authority of the word – and of its author – i

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Rodiņa, Ieva. "PRINCIPLES OF ACTING AT THE DAILE THEATRE AND MODERNISM (1920s–1930s): FELICITA ERTNERE’S CONTRIBUTION TO THE DEVELOPMENT OF MOVEMENT LANGUAGE." Culture Crossroads 7 (November 14, 2022): 186–93. http://dx.doi.org/10.55877/cc.vol7.239.

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The Daile Theatre, founded by Eduards Smiļģis in 1920, is related to the creative experiments of the greatest modernist theatre directors of Western Europe and Russia. The theatre movement consultant Felicita Ertnere (1891–1975) contributed substantially to the creation of a particular movement language for the artistically original languages of the Daile Theatre. She also contributed to the creation and development of the principles of acting for the Daile Theatre. Education that Ertnere had acquired in Saint Petersburg and her knowledge about modernism movement theories and methods of her ti

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Keiley, Jillian. "Theatre Unplugged: The Technology of a Performer-Centred Theatre." Canadian Theatre Review 131 (June 2007): 99–101. http://dx.doi.org/10.3138/ctr.131.014.

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If the technicians for a production are those who realize the visual and aural designs of the director and designer, what, then, if the onstage actors are the executors of the visual and aural aspects of the production? It’s a tangly suggestion, but an argument can be made for performer-based technical theatre. These are productions where it is the actors, executing instructions from the playwright, designer and director, who create the onstage “effects” or, in their physical or vocal actions, indicate the time, place and mood to the audience. This is most simply exemplified by scripts that ha

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Harrop, John. "Adding Style to Substance: the American Actor Finds a Voice." New Theatre Quarterly 1, no. 3 (1985): 231–44. http://dx.doi.org/10.1017/s0266464x00001627.

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Slowly, the focus of creative and critical interest in American theatre has shifted from Broadway ‘product’ to the work presented by the non-profit theatres of the regional centres – work which has not only continued and developed the native naturalistic tradition, but embraced the best of the world repertoire, past and present. Method acting, adapted from Stanislavski to produce a distinctive but limited school of interiorized performance, proved inadequate to meet the increased demands of this range of work; and in this essay John Harrop examines the process by which university and conservat

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Evelyn Memshima Tuleun. "Architectural solutions towards minimizing maintenance problems in the design of public theatres." World Journal of Advanced Research and Reviews 26, no. 1 (2025): 3842–52. https://doi.org/10.30574/wjarr.2025.26.1.1529.

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Public theatres are important cultural landmarks and breeding grounds for artistic expression, but many suffer from rapid physical degeneration as a result of poorly applied maintenance approaches in Nigeria. Using Theatre design as a focal case, this study investigates how architectural design could serve as a proactive tool in minimizing maintenance challenges. It provides a critical analysis of design decisions, spatial organization, material specification, detailing, and site planning and the maintenance demands they create. Utilising as a primary approach a comparative analysis of existin

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Smith, Sophy. "Pervasive theatre." Convergence: The International Journal of Research into New Media Technologies 24, no. 3 (2016): 321–36. http://dx.doi.org/10.1177/1354856516675253.

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This article explores the opportunities and implications for new digital writing in transmedia performance environments. This article centres on the experimental Pervasive Theatre project ( Assault Events 2014, commissioned by futuredream funded through Arts Council England), which explored the potential of online social tools to create a multimedia, collaborative and participatory work situated across multiple platforms. This project brought together researchers, artists, writers, technologists and practitioners from the interdisciplinary fields of digital writing, transmedia and performance

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Lan Guo. "Research on the Path of Drama Communication in the New Media Era." Journal of Electrical Systems 20, no. 3 (2024): 2161–66. http://dx.doi.org/10.52783/jes.4013.

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With the rapid development of new media technology, theatre communication has gradually shifted from traditional physical performance to the direction of digitalization, virtualization and networking, which also provides more space for innovation of theatre expression and content. Based on this, this paper explores the role of theatre communication in the new media era, the integration of new media and theatre, the current situation and causes of theatre communication in the new media era, and proposes an investigation into the path of theatre communication in the new media era, including the

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Seip, Oscar. "Giulio Camillo’s Theatre of Knowledge Revisited." Nuncius 37, no. 1 (2021): 59–83. http://dx.doi.org/10.1163/18253911-bja10019.

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Abstract In the Sixteenth Century, the Italian humanist Giulio Camillo built a ‘Theatre of Knowledge’ for the French King Francis I. Previous scholarship has debated whether this theatre was a physical place, a mental (mnemonic) space, or both. New archival evidence that has been overlooked in previous scholarship on Camillo, and his theatre, unequivocally proves for the first time that Camillo’s theatre had in fact been built in Paris. This invites a reconsideration of past reconstructions of the theatre and allows for the formulation of a new one. In this article, I have explored the hypothe

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WHITE, GARETH. "On Immersive Theatre." Theatre Research International 37, no. 3 (2012): 221–35. http://dx.doi.org/10.1017/s0307883312000880.

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This article considers what might be implied in the term ‘immersive theatre’, asking what kinds of ‘interior’ audiences are invited to become immersed in. To facilitate my argument I draw on performances by two London-based theatre companies, Shunt and Punchdrunk, as examples of immersive theatre which use architectural interiors: extensive environments which audiences explore in order to find the performance, and sometimes to give performances themselves. I begin with a description of how these physical interiors and the audience member's movement through them becomes part of the dramaturgy o

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