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Journal articles on the topic 'Political theatre'
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1
Shevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014." New Theatre Quarterly 32, no. 2 (April 13, 2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.
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What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in focus to indicate how political theatre in the seven years specified has been far from alien to, or sidelined from, national theatres, state theatres, or other prestigious companies in receipt of state subsidy. Two main profiles of recent political theatre emerge from this research, one that acknowledges political history, while the other critiques neoliberal capitalism; there is some unpronounced overlap between the two. Productions of Shakespeare feature significantly in the delineated theatrescape. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London. Her most recent book (co-authored) is The Cambridge Introduction to Theatre Directing (2013).
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Watson, Anna. "‘A Good Night Out’: When Political Theatre Aims at Being Popular, Or How Norwegian Political Theatre in the 1970s Utilized Populist Ideals and Popular Culture in Their Performances." Nordic Theatre Studies 29, no. 2 (March 5, 2018): 87. http://dx.doi.org/10.7146/nts.v29i2.104615.
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Bertolt Brecht stated in Schriften zum Theater: Über eine Nichtaristotelische Dramatik (Writings on Theatre: On Anti-Aristotelian Drama) that a high quality didactic (and political) theatre should be an entertaining theatre. The Norwegian theatre company Hålogaland Teater used Brecht’s statement as their leading motive when creating their political performances together with the communities in Northern Norway. The Oslo-based theatre group, Tramteatret, on the other hand, synthesised their political messages with the revue format, and by such attempted to make a contemporaneous red revue inspired by Norwegian Workers’ Theatre (Tramgjengere) in the 1930s. Hålogaland Teater and Tramteatret termed themselves as both ‘popular’ and ‘political’, but what was the reasoning behind their aesthetic choices? In this article I will look closer at Hålogaland Teater’s folk comedy, Det er her æ høre tel (This is where I belong) from 1973, together with Tramteatret’s performance, Deep Sea Thriller, to compare how they utilized ideas of socialist populism, popular culture, and folk in their productions. When looking into the polemics around political aesthetics in the late 1960s and the 1970s, especially lead by the Frankfurter School, there is a distinct criticism of popular culture. How did the theatre group’s definitions of popular culture correspond with the Frankfurter School’s criticism?
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Frank, Vojtěch. "Musical Theatre as an Object of Transnational Political Exchange." Historical Studies on Central Europe 2, no. 1 (June 16, 2022): 219–36. http://dx.doi.org/10.47074/hsce.2022-1.10.
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The paper focuses on the ways Czech-language theatres in Czechoslovakia were dealingwith the obligatory presence of Soviet operetta titles in their repertoire, dating from about 1950to 1989. The reform of Czech musical theatre began right after World War II. In search of the right,nationalized form of operetta, Czech theatre organs soon understood that the example must bedrawn from the hegemonic Soviet culture. In the Soviet discourse, mainly Isaac Dunayevsky’soperettas were considered masterpieces, and Czech theatre politicians were soon paying theirattention to them. After some initial difficulties in obtaining material for the operettas, Dunayevsky’spieces entered Czech theatre and stayed on the repertoire to the beginning of the 1960s. Afterthe Warsaw Pact Invasion in 1968, Soviet operettas re-entered the theatres’ repertoire; however,their reception and staging circumstances were much more complicated. The paper focuses on themain tendencies in staging Dunayevsky’s operettas in Czechoslovakia, the political and culturalbackground of productions, and the various ways of presenting it in Czech society and culture. Thecultural and historical microprocesses analysed may then throw light on a wider range of historicaland cultural phenomena, including cultural transfers and relations between Czechoslovakia and theSoviet Union, the discrepancies between the official and unofficial discourse, as well as the role ofpopular musical theatre in a socialist society.
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Hamidi-Kim, Bérénice. "Post-Political Theatre versus the Theatre of Political Struggle." New Theatre Quarterly 24, no. 1 (January 30, 2008): 41–50. http://dx.doi.org/10.1017/s0266464x08000043.
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In this article Bérénice Hamidi-Kim tests the hypothesis that two conflicting interpretations of the notion of ‘political theatre’ exist on the French stage today. She suggests that each is based on a specific ideology stemming from a specific conception of history and policy, which results in a legitimation of the theatre and of artists both in the theatrical field and in society at large. One, which she calls ‘post-political theatre’, seems to proceed from a radical anthropological and political pessimism, and has deliberately severed all links with all previous forms of political theatre and given up any revolutionary ambitions. The other, which she calls ‘political-struggle theatre’, proudly embraces the legacy of the earlier forms of revolutionary political theatre – the epic form of documentary theatre in particular – and is attempting to revive the political ambition of contributing to a comprehensive, coherent critical project, based on the assumption that theatre is a preparatory school for reality and for political action. Bérénice Hamidi-Kim's doctoral thesis was entitled ‘The Cities of Political Theatre in France from 1989 to 2007’. She is also author of ‘Quelle place politique et culturelle pour le cadre de l'Etat-Nation dans le théâtre de gauche français?’ in the e-review Sens Public (2006), and of ‘Théâtre populaire, immigration, intégration, et identité nationale’, forthcoming in the February 2008 issue of Etudes Théâtrales.
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van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.
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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.
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Seppälä, Mikko-Olavi. "S.O.S. - A Pacifist Intervention in Helsinki 1929. The Intercrossing of Modernism and Socialism." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 39. http://dx.doi.org/10.7146/nts.v28i1.23971.
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The article examines the co-operation between a (Swedish-speaking) modernist author with a (Finnish-speaking) workers’ theatre in 1920s Finland. It shows how modernist aesthetics and the socialist movement met in the practices of the workers’ theatres and what dangers lay in this combination. I am especially interested in the moments when the radical intelligentsia - artists, writers, and theatre directors - joined forces with the workers’ theatres in order to create political theatre. Political turmoil was about to occur when Hagar Olsson’s play S.O.S. premiered in Helsinki in March 1929. The venue was the Koitto Theatre (in Finnish ”Koiton Näyttämö”), a semi-professional workers’ theatre run by a socialist temperance association, already known for its performances of German expressionist plays. In my paper, I ask what goals lay behind the co-operation between Olsson and Koitto – and what came out of it?
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Morozova, Irina Pavlovna. "Theatre activity in the southern Urals at the initial period of the thaw." Samara Journal of Science 6, no. 4 (December 1, 2017): 169–73. http://dx.doi.org/10.17816/snv201764211.
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The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examines the creative activity of theatres in the southern Urals, Orenburg Region and Bashkortostan, reveals specific features and problems in the functioning of the studied institutions in the era of the thaw, studies repertoire policy of theaters. The repertoire updated and new theaters opened. Actors and directors found new forms of art self-expression. Drama art stops being the weapon of the political propaganda. The author has no opportunity to carry out a comparative analysis of this research with other researches as the subject has not been investigated by anybody yet.
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Fareeha Zaheer. "Theatrical Milieu: Investigating Drama and Theatre in tandem with Socio-Political Landscape of Pakistan." sjesr 4, no. 2 (May 25, 2021): 278–87. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(278-287).
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This study is an attempt to trace the impacts of socio-political conditions in the formation and evolution of drama and theatre traditions in Pakistan. It provides the genesis of theatre and drama in Pakistan intertwining it with the past and present situations of this genre of literature. It also ventures at the inert position of drama and theatre in English in Pakistan. Qualitative textual analysis is conducted to analyze and highlight the major available critical acumen in the genre of Pakistani drama and theatre. The methodology adopted is interpretive of the theatrical performances by major theatre groups, and the contributions of key playwrights in cementing the foundation of drama and theatre traditions. The major findings are related to the socio-political situations prevalent since the inception of Pakistan and their significance in shaping both dramas in writing and drama in performance. It also examines the role of pioneer theatrical groups and their projects that carved a niche in the theatrical landscape of Pakistan. As compared to fiction theatre and drama remained sporadic and lackluster affair in Pakistan, it is vital to have a deeper understanding and clarity of the socio-political issues that shaped resistance &political theatres and later commercial theatre groups.
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Tillis, Steve. "CONCEPTUALIZING SPACE: THE GEOGRAPHIC DIMENSION OF WORLD THEATRE." Theatre Survey 52, no. 2 (November 2011): 301–27. http://dx.doi.org/10.1017/s0040557411000408.
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Geography has been accorded surprisingly little attention in the study of world theatre history. Maps are by no means the sum total of geographic knowledge, but their existence (or the lack thereof) provides a handy indicator of an author's interest in the subject. Oscar G. Brockett and Franklin J. Hildy'sHistory of Theatrehas numerous pictures of actors and diagrams of theatres but only one map that directly pertains to theatre. All the rest of its maps (of which there are fewer than two dozen) are standard-issue political maps.Theatre Histories: An Introduction, by Phillip B. Zarrilli and others, is groundbreaking in many ways, but it includes only six maps, and none of these directly concerns theatre. Each of the six volumes ofThe World Encyclopedia of Contemporary Theatreincludes only one map, a basic political one. Other standard reference works on the history of theatre contain no maps; these includeThe Cambridge Guide to Theatre,The Oxford Companion to the Theatre, andThe Oxford Encyclopedia of Theatre and Performance.Numerous types of map might be relevant for a study of theatre, but aside from the occasional political map, the basic overviews of theatre history do not include such resources.
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Golovlev, Alexander. "Political Control, Administrative Simplicity, or Economies of Scale? Four Cases of the Reunification of Nationalized Theatres in Russia, Germany, Austria, and France (1918–45)." New Theatre Quarterly 38, no. 2 (April 20, 2022): 107–24. http://dx.doi.org/10.1017/s0266464x22000021.
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In 1917–18, the new republican governments of Russia, Germany, and Austria nationalized their former court property. A monarchic-turned-national heritage of prestigious opera and dramatic theatres weighed heavily on national and regional budgets, prompting first attempts to create centralized forms of theatre governance. In a second wave of theatre reorganization in the mid-1930s, the Soviet government created ‘union theatres’ under a Committee for Arts Affairs; the German and Austrian theatres underwent the Nazi Gleichschaltung (1933–35 and 1938); and France, a ‘democratic outlier’, opted for nationalizing the Opéra and Opéra-Comique under the Réunion des théâtres lyriques nationaux. These conglomerates have so far been little studied as historically specific forms of theatre management, particularly from a comparative, trans-regime perspective. What balance can be struck between economic, political, and ‘artistic’ costs and benefits? How does ‘Baumol’s law’ of decreasing theatre profitability apply to these very different politico-economic systems, as well as to war economies? Dictatorships reveal an economic seduction power, while this essay argues for confirming a long-term ‘great European convergence’ of state-centred theatre management, internal structure, and accountability, both in peace and war. Here, the stated goals and short-term contingencies yielded to trends originating from the logic of theatre production itself, and the compromises that the state, theatre professionals, and the public accepted in exchange for the capital of prestige. Alexander Golovlev (PhD, European University Institute in Florence, 2017) is a senior research fellow at the HSE Institute for Advanced Soviet and Post-Soviet Studies at the University of Moscow. His recent publications include, for New Theatre Quarterly, ‘Theatre Policies of Soviet Stalinism and Italian Fascism Compared, 1920–1940s’ (2019), and ‘Balancing the Books and Staging Operas under Duress: Bolshoi Theatre Management, Wartime Economy, and State Sponsorship in 1941–1945’, Russian History XLVII, No. 4 (2020).
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Wilmer, S. E. "Performing «Polishness»." Pamiętnik Teatralny 70, no. 2 (June 23, 2021): 165–69. http://dx.doi.org/10.36744/pt.823.
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This article is a review of Dariusz Kosiński’s Performing Poland: Rethinking Histories and Theatres (Aberystwyth 2019). The author points out that the book is an attempt at introducing several centuries of Polish theatre and performance to an international reader. It is divided into five sections which overlap chronologically, altogether creating a comprehensive presentation of Polish theatre. These sections are: theatre of festivities, theatre of fundamental questions, national theatre, political theatre, and theatre of the cultural metropolis. The author, however, draws attention to a problematic issue in Kosiński’s approach. Throughout the book he emphasizes the role of theatre and performance in asserting Polish national identity while ignoring the complex, multi-faceted character of any national identity.
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Douxami, Christine. "Brazilian Black Theatre: A Political Theatre Against Racism." TDR/The Drama Review 63, no. 1 (March 2019): 32–51. http://dx.doi.org/10.1162/dram_a_00815.
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Black Brazilian theatre constitutes a political and artistic response to the racial discrimination characteristic of Brazilian society. As early as 1944, young members of the recently created black political movement saw theatre as a potential weapon to transform Brazilian society and created the Teatro Experimental do Negro (Black Experimental Theatre). This activist theatre continues to this day to pave the way for other black theatre companies.
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Sobol, Joshua. "Theatricality of Political Theatre." Maske und Kothurn 33, no. 3-4 (December 1987): 107–12. http://dx.doi.org/10.7767/muk.1987.33.34.107.
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Bessami, Hanane, and Yousef Abu Amrieh. "Youths and Political Allegory: Nader Omran’s A Theatre Company Found a Theatre and Theatred Hamlet." Theory and Practice in Language Studies 12, no. 9 (September 1, 2022): 1790–98. http://dx.doi.org/10.17507/tpls.1209.11.
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This paper investigates Jordanian playwright Nader Omran’s adaptation of Shakespeare’s Hamlet. It examines Omran’s dramatization of the struggle of Arab youths in a region ruled by corrupt leaders. In particular, the paper focuses on how Omran transforms Shakespeare’s Ophelia into an assertive and dynamic character to reflect the contemporaneous circumstances and conditions of the Arab World in A Theatre Company Found a Theatre and Theatred Hamlet (1984). In Omran’s adaptation, Ophelia’s suicide is an act of self-immolation which anticipates Tunisian fruit and vegetable vendor Mohammed Bouazizi’s act of burning himself in December 2010 since both acts awaken dormant hopes for change and trigger a process of transformation as an inevitable result of years of political oppression and marginalization. In this respect, Omran’s play anticipates and predicts recent Arab uprisings that were initiated and led by Arab youths in protest against years of social injustice and exclusion from the political life.
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MOLONY, MARTIN G. "‘Oh, This Is More of Stretch’s Show’: Randal Stretch and Puppet Theatre in Eighteenth-Century Ireland." Eighteenth-Century Ireland: Volume 37, Issue 1 37, no. 1 (September 1, 2022): 91–107. http://dx.doi.org/10.3828/eci.2022.6.
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This article outlines the popularity - and financial success - of an eighteenth-century Dublin puppet theatre that threatened mainstream theatres of the time. Randall Stretch’s puppet theatre, in Dublin’s Capel Street, became the centrepiece for satirical and political commentary of the day. Stretch’s theatre caught the attention of Dean Swift and his circle and is commemorated in satirical verse of the period. For decades, Dubliners used the phrase ‘This is more of Stretch’s Show’ to refer to anything outlandish or incredible. The article underlines the power of the puppet theatre as a satirical device and the extent to which it can rival mainstream theatre.
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Cremona, Vicki Ann. "Politics and Identity in Maltese Theatre: Adaptation or Innovation?" TDR/The Drama Review 52, no. 4 (December 2008): 118–44. http://dx.doi.org/10.1162/dram.2008.52.4.118.
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The period from the 1960s to the 1990s was one of great political change in Malta. Up until its independence in 1964, Malta had been under foreign domination, and this new political direction meant change in the way the Maltese saw and governed themselves. Theatre during this period expressed this emerging new identity. Looking at theatre and political protest during this period reveals that in contrast to the more politically engaged post-independence theatre, recent Maltese theatre is relatively unchanging, perhaps due to a more general decline in political involvement.
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Vagapova, Natalia. "POLITICAL THEATER ON THE SCENES OF BELGRADE INTERNATIONAL THEATRE FESTIVAL." Urgent Problems of Europe, no. 2 (2021): 154–75. http://dx.doi.org/10.31249/ape/2021.02.07.
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The article presents a cultural and political analysis of the activities of the Belgrade International Theater Festival (BITEF) - a significant theatrical, general cultural and social phenomenon in Serbia, the Balkans / South-Eastern Europe, and throughout Europe as a whole. Before the collapse of the SFRY (1991-1992), being the official showcase of self-government socialism, the festival was at the same time one of the most representative shows of new theatrical trends in Europe. It was attended by troupes from the countries of the East and West - Western and Eastern Europe, the USSR, the USA, Latin America, China, Japan. Not being by definition a festival of political theater, thanks to the moral and civic position of its founders and leaders M. Trailovich and Y. Chirilov, BITEF has become a space of aesthetic and social free-thinking in the SFRY and in neighbouring socialist countries. The organizers of BITEF found an opportunity to provide a platform for theatrical «dissidents» with their performances dedicated to rethinking modernity and the recent past in any genre. During the existence of the FRY (1992-2003), BITEF became an annual cultural manifestation in opposition to the regimes in power in Serbia, Croatia, Bosnia and Herzegovina, with their ideology of chauvinism and isolation from the outside world. At this time, the compilers of the festival programs began to attach special importance to performances of a political and social orientation. Many theaters from Serbia, as well as from the former neighbours of the Yugoslavian federation, and now the newly independent states, in their productions offered not so much a political, as a moral and ideological alternative to ethnic nationalism, militarism and political intolerance. Since 2006, in the independent Republic of Serbia, BITEF has strived not only to revive the traditions of Serbian theater, but also to preserve the best traditions of the theatrical art of the peoples of the former Yugoslavia, placing them in the context of the common European and global development of theater and culture, ideology and philosophy, literature, aesthetics, ethics. In principle opposing nationalism and militarism from the standpoint of humanism, BITEF plays an outstanding role in shaping public attitudes in Serbia, in weakening and overcoming conflicts, in normalizing relations between the peoples of the disintegrated Yugoslavia, in creating an atmosphere of freedom and tolerance.
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Chubrei, Anastasiia. "THE UKRAINIAN PRESS OF GALYCIA OF THE 20–30’s OF THE XXth CENTURY AS THE RESOURCE OF THE INVESTIGATION OF THE PUBLISHING THEATRICAL POLICY OF THE REPERTOIRE." Proceedings of Research and Scientific Institute for Periodicals, no. 11(29) (2021): 291–306. http://dx.doi.org/10.37222/2524-0331-2021-11(29)-13.
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The level of the publishing policy for the theatrical repertoire of the professional and amateur theatres according to the points of view of the authors of the Galycia press of the internal period of the theatrical, socio-politicaland other directions is found, the value of the Ukrainian theater in the context of the socio-political situation in the Eastern Galycia and ideological views of the certain edition or appendix is in vestigated. According to the analysis of the messages devoted to the existing theatrical repertoire on the publisher’s market the precedence of the quantity (meaning that the providing of the repertoire for the professional and amateur theatres was sufficient) is established. The reflections upon the quality index were defined by the editor’s policy and the opinions on the meaning of the theatre. Either important was the attitude in the discussion on the implementation of the achievements of the European drama or the further domination of the folklore genres which were often used during the previous periods of the development of the Ukrainian theatre. It was established according to the editions, which were published in the beginning, during and in the end of the interwar twenties of the XXth century. Keywords: history of publishing, theater, Galycia, interwar period, publishers, repertoire.
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Mosse, Ramona. "Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre (review)." Theatre Journal 58, no. 2 (2006): 372–73. http://dx.doi.org/10.1353/tj.2006.0124.
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Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre." Journal of English Language and Literature 1, no. 3 (June 30, 2014): 61–64. http://dx.doi.org/10.17722/jell.v1i3.19.
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Of all the contemporary dramatists, Howard Brenton is surely the most prolific, marked by breadth and variety,his plays mainly tackling moments of great political upheavals of the time. Many of his plays are turned out at speed as quickresponses to events in public life. Brenton, as a man of political conviction, exposes contemporary consciousness. The theatreserves as a platform for his political revolt expressive of disillusionment at the failure of socialism. Following the trend ofBrechtian Epic Theatre, Brenton used the basic principles in matters of setting, characterization, empathy and dramaticstructure and the techniques of socialist realism creating a fable with characters capable of change showing the light ofdawn in the darkest night. He evolved a large-scale ‘epic’ theatre dealing in complex political issues, an attempt to constitutea British Epic theatre. Since 1965, Brenton committed himself to a career as a playwright with his first play Ladder of Foolstill the recent play Drawing the Line (2013), he has widely moved through different phases of his career as a politicaldramatist with the portrayal of England in terms of a violent political landscape. But of late, there is transmutation frompolitical theatre to absurd theatre. In his recent play Drawing the Line Brenton faces an epic task himself in distilling theturmoil of India-Pakistan partition into two hours on stage. He makes the audience realize the absurdity of decisions made bythe intelligent principled political leaders that end up in tumultuous violence and conflicting demands.
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Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre." Journal of English Language and Literature 1, no. 3 (June 1, 2014): 61. http://dx.doi.org/10.17722/jell.v1i3.42.
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Bas, Elif. "From Self-Effacement to Confrontation: The Emergence of Queer Theatre in Istanbul." Asian Culture and History 8, no. 2 (August 25, 2016): 126. http://dx.doi.org/10.5539/ach.v8n2p126.
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Over the past ten years, the number of alternative theatres run by young artists in Istanbul has increased significantly. Political theatre has become an important part of this new cultural milieu. This article explores the emergence of queer theatre as part of this trend, especially in the last five years. It also examines the developments that gave rise to this theatre and elaborates on the topic by analysing two plays Cadinin Bohcasi (Sack of the Witch) and 80lerde Lubunya Olmak (Being a Transsexual in the 80s).
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Schwartz, David. "Genealogy of Political Theatre in Post-Socialism. From the Anti-“System” Nihilism to the Anti-Capitalist Left." Studia Universitatis Babes-Bolyai Sociologia 64, no. 2 (December 1, 2019): 13–40. http://dx.doi.org/10.2478/subbs-2019-0008.
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Abstract What have been the conditions of production for a political theatre to appear in post-1990s Romania? How and why contemporary theatre in Romania ended up ignoring or dismissing the leftwing, engaged or militant theatrical movements active before 1945? Why local theatre history and theory entirely obliterated, also, the politically-engaged theatre forms active during communism itself? What kind of tradition forms the contemporary political theatre, what is the politics that informs their working practices and collaborations, how do the artists engage with the groups they choose to give voice and with the audience? Using a broad and on-purpose multi-faceted definition of political theatre, the article focuses on theatre artists, practices and performances that question capitalism as a social and power structure, sometimes from an intersectional perspective, but always framing this criticism in a class approach. Largely a practice-based analysis, the text gives a comprehensive on-going history of a strong performative movement and its challenges, from the representational strategies and the financial and positioning issues to the scarcity of critical covering and reviewing and the extending of an (opposite) political engagement in the mainstream theatre in Romania.
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Nikolić, Sanela. "The opera question in Belgrade as 'staged' by Milan Grol." New Sound, no. 43-1 (2014): 107–22. http://dx.doi.org/10.5937/newso1443107n.
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Writer, politician, and dramaturge Milan Grol can be credited with the most important contribution of an individual to the modernization of the National Theatre in Belgrade. A reformer, legislator, organizer of international theatre cooperation, and manager of the National Theatre, he also played a key role in defining 'the opera question' in Belgrade during the first two decades of the 20th century. Commendable as his activities were in terms of the institutional organization and advancement of South Slavic theatres, it must also be noted that owing to his unfavorable attitude towards the performance of opera at the National Theatre, the development of its opera ensemble and establishment of an artistically worthy opera repertoire at this theatre came to a halt in the first decade of the 20th century. Grol's views about opera at the National Theatre reflect a striking ambivalence in his dual professional personality of a politician and writer. As a member of the Independent Radical Party, he supported a pro-European orientation and cultural elitism, which were meant to serve democratic and educational goals. However, when it came to the question of opera at the National Theatre, he abandoned his guiding principles devoted to modern European standards. Grol thus reinterpreted his firm political basis in the field of partisan clashes and appropriated the power to regulate the repertoire of the National Theatre; yet, for all that, he never gave up his primary vocation of a writer and dramaturge, who saw the presentation of the highest aesthetic achievements of national and European literature as the sole purpose of the institution he managed.
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Bentley, Eric. "Writing for a Political Theatre." Performing Arts Journal 9, no. 2/3 (1985): 45. http://dx.doi.org/10.2307/3245510.
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Pukelytė, Ina. "Political Influence on Theatre Historiography." Nordic Theatre Studies 31, no. 2 (May 18, 2020): 37–48. http://dx.doi.org/10.7146/nts.v31i2.120119.
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The article discusses the question of the memory of Jewish history and culture in Lithuania in regard to the cultural and political debates that are actually taking place in Lithuanian society. Historical facts, concerning Jewish cultural life in Lithuania before the Second World War, were eliminated from the research field conducted by historiographers during the Soviet and the early post Soviet times. The article argues that this was due to political aspirations of the country; they play the crucial role in defining what type of memories the society would carry on and defend. In regard to the research done by sociologists Maurice Halbwachs, Jan and Aleida Assmanns notions of collective memory, functional and stored memory are discussed. Examples of the recent media persecutions of cultural personas such as Rūta Vanagaitė and Marius Ivaškevičius are discussed in order to illustrate the memory war that is still taking place in the actual Lithuanian society.
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Bentley, Eric. "Writing for a Political Theatre." PAJ: A Journal of Performance and Art 38, no. 1 (January 2016): 39–52. http://dx.doi.org/10.1162/pajj_a_00294.
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Paget, Derek. "The Precariousness of Political Theatre." New Theatre Quarterly 16, no. 4 (November 2000): 388–90. http://dx.doi.org/10.1017/s0266464x00014135.
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LIKE Holden Caulfield in The Catcher in the Rye, I find myself wanting to ring up ‘old Baz Kershaw’. The insertion of personal history into an academic text that is to be found in The Radical in Performance, in itself radical, inspires this tactic. It also inspires my determination to refer to ‘Baz’ throughout this response. The available alternatives just don't feel right: ‘Kershaw’ carries reminders of the 1950s grammar school that (mis-) shaped me; ‘Professor Kershaw’ seems curiously over-formal in the context of my enjoyment of this book; ‘Barrie Kershaw’ (yes, I saw him once quoted as such in the THES) is frankly unfamiliar; ‘the author’ a coy statement of the obvious.
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Etherton, Michael. "African theatre and political action." Wasafiri 3, no. 6-7 (March 1987): 3–6. http://dx.doi.org/10.1080/02690058708574142.
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PESSOA, PATRICK. "For a New Political Theatre." Theatre Research International 42, no. 2 (July 2017): 229–31. http://dx.doi.org/10.1017/s0307883317000359.
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The first words of Caranguejo Overdrive, spoken by ‘a crab who one day had been a man named Cosme’, encapsulate the fundamental principles guiding the work's creation. Based on an unorthodox ingesting of Josué de Castro – the geographer who proved that hunger is not the fruit of any natural disaster, but rather of an unjust social organization – Glauber Rocha, the filmmaker who made hunger not his theme, but the very engine of his aesthetic – and Chico Science, the musician who revived the Baudelairean image of the ‘rag-picker poet’, Oswaldian anthropophagy, and tropicalism – the contemporary figure of the ‘man-crab’ emerges.
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Hulton, Dorinda. "Sites of Micro-Political Theatre." PAJ: A Journal of Performance and Art 30, no. 3 (September 2008): 94–103. http://dx.doi.org/10.1162/pajj.2008.30.3.94.
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Friedman, Dan. "Theatre, Community, and Development: The Performance Activism of the Castillo Theatre." TDR/The Drama Review 60, no. 4 (December 2016): 68–91. http://dx.doi.org/10.1162/dram_a_00596.
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The Castillo Theatre’s three decades of making theatre as part of an ongoing politically progressive community-building project in New York City is a new concept/practice of political theatre. Its radical statement is located not primarily in what’s presented onstage, but with those who make the theatre collaboratively, approaching social change activism performatively rather than ideologically.
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Haddad, Naif Adel, Leen Adeeb Fakhoury, and Talal S. Akasheh. "Notes on anthropogenic risks mitigation management and recovery of ancient theatres’ heritage." Journal of Cultural Heritage Management and Sustainable Development 8, no. 3 (August 20, 2018): 222–56. http://dx.doi.org/10.1108/jchmsd-11-2016-0062.
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Purpose Ancient theatres and odea are one of the most significant and creative socio-cultural edutainment centres of human history that are still in use. They stood and served as huge multi-functional structures for social, religious, propaganda and political meeting space. Meanwhile, ancient theatres’ sites have an intrinsic value for all people, and as a vital basis for cultural diversity, social and economic development, they should continue to be a source of information for future generations. Though, all places with ancient theatre heritage should be assessed as to their potential risk from any anthropogenic or natural process. The paper aims to discuss these issues. Design/methodology/approach The main paper’s objective is to discuss mainly the anthropogenic and technical risks, vulnerability and impact issues on the ancient classical theatres. While elaborating on relevant recent studies, where the authors were involved in ERATO and ATHENA European projects for ancient theatres and odea, this paper provides a brief overview of the main aspects of the anthropogenic qualitative risks and related issues for selected classical antiquity theatres. Some relevant cases are critically presented and investigated in order to examine and clarify the main risk mitigation issues as an essential prerequisite for theatre heritage preservation and its interface with heritage reuse. Findings Theatre risk mitigation is an ongoing and challenging task. By preventive conservation, theatre anthropogenic qualitative risks’ management can provide a framework for decision making. The needed related guidelines and recommendations that provide a systematic approach for sustainable management and planning in relation mainly to “ancient theatre compatible use” and “theatre technical risks” are analysed and presented. This is based on identification, classification and assessment of the theatre risk causes and contributing factors and their mitigation. Originality/value The paper also suggests a new methodological approach for the theatre anthropogenic qualitative risk assessment and mitigation management, and develop some recommendations that provide a systematic approach for theatre site managers and heritage experts to understand, assess, and mitigate risks mainly due to anthropogenic and technical threats.
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Kreicberga, Zane. "LATVIAN THEATRE IN TRANSITION . THE ROOTS IN THE 1990s." Culture Crossroads 19 (October 11, 2022): 78–88. http://dx.doi.org/10.55877/cc.vol19.30.
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This paper focuses on the emergence and evolution of the so-called independent theatre scene in Latvia in the radically changing socio-political and institutional context of the 1990s. The analysis concerns the question why in Latvia the independent theatres did not become a significant alternative from the inherited institutional repertory theatre system until the second decade of the new century. Examples of the independent theatres Kabata, Skatuve and Mūris help to illustrate the general tendencies showing that a lack of a strong artistic vision and managerial strategy in difficult economic circumstances lead to the underdevelopment of a diversity of production models in performing arts in Latvia. In addition, after a short loss of direction, institutional theatres in the mid-90s started to attract nearly all artistically interesting new initiatives, especially if it already had proved itself within the independent scene. The New Riga Theatre and The Atelier of Unbearable Theatre characterize these processes, moreover indicating that the avant-garde directors of the time – Alvis Hermanis, Dž. Dž. Džilindžers, Viesturs Kairišs, Gatis Šmits and Regnārs Vaivars – were interested in a radical break with the past in terms of aesthetics of theatre, but they were not interested in politics. The comparison with the independent theatre scene in Estonia and Lithuania shows that the similar initial circumstances may lead to different outcomes.
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Figeac, Michel. "Les théâtres à Bordeaux sous la révolution: les luttes politiques sur la scène." Romanica Wratislaviensia 67 (July 23, 2020): 91–106. http://dx.doi.org/10.19195/0557-2665.67.7.
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At the end of the Ancien Régime, theatre in Bordeaux was particularly renowned due to the construction by Victor Louis of one of the most beautiful performance halls in France. This study aims to describe the theatrical activity during the Revolution and to show how theatres proliferated because control of the stage had become a real political issue. The theatre, indeed, was both an educational place for the emergence and propagation of the new ideas, a format convenient for ci-tizens, but also a closed space favourable to contestation. We also consider the consequences of this political activism on the actors.
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McLaren, Robert Mshengu. "Theatre on the Frontline: The Political Theatre of Zambuko/Izibuko." TDR (1988-) 36, no. 1 (1992): 90. http://dx.doi.org/10.2307/1146181.
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Scullion, A. "Glasgow Unity Theatre: The Necessary Contradictions of Scottish Political Theatre." Twentieth Century British History 13, no. 3 (March 1, 2002): 215–52. http://dx.doi.org/10.1093/tcbh/13.3.215.
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D'Cruz, Glenn. "‘Class’ and Political Theatre: the Case of Melbourne Workers Theatre." New Theatre Quarterly 21, no. 3 (July 18, 2005): 207–17. http://dx.doi.org/10.1017/s0266464x05000114.
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Traditionally, class has been an important category of identity in discussions of political theatre. However, in recent years the concept has fallen out of favour, partly because of changes in the forces and relations of capitalist production. The conventional Marxist use of the term, which defined an individual's class position in relation to the position they occupied in the capitalist production process, seemed anachronistic in an era of globalization. Moreover, the rise of identity politics, queer theory, feminism, and post-colonialism have proffered alternative categories of identity that have displaced class as the primary marker of self. Glenn D'Cruz reconsiders the role of class in the cultural life of Australia by examining the recent work of Melbourne Workers Theatre, a theatre company devoted to promoting class-consciousness, in relation to John Frow's more recent re-conceptualization of class. He looks specifically at two of the company's plays, the award-winning Who's Afraid of the Working Class? and The Waiting Room, with reference to Frow's work on class, arguing that these productions articulate a more complex and sophisticated understanding of class and its relation to politics of race and gender today. Glenn D'Cruz teaches drama and cultural studies at Deakin University, Australia.
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Ukpokodu, I. Peter. "Theatre and Political Discord: Theatre Rebels of Zimbabwe and Kenya." Theatre Research International 23, no. 1 (1998): 38–43. http://dx.doi.org/10.1017/s0307883300018198.
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Though the world is aware of the political activities of the Nigerian playwright, Wole Soyinka, it might be difficult to find a better example of the relationship between a nation in a state of socio-political chaos and the arts in an African country than that of Ngugi wa Thiong'o's Kenya as exemplified in Matigari:Matigari, the main character [in Ngugi wa Thiong'o's Matigari], is puzzled by a world where the producer is not the one who has the last word on what he has produced; a world where lies are rewarded and truth punished. He goes round the country asking questions about truth and justice. People who had read [Matigari] started talking about Matigari and the questions he was raising as if Matigari was a real person in life. When Dictator Moi [President of Kenya] heard that there was a Kenyan roaming around the country asking such questions, he issued orders for the man's arrest. But when the police found that he was only a character in fiction, Moi was even more angry and he issued fresh orders for the arrest of the book itself.
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Šentevska, Irena. "In Search of Catharsis. Theatre in Serbia in the 1990s." Südosteuropa 65, no. 4 (January 26, 2018): 607–31. http://dx.doi.org/10.1515/soeu-2017-0041.
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Abstract This paper discusses various points about the response of the Serbian theatre to the social crisis of the 1990s. The focus here is on publicly-funded theatres and their role in pacifying or mobilizing theatre audiences either to participate in or revolt against the political projects which accompanied the dissolution of Yugoslavia. The Serbian theatre system in the 1990s entered a clear process of transformation of its models of management, production, financing, public relations and, naturally, the language and forms of expression inherited from the socialist 1980s. The chief interest of this study is the transformation of the theatre system since the end of World War II, theatrical interpretations of the historical and literary past in Serbia, the role of theatre in the identity ‘makeovers’ that followed the demise of Yugoslavia, and stage interpretations of contemporary crises. Consideration is also given to the present state of the theatre in Serbia.
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Hillman, Rebecca. "(Re)constructing Political Theatre: Discursive and Practical Frameworks for Theatre as an Agent for Change." New Theatre Quarterly 31, no. 4 (October 9, 2015): 380–96. http://dx.doi.org/10.1017/s0266464x1500069x.
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In 2015 the concept of live performance as having efficacy to instigate political change is contested, yet some politically motivated performance has demonstrably facilitated change, and critical frameworks have been developed that account for performances that hold clear political stances. However, even where arguments exist for the enduring relevance of political performance, certain models of practice tend to be represented as more efficacious and sophisticated than others. In this article, inspired by her recent experiences of making political theatre, Rebecca Hillman asks to what extent prevalent discourses may nurture or repress histories and futures of political theatre. She re-evaluates the contemporary relevance of agitprop theatre made in British contexts in the 1960s and 1970s by comparing academic analyses of the work with less well-documented critiques by the practitioners and audiences. She documents also the fluctuation and transformation, rather than the dissipation, of political activism in the final decades of the twentieth century. Rebecca Hillman is a director and playwright, and is a Lecturer in Drama at the University of Exeter..
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Freshwater, Helen. "Political Futures." New Theatre Quarterly 20, no. 3 (August 2004): 287–89. http://dx.doi.org/10.1017/s0266464x04220176.
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Korkut, Perihan. "“Creative Drama” in Turkey." Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 1 (January 1, 2018): 70–86. http://dx.doi.org/10.33178/scenario.12.1.5.
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The Turkish Republic is a young one. Established in 1923, it has gone through many social and political transformations, which have inevitably had an influence on how science and art are perceived. The Republic inherited from the Ottoman Empire a performative art tradition which had its roots in three distinct types of theatre: village shows; folk theatre played in town centres; and court theatre, which was based on “western” theatrical traditions. Considering the geographical location of Turkey, the term “West” signified the more advanced and civilized countries of the time, most of which were located in Europe. Having recently emerged from a tragic war, Turkey’s most urgent aim was to be on a par with these western countries in terms of science and arts. Therefore, western theatre, rather than the traditional forms, was promoted by the government (Karacabey 1995). As a result of this emphasis on western forms of theatre, many translated and adapted works were performed in theatres. In fact, even today, nearly half of the plays put on stage by Turkish state theatres are translated works. The following sections describe some examples from traditional and western forms of Turkish theatre. Fig. 1: http://aregem.kulturturizm.gov.tr/Resim/126102,ari-oyunu-yozgat-akdagmadeni-bulgurlu-koyu.png?0 These are short plays performed ...
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Toome, Hedi-Liis. "THEATRE AS COUNTER-HISTORY IN ESTONIA: THE CASE OF “BB AT NIGHT”." Culture Crossroads 14 (November 9, 2022): 25–36. http://dx.doi.org/10.55877/cc.vol14.88.
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The theatres of Estonia celebrated the centenary of Estonian Republic by staging performances depicting different decades of the country’s history. The article dis - cus ses one of these performances “BB at Night” that staged the 1940s. The per formance is based on a novel of the same title that tells the story of Berthold Brecht’s journey to Finland during the Second World War. The aim of the article is to show – by describing three particular scenes from the performance and using the theories of Jacques Rancière, more precisely his notion of dissensus to analyse these scenes – how a performance that is not political per se could be received as political. By inviting audience members to participate in certain scenes, the bodies of theatre visitors are politicized, and the performance becomes aesthetically political and politically aesthetical.
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VERSTRAETE, PIETER. "Turkey's Future State (of) Theatre." Theatre Research International 44, no. 3 (October 2019): 299–304. http://dx.doi.org/10.1017/s0307883319000348.
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With the inauguration of the presidential system in Turkey, theatre as an institution is at a historical crossroads. By 15 July 2018, just before the controversial emergency law was lifted, two decrees restricting the autonomy of artists working at state theatres, operas and ballets were issued. The first decree replaces a law from 1949 which secures autonomy over budgeting and programming.1 The second places all state theatres under direct control of the president. During the summer, the institutions were temporarily closed until they were harmonized with the new political system. With this structural change, a lengthier political process of shifting powers and centralization is being consolidated. But there has also been a more fundamental epistemological shift going on in Turkey's ideological consciousness, which is deeply rooted in a history of the public sector and of state institutionalism.
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Lev-Aladgem, Shulamith. "Where Has the Political Theatre in Israel Gone? Rethinking the Concept of Political Theatre Today." Theatre History Studies 37, no. 1 (2018): 191–208. http://dx.doi.org/10.1353/ths.2018.0010.
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Pereyra, Soledad. "Intimidad, emoción y activismo político en el teatro posmigrante de Sasha Marianna Salzmann." mAGAzin Revista intercultural e interdisciplinar, no. 26 (2018): 14–27. http://dx.doi.org/10.12795/magazin.2018.02.
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As Pavis (2016) argues, intimacy has resurfaced under different forms and names in current theater. This article makes a general introduction to posmigrant theatre in Germany, breaks down some of these forms of intimacy and emotion in theatre studies, and then analyzes its presence and articulation in the monologues of two works by german-language playwright Sasha Marianna Salzmann (n.1985): Muttersprache Mameloschn (2013) and Meteoriten (2016). The examination of the monologues of Salzmann -who is one of the representatives of the so-called German Postmigrant Theatre- exhibits that intimacy in their works is not only about reversing the representational economy of the minorities in a multicultural society. The use of emotion in her theatre abandons its traditional association with the “pathos” and the “Impossibility of Acting” (DidiHuberman, 2013:26), and represents a form of political activism, which builds theatre as the smallest cell of a fairer society (Salzmann 2015).
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Whybrow, Nicolas. "The ‘Art‘ of Political Theatre-Making for Educational Contexts." New Theatre Quarterly 11, no. 43 (August 1995): 277–91. http://dx.doi.org/10.1017/s0266464x00009143.
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In NTQ 39 (August 1994) Nicolas Whybrow provided an analysis of ideological changes which have recently occurred in the organization and running of schools and youth clubs. He went on to discuss the ways in which theatre in education (TIE) and theatre in youth work – commonly grouped under the title of Young People's Theatre (YPT) – were being affected by these changes. Here, in the second of two articles, he shifts his perspective towards the standpoint of theatre companies themselves, with a view to locating where the political efficacy of their practices might lie. Nicolas Whybrow is a lecturer at the Workshop Theatre, School of English, Leeds University.
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HEINRICH, ANSELM. "Shakespeare and Kolbenheyer: Regional Theatre During the Third Reich – a Case Study." Theatre Research International 31, no. 3 (October 2006): 221–34. http://dx.doi.org/10.1017/s0307883306002197.
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The importance of regional theatre in the grand scheme of theatre history has long been neglected; this even holds true for an area of research which has aroused more historical interest than any other – Nazi Germany. Addressing this desideratum the article investigates the history of a typical provincial theatre – the Städtische Bühnen in the Westphalian city of Münster – with a special emphasis on the repertoire. The author examines how far the regime was able to implement its demand for a specifically political theatre and relates his findings to other German playhouses. The article argues that the failure of the Nazi administration to turn the Münster playhouse into a propaganda stage does not mean that regional theatres did not fulfil their role for the regime. They did so in other, less obvious ways.
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Filewod, Alan. "The Ideological Formation of Political Theatre in Canada." Theatre Research in Canada 8, no. 2 (September 1987): 254–63. http://dx.doi.org/10.3138/tric.8.2.254.
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An analysis of the parallel development of political theatre in English and French in Canada. In both cultures, political intervention theatre appropriates the theatrical forms and the post-colonial nationalism of the alternative theatre movement. This article seeks to reconcile these points of similarity with the significant differences in ideology between the two cultures.