Relevant bibliographies by topics / Political theatrics

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Political theatrics'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Political theatrics"

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Marcus. "Victorian Theatrics: Response." Victorian Studies 54, no. 3 (2012): 438. http://dx.doi.org/10.2979/victorianstudies.54.3.438.

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Seidel, Timothy. "The Palestinian Authority in the West Bank: The Theatrics of Woeful Statecraft." Middle East Policy 27, no. 2 (June 2020): 178–81. http://dx.doi.org/10.1111/mepo.12505.

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Glatthorn, Austin. "In the Name of the Emperor." Journal of Musicology 35, no. 1 (January 1, 2018): 1–41. http://dx.doi.org/10.1525/jm.2018.35.1.1.

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In July 1786 Prince Carl Anselm of Thurn und Taxis concluded that he had no choice but to dissolve his Italian court opera. This owed in part to the success of the German theater, which had been established in 1784 to rival the Prince’s Hoftheater and contest his position as the Holy Roman Emperor’s representative to the Reichstag in Regensburg. New evidence challenges the prevailing view that the dissolution of the Taxis’s court opera marked the end of the family’s musical patronage and involvement in Regensburg’s cultural life. In the face of opposition from other Reichstag officials, the Thurn und Taxis continued their investment in music and theatrics, appropriating outdoor spectacles of a kind popular earlier in the century to project imperial power. The prince affirmed his position as the emperor’s representative in such older displays of affluence and standing but updated them to suit contemporary tastes. Carl Anselm’s musico-political theatrics around 1789 demonstrate that although Italian opera failed to articulate the legitimacy he intended to project, his culture of political representation conducted in the name of the emperor endured well into the twilight years of the eighteenth century. To understand the continued musical patronage of this contested and middling prince is to appreciate more fully the methods by which music, spectacle, and politics were negotiated during a transformative period in European history.
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Losco, Joseph. "From outrage to orthodoxy? Sociobiology and political science at 35." Politics and the Life Sciences 30, no. 01 (2011): 80–84. http://dx.doi.org/10.1017/s0730938400017743.

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Few intellectual battles compare in depth of passion or theatrics to the outrage that greeted the publication of Edward O. Wilson's 1975 path-breaking volume,Sociobiology: The New Synthesis. Within days of publication, opponents organized symposia; wrote critical editorials; picketed in Harvard Square; and, at one meeting, assaulted Wilson with a bucket of cold water before he could deliver his address. Fueling this reaction was Wilson's temerity in asserting that the principles of the new synthetic theory applied no less to humans than to other species—and then to use the penultimate chapter to apply his theory to explaining human mating, aggression, and the development of moral and religious systems. Even some who were sympathetic with sociobiology were taken aback by some of the imperialistic sounding statements made by Wilson and his disciples, like Robert Trivers, who prophesized: “Sooner or later, political science, law, economics, psychology, psychiatry, and anthropology will all be branches of sociobiology.”
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Losco, Joseph. "From outrage to orthodoxy? Sociobiology and political science at 35." Politics and the Life Sciences 30, no. 1 (2011): 80–84. http://dx.doi.org/10.2990/30_1_80.

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Few intellectual battles compare in depth of passion or theatrics to the outrage that greeted the publication of Edward O. Wilson's 1975 path-breaking volume, Sociobiology: The New Synthesis. Within days of publication, opponents organized symposia; wrote critical editorials; picketed in Harvard Square; and, at one meeting, assaulted Wilson with a bucket of cold water before he could deliver his address. Fueling this reaction was Wilson's temerity in asserting that the principles of the new synthetic theory applied no less to humans than to other species—and then to use the penultimate chapter to apply his theory to explaining human mating, aggression, and the development of moral and religious systems. Even some who were sympathetic with sociobiology were taken aback by some of the imperialistic sounding statements made by Wilson and his disciples, like Robert Trivers, who prophesized: “Sooner or later, political science, law, economics, psychology, psychiatry, and anthropology will all be branches of sociobiology.”
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Goodman, Jane E. "The man behind the curtain: theatrics of the state in Algeria." Journal of North African Studies 18, no. 5 (December 2013): 779–95. http://dx.doi.org/10.1080/13629387.2013.849893.

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Cox, Christopher James, and Mirko Guaralda. "Public Space for Street-Scape Theatrics. Guerrilla Spatial Tactics and Methods of Urban Hacking in Brisbane, Australia." Journal of Public Space 1, no. 1 (October 18, 2016): 113. http://dx.doi.org/10.5204/jps.v1i1.14.

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It could be argued that architecture has an inherent social responsibility to enrich the urban and spatial environments for the city’s occupants. However, how we define quality, and how ‘places’ can be designed to be fair and equitable, catering for individuals on a humanistic and psychological level, is often not clearly addressed. Lefebvre discusses the idea of the ‘right to the city’; the belief that public space design should facilitate freedom of expression and incite a sense of spatial ownership for its occupants in public/commercial precincts. Lefebvre also points out the importance of sensory experience in the urban environment. “Street-scape theatrics” are performative activities that summarise these two concepts, advocating the ‘right to the city’ by way of art as well as providing sensual engagement for city users. Literature discusses the importance of Street-scape Theatrics however few sources attempt to discuss this topic in terms of how to design these spaces/places to enhance the city on both a sensory and political level. This research, grounded in political theory, investigates the case of street music, in particular busking, in the city of Brisbane, Australia. Street culture is a notion that already exists in Brisbane, but it is heavily controlled especially in central locations. This study discusses how sensory experience of the urban environment in Brisbane can be enriched through the design for busking; multiple case studies, interviews, observations and thematic mappings provide data to gather an understanding of how street performers see and understand the built form. Results are sometime surprisingly incongruous with general assumptions in regards to street artist as well as the established political and ideological framework, supporting the idea that the best and most effective way of urban hacking is working within the system. Ultimately, it was found that the Central Business District in Brisbane, Australia, could adopt certain political and design tactics which attempt to reconcile systematic quality control with freedom of expression into the public/commercial sphere, realism upheld. This can bridge the gap between the micro scale of the body and the macro of the political economy through freedom of expression, thus celebrating the idiosyncratic nature of the city.
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Sausdal, David, and Kjersti Lohne. "Theatrics of transnational criminal justice: Ethnographies of penality in a global age." Theoretical Criminology 25, no. 3 (July 10, 2021): 361–78. http://dx.doi.org/10.1177/13624806211029562.

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This special issue sets out to explore the Theatrics of Transnational Criminal Justice. ‘Why’, we ask, ‘do transnational criminal justice actors perform themselves as they do?’ ‘Why are their representations frequently, if not different from, then often quite dramatized versions of the average reality of their practices?’ ‘What does such dramatization tell us about not only the symbolism but also the structure and state of transnational criminal justice?’ And, more generally, ‘what do such performances of transnational criminal justice reveal about the nature of penal power in a global day and age?’ In probing such questions, the special issue draws together a number of accomplished ethnographers who have been exploring the performative nature of transnational criminal justice issues around the world, considering both international bodies such as Frontex, Europol, UNODC, the ICC as well as the many national actors involved in the prevention, policing and prosecution of border-crossing issues.
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MORGAN, ED. "New Evidence: The Aesthetics of International Law." Leiden Journal of International Law 18, no. 2 (June 2005): 163–77. http://dx.doi.org/10.1017/s0922156505002591.

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A war crimes trial embodies a combination of representational and presentational drama. The contemporary war crimes trial owes equal inspiration to the ‘realism’ of Henrik Ibsen and the ‘theatrics’ of Bertolt Brecht. The question for scholars is whether the trial is but a stylized presentation of the ‘real’ events, or a realistic medium through which to eavesdrop on history. This essay explores this question of war crimes and dramatization in the context of Director of Public Prosecutions v. Polyukhovich, the one war crimes case ever taken to trial under Australia's War Crimes Amendment Act of 1988.
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Creak, Simon. "Sport and the Theatrics of Power in a Postcolonial State: The National Games of 1960s Laos." Asian Studies Review 34, no. 2 (June 2010): 191–210. http://dx.doi.org/10.1080/10357821003802011.

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Dissertations / Theses on the topic "Political theatrics"

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Dubreuil, Raphaëla Jane. "Theatrica and political action in Plutarch's Parallel Lives." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23432.

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This thesis explores Plutarch’s use of metaphors and similes of the theatre in order to represent, explore and criticise political action in his Parallel Lives. Most of the studies available on Plutarch’s use of the theatre have tended to address his understanding and employment of the tragic, that is what is defined as tragedy as a genre from the conventions of language, plot and characterisation. This approach belongs to the textual, literary aspect of theatrical production, the word of the writer, and the interpretation of the reader. Although interlinked with my study, this is not what my thesis examines. I am concerned with the performative aspect of the theatre. This envelops all the components which define the activity of the theatrical spectacle: the professionals involved in the production, from the sponsors, to the musicians and dancers, the actors and their performance, from its preparation to its presentation, the costumes, the props and the sets, the intention of the performance, the impact on and the reaction of the audience. Plutarch has two means of approaching the theatrical world. He draws on the reality of theatrical productions, showing an awareness of the technical demands involved in the creation of spectacle and drama. He also draws upon the tradition of theory and definitions of the theatre which had been laid down by philosophers and playwrights. But whether his understanding stems from a familiarity with theatrical productions or a reading of theoretical discourse, Plutarch’s deployments are consistent: they become a tool to assess morally the statesman or political body he is observing. While Plutarch’s judgement tends to be severe, he recognises the impact and effectiveness of histrionic politics. This thesis concentrates on three political structures: kingship, oratory and the relationship between statesman and assembly. Plutarch’s moral assessment is consistent, and yet he draws on different aspects and different theories to represent not only these different structures but also individual approaches to the office of statesman. While absolute monarchs tend to resort to staging, some put the emphasis on spectacle and the experience of the observer and others concentrate on their own person by styling themselves as actors. If some orators draw on techniques used by actors, they do not equally resort to the same methods but according to their character and origin, choose different aspects of the acting profession. Although several assemblies take place in the theatre, their histrionic behaviour depends on the statesman who influences them. While other studies have notes the theatrical quality of Plutarch’s Lives, this thesis offers the first in-depth analysis of the intricacy and richness of Plutarch’s understanding of theatre as a political tool. Other works have tended to put characterisation at the centre of Plutarch’s use of theatre. I propose, however, to focus on political action, revealing Plutarch’s attitude not only towards the spectacular, but also, and crucially, towards some of the most important political structures of antiquity.
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Junior, Jose Simões de Almeida. ""Cartografia política dos lugares teatrais da cidade de São Paulo - 1999 a 2004"." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27139/tde-23042007-130229/.

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o objetivo da pesquisa foi realizar uma reflexão crítica sobre o espaço teatral na cidade de São Paulo, pelo viés da Geografia, no período de 1999 a 2004, utilizando como referenciais teóricos Anne Ubersfeld e Milton Santos. O tema foi investigado a partir da hipótese de que a natureza do lugar teatral é ser um agente, uma espécie de mídia definidora do processo teatral, em sua relação com as políticas culturais do período (Lei de Incentivo à Cultura, Lei do Fomento ao Teatro e implantação de salas de teatro nos CEUs), e com os Guias de Teatro da cidade (jornais Folha de São Paulo e o Estado de São Paulo). Foi elaborado um banco de dados com informações acerca desses lugares e da sua relação com os respectivos Guias de Teatro, na cidade de São Paulo, no período de 1999 a 2004. O lugar teatral revelado na cartografia que surgiu das informações desse banco de dados caracterizou-se como múltiplo; fortemente ligado ao distrito central da cidade; com tendência à polarização entre as salas pequenas e grandes; forte ação do teatro de grupo na criação de novos espaços; e propriedade, na sua maioria, privada. A partir destes dados, discutiu-se a ?crise? do edifício teatral e a importância da atividade Teatro se vincular social e culturalmente ao lugar geográfico. Definiu-se, o lugar teatral pela noção de uso - na forma de um território vivido - e não pela arquitetura do edifício que ocupa.
The purpose of this research was to achieve a critical reflection about the theatrical space in São Paulo city by the slant of Geography in the period from 1999 to 2004. This was done using Anne Ubersfeld and Milton Santos as theoretical references. The subject was investigating to start from the hypothesis that the type of theatrical place is to be a agent, a specie of media that does the definition of theatrical process with their regarding to the cultural politics in this period (Cultural Incentive Law, Promotion to the Theatre Law and the theatrical rooms introduction in CEUs) and also with the regarding to the city theatrical guides (Folha de São Paulo and Estado de São Paulo newspapers). A database was preparing with the information concerning those theatrical places and with their regarding to the respective theatrical guides in São Paulo during the period from 1999 to 2004. The showing theatrical place in the cartography and that came up those records made up as multiple, it was strongly connected to the downtown district and it had a polarize tendency between small and big rooms. Those information showed also the strongly action of the theatrical groups in the new spaces raising and the private ownership in the most of those places. Arise from those records we talked about the theatrical building ?crisis? and the importance of the theatrical activities to be linked cultural and socially with the geographic place. We defined the theatrical place by the using basics- such way that a territory experienced in life- and not by it occupy in the building architecture.
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Western, Melissa. "Reconciliation on stage : the politics of indigenous representation in Brisbane theatre's 1999 'reconciliation plays' /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19809.pdf.

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Gosch, Elizabeth Anna. "Antón Arrufat’s Los Siete Contra Tebas: Political Allegory and Anthropological Concepts As Vehicles to Portray Theatrical and Social Conflict." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699886/.

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This thesis (i) presents a critical analysis of the political allegory and dramatic elements employed by Antón Arrufat in Los siete contra Tebas in order to comment upon the conflict in Cuban society during and immediately after the Cuban revolution; and (ii) further analyzes that conflict using an anthropological approach in order to establish partial reintegration as an additional final phase in the rites of passage journey.
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Moody, Jane. "Aspects of cultural politics in the London minor theatres of the early nineteenth century." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385588.

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Cizakca, Defne. "The Encyclopaedia of Istanbul : a novel ; &, Ottoman crossroads : coffeehouses, politics, theatres and storytelling : critical essays." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6713/.

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This Creative Writing PhD consists of a novel, The Encyclopaedia of Istanbul, and accompanying critical essays, Ottoman Crossroads: Coffeehouses, Politics, Theatres and Storytelling. The Encyclopaedia of Istanbul is historical in nature, and magically real in temperament. It is an account of fin de siècle Constantinopolis, and contains forgotten fairy tales, remnants of an ancient manuscript culture, Armenian playwrights, Turkish feminists, Greek fortune-tellers and Sephardim cantors. It tells the tale of six intersecting lives in 1876, a time known as “the year of the three Sultans” in Ottoman history. This period was filled with tensions between traditionalism and Westernization, but also new political possibilities forwarded by the Young Ottomans. While the characters in The Encyclopaedia of Istanbul are fictitious, they are inspired by historical events and figures. The second element of my PhD, Ottoman Crossroads, is made up of four individual essays that focus on selected themes from the novel. They scrutinize, in order of presentation, the history of coffeehouse culture, the secretive society of the Young Ottomans and their political thought, the formation of Armenian-Turkish theatre, and the rediscovery of Ottoman fairy tales. Whilst the novel and essays are coherent independently, they also link to each other in ways that are sometimes direct, and at other times subtle.
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Paffett, Erik Matthew. "Theatrical Politics in Ancien Regime France: Music, Genre, and Meaning at the Parisian Fair Theaters, 1678–1723." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595845736008434.

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Godoi, Rodrigo Camargo de 1980. "Entre comedias e contos = a formação do ficcionista Machado de Assis (1856-1866)." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270265.

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Orientador: Jefferson Cano
Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-15T08:22:45Z (GMT). No. of bitstreams: 1 Godoi_RodrigoCamargode_M.pdf: 3308829 bytes, checksum: 4d3bf0e1479ffe27a331387fa798b788 (MD5) Previous issue date: 2010
Resumo: Este estudo investiga, por meio de uma perspectiva histórica, os anos de formação do ficcionista Machado de Assis que, seguramente impelido pelo grande sucesso da estética teatral realista entre a jovem intelectualidade fluminense, a época reunida em torno do Teatro Ginásio Dramático, primeiro experimentou expressar-se por intermédio do teatro. Assim sendo, serão analisados neste trabalho, além de suas comédias, seus escritos críticos, suas traduções/imitações dramáticas, bem como sua atuação como censor do Conservatório Dramático Brasileiro. Contudo, a partir dos sinais patentes de enfraquecimento da "escola realista" frente à emergência dos gêneros teatrais ligeiros e musicados e da pouco calorosa recepção crítica de suas comédias encenadas, observaremos como Machado de Assis é impelido a traçar novos rumos para seu projeto literário, intensificando a produção de seus primeiros contos. Mas, comédia ou conto, a ficção machadiana deste período é profundamente marcada pelos princípios políticos liberais visivelmente presentes em sua produção jornalística
Abstract: This study investigates, through a historical perspective, the Machado de Assis' years of formation. Surely impelled for the great success of the realistic theater between the young intellectuality of Rio de Janeiro, by that time congregated around the Teatro Ginásio Dramático, he also tried to express itself by the stage. Thus, the objects of this work, beyond Machado's comedies, will be his critical writings, his translations and imitations of French comedies, as well as his performance as censor of the Conservatório Dramático Brasileiro. However, from the signals of weakness of the "realistic school" in front of the great success of popular sorts of theater and the disappointing reception of his staged comedies, we could observe how Machado de Assis will be impelled to trace new routes for his literary project, intensifying the writing of short-stories. But, comedy or short-story, the Machado's fiction of that period was deeply marked by politics principles, those evident mainly on his journalistic writings
Mestrado
Literatura Brasileira
Mestre em Teoria e História Literária
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Acuna, Maria Virgina. "Politics and foreign influence in the development of Spanish court theatrical music with a study of composer Sebastian Duron (1660-1716)." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/26230.

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The composer Sebastián Durón (1660–1716), who lived in a period of political and cultural transition spanning two antagonistic monarchic dynasties, was one of the most controversial musical figures of his time. Early in his career as a musician at the court of Charles II (1665-1700), the last Spanish Habsburg, he wrote theatrical music in the style established before him during the reign of Philip IV (1621-65). However, later during the reign of Philip V (1700-46), the first Spanish Bourbon, Durón composed theatrical music influenced by the new foreign musical idioms introduced in Madrid. Commentators have always taken into account politics and foreign influence when interpreting the theatrical music of the baroque period judging that the music by later musicians under foreign influence represents a decline and a loss of national music identity. In addition, the controversial concept of the Spanish political-economic decline has found its way into music historiography. It is perhaps for this reason that Durón’s music is treated rather obscurely as having arisen during a transitional period, both politically and musically. Two other factors contributing to the marginal status of Durón in the history of music are that little of his music has been published, and Spanish music as a whole has received relatively little attention from North American musicologists. The aim of this study is to examine the development of theatrical music in Madrid during the late seventeenth and early eighteenth centuries acknowledging Sebastián Durón’s important contribution to the genre. Three works, each representing a different period in the life of the composer as well as a different political period in Spain, will be analyzed. I will argue that the idea of decline mentioned in connection with politics and economy cannot be applied in all fields. On the contrary, the political turmoil of the time paradoxically contributed to the development of theatrical music in the hands of Durón. By assimilating foreign musical elements and developing the Spanish manner, Durón achieved an unprecedented synthesis of diverse textures, forms, and musical style that epitomize the pinnacle in Spanish theatrical music of the baroque period.
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Susic, Semir. "Beyond Good and Evil : An essay on the combination of ideas and aesthetics in George Bernard Shaw's Mrs Warren’s Profession." Thesis, Stockholm University, Department of History of Literature and History of Ideas, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8314.

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The objective of this essay is to approach a larger comprehension of the drama of George Bernard Shaw. The essay studies the combination of ideas and aesthetics in the play Mrs Warren’s Profession; how theatrical and mainly literary aesthetics interplay with political ideas and what the consequence of this combination is. The study illustrates that the dramatic method consists of using ideas as effective theatrical tools to move the reader/viewer by thought and not by sentiment. The study also illustrates that a key to understanding Shaw’s drama can be found in the construction of operas and symphonies; musical theoretic constructions are an integrated dramatic technique in Mrs Warren’s Profession. The study shows that it is a play with a political and social purpose; to raise awareness of the mechanisms of prostitution. The play does not use simplifications in terms of good and evil. It questions conventionality, unveils social hypocrisy and attempts to disillusion the reader/viewer. The antithesis between realism and idealism is an important source of dynamics and constitutes one of the principal aesthetical constructions.

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Books on the topic "Political theatrics"

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Irish political prisoners, 1848-1922: Theatres of war. London: Routledge, 2003.

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McConville, Seán. Irish political offenders, 1848-1922: Theatres of war. New York: Routledge, 2002.

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Ben Jonson's theatrical republics. New York: St. Martin's Press, 1998.

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Neoliberalism and global theatres: Performance permutations. New York, NY: Palgrave Macmillan, 2012.

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Staging governance: Theatrical imperialism in London, 1770-1800. Baltimore: Johns Hopkins University Press, 2005.

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Theatre and war: Theatrical responses since 1991. New York, NY: Palgrave Macmillan, 2012.

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Edmunds, Lowell. Theatrical space and historical place in Sophocles' Oedipus at Colonus. Lanham, Md: Rowman & Littlefield Publishers, 1996.

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Sauter, Willmar. The theatrical event: Dynamics of performance and perception. Iowa City: University of Iowa Press, 2000.

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Ewan, MacColl, and Cosgrove Stuart, eds. Theatres of the left, 1880-1935: Workers' theatre movements in Britain and America. London: Routledge & Kegan Paul, 1985.

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Munich and theatrical modernism: Politics, playwriting, and performance, 1890-1914. Cambridge, Mass: Harvard University Press, 1985.

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Book chapters on the topic "Political theatrics"

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Davies, Andrew. "Political Theatre in Britain Since the 1960s." In Other Theatres, 162–74. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18723-2_10.

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Davies, Andrew. "Between the Wars: the Political Theatre Groups." In Other Theatres, 96–123. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18723-2_7.

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Rossini, Jon D. "Teatro Visión and the Limits of Chicano Politics in Neoliberal Space." In Neoliberalism and Global Theatres, 209–20. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137035608_14.

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Marshall, Cynthia. "Coriolanus and the Politics of Theatrical Pleasure." In A Companion to Shakespeare's Works, Volume 1, 452–72. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996539.ch24.

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Tymoczko, Maria. "Amateur Political Theatricals, Tableaux Vivants, and Cathleen ni Houlihan." In Yeats Annual No. 10, 33–64. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-11916-5_2.

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Sorba, Carlotta. "A Theatrical Genre for Post-Revolutionary Society." In Politics and Sentiments in Risorgimento Italy, 53–82. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69732-7_3.

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Freeman, Lisa A. "Jeremy Collier and the Politics of Theatrical Representation." In Players, Playwrights, Playhouses, 135–51. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230287198_6.

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Lev-Aladgem, Shulamith. "Undoing Political Conflict: Israeli Jews and Palestinians Co-Creating a Theatrical Event." In Theatre in Co-Communities, 138–60. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230276499_9.

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Price, Eoin. "‘Private’ and ‘Public’ Indoor Theatres, 1625–1640." In ‘Public’ and ‘Private’ Playhouses in Renaissance England: The Politics of Publication, 48–65. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137494924_4.

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Charnow, Sally Debra. "Foreign Playwrights, French Critics, and Avant-Garde Theatres." In Theatre, Politics, and Markets in Fin-de-Siècle Paris, 115–49. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-05458-6_5.

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Conference papers on the topic "Political theatrics"

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Brandt, Galina. "Interpenetration Phenomenon of Public & Private Aspects in Contemporary Theatrical Practices." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-12.

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The article hypothesises that the opposition of ‘publicity/privacy’ concepts (alongside with other fundamental dichotomies, e.g. spiritual/material, social/individual, political/personal) in the media era, and first of all in the era of the Internet together with related communicative resources, is no longer productive. The study was performed via discursive analysis since it concerns methods of making use of the original concepts of ‘publicity’ and ‘privacy’. The author also addresses media survey methods since it is a contemporary media context that guides changes in the balance between the concerned phenomena. The deconstruction method is also important since the theatre institution itself, on the example of which the phenomenon of the interpenetration of the public and the private is examined, is deconstructed and shadowed by absolutely new theatrical practices. The culturological approach is the paradigmal prism through which the declared topic is researched, since the study goal is to demonstrate how ‘current’ (Z. Bauman) changes of the modern cultural landscape change habitual ideas on some or other dichotomies, particularly the dichotomy of ‘publicity/private’. The aforementioned research tools were used in the study to address theatrical practices explicitly demonstrating the removal of the dichotomy of public and private. A closer look was taken at the play ‘Questioning’ staged by the contemporary Petersburg theatre Pop-up, and where invasion of publicity into the area of privacy and intimity, and exposition of aspects taken out from ultimate existential depths constitutes the very essence of the play. The article concludes that such theatrical practices can take place when the cultural horizon is extended to enable the attribution of a new semantic scope, in particular ‘forced publicness’ (E. Shulman).
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Falsetti, Marco, and Pina Ciotoli. "Introverted and knotted spaces within modern and contemporary urban fabrics: passages, gallerias and covered squares." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5913.

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The scenic plaza mayor shares with the theater organisms some formative characters, since they both derive from a transformation, by knotting, of pre-existing buildings and fabrics. This architectural transformation is generated, at the beginning, by a change in the modalities of using public space. As for the corral de comedias, the process is due to the sedentarization of the theatrical practice, which abandons the itinerant dimension of the street to move inside the buildings (such as private homes and palaces). The original corral de comedias was in fact set up inside an open place that could be covered, and this feature became permanent over time, creating a new building type. Similarly, since the sixteenth century, squares became the fundamental location of Spanish civic life as well as they hosted all sorts of political, religious and festive representations, but also the venue of executions. For this purpose, namely to allow people to watch such events, the squares were transformed, by raising temporary walls and walkways. In some cases, like Tembleque and San Carlos del Valle, they began to realize permanent continuous balconies, with solutions that seem to have followed the same morphological evolution of corrales de comedias. In both cases it was necessary to unify different elements (buildings or rooms) and connect them to each other, through a process of “knotting”, in order to create a new organism. Over time the physiognomy of the spaces, originally open, assumed the permanent characters of a new type, closed and similar to the courtyard of a “palazzo”.
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