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Journal articles on the topic 'Political theatrics'
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1
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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Rashid, Iffat. "Theatrics of a ‘Violent State’ or ‘State of Violence’: Mapping Histories and Memories of Partition in Jammu and Kashmir." South Asia: Journal of South Asian Studies 43, no. 2 (February 4, 2020): 215–31. http://dx.doi.org/10.1080/00856401.2020.1712774.
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Ibrahim, Yasmin. "Livestreaming the ‘wretched of the Earth’: The Christchurch massacre and the ‘death-bound subject’." Ethnicities 20, no. 5 (May 22, 2020): 803–22. http://dx.doi.org/10.1177/1468796820926746.
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The livestreaming of terror, its co-production through live consumption and the massacre of lives as ‘entertainment’ propelled us into another long abyss of ethical challenges in the case of the xenophobic terrorist attack in Christchurch, New Zealand, in 2019. Livestreaming, as part of the convergence of technologies, enables narration in ‘real’ time, dragging us into a new ‘banalisation of evil’ where terror and torture can be co-produced by inviting audiences to consume through the vantage point of the perpetrator. This article examines the Muslim ‘body’ through JanMohamed’s notion of the ‘death-bound subject’ where the continual threat of death foreshadows the Muslim body, imbricating it within a political and ideological archaeology wherein both its possibility of death and the performance of death enter into a realm of theatrics of production incumbent upon invoking new moralities around consumption and its residues as a screen image. The ‘wretched of the Earth’ and their residues as immaterial matter online as the ‘wretched of the screen’ connote a new architecture of violence conjoining the temporalities of liveness with the sharing features of ‘semiotic capitalism’.
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Campbell, Delaney. "Book Review of The Palestinian Authority in the West Bank: The Theatrics of Woeful Statecraft by Michelle Pace and Somdeep Sen." Refuge: Canada's Journal on Refugees 37, no. 1 (April 18, 2021): 79–80. http://dx.doi.org/10.25071/1920-7336.40871.
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Filewod, Alan. "The Interactive Documentary in Canada: Catalyst Theatre's Its About Time." Theatre Research in Canada 6, no. 2 (January 1985): 133–47. http://dx.doi.org/10.3138/tric.6.2.133.
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Catalyst Theatre's 1982 production of It's About Time, an interactive performance for prison inmates, was a major development in political theatre in English Canada. In its theatrical techniques, the play resembled the 'theatre forum' of the Brazilian director Augusto Boal, but Catalyst's form of interventionist theatre developed independently of parallel forms elsewhere. An analysis of It's About Time compares Catalyst's techniques with Boal's more well-known model of interactive political theatre.
15
Simari, Alessandro. "Performing silence as political resistance: Audience interaction and spatial politics in Thomas Ostermeier’s Richard III." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (April 17, 2019): 125–36. http://dx.doi.org/10.1177/0184767819837720.
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According to Jan Pappelbaum, what fascinated him and Thomas Ostermeier about ‘reconstructed’ Globe Theatres is that ‘[i]t becomes impossible to ignore the presence of the audience; actors are particularly exposed and entirely at the mercy of the spectators’. This article investigates the spatial politics that emerge from/within the ‘quasi-reconstructed’ Globe for Ostermeier’s production of Richard III. Examining a 2017 performance of the play at London’s Barbican Theatre, I consider how audience interaction (and the potential for theatrical failure in that interaction, specifically through performative silence) becomes the site of political resistance in the context of theatrical performance.
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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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Noy, Kinneret. "Creating a Movement Space: the Passageway in Noh and Greek Theatres." New Theatre Quarterly 18, no. 2 (May 2002): 176–85. http://dx.doi.org/10.1017/s0266464x02000258.
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Keir Elam's observation in 1980 that ‘the theatrical text is defined and perceived above all in spatial terms’ reflected a growing attention to the significance of spatial organization and utilization in creative and perceptive processes in the theatre. In the last twenty years space has found its long-deserved status as a prominent feature of the theatrical experience and a key element in theatre studies. In this article Kinneret Noy focuses on a unique spatial component shared by two theatrical traditions – the Greek and the Japanese. By comparing and contrasting the function of the eisodos in the Greek theatre with that of the hashigakari in the Japanese Noh, she offers a fresh look at both forms. The spatial relation between the passageway and the main ‘stage’ create what Mitsuo Inoue terms a ‘movement space’. Noy borrows this term from Japanese architecture to point the connection between theatrical space and dramatic techniques. After discussing the main characteristics of a ‘movement space’ in the theatre she deals with the differences that exist between Noh and Greek theatres' spatial qualities, suggesting some connections between developments in the theatres and social and political changes. A graduate from the University of Pittsburgh (1997), Kinneret Noy studied with the Noh master Takabayshi Shinji in Kyoto, and currently teaches in the Theatre Department and East Asian Department of Haifa University and the Hebrew University in Jerusalem.
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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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Jestrovic, Silvija. "The Theatrical Memory of Space: from Piscator and Brecht to Belgrade." New Theatre Quarterly 21, no. 4 (October 19, 2005): 358–66. http://dx.doi.org/10.1017/s0266464x05000229.
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In this article, Silvija Jestrovic introduces the notion of spatial inter-performativity to discuss theatre's relationship to actual political and cultural spaces. Focusing on the Berlin of the 1920s in performances of Brecht and Piscator, then on a street procession of the Générik Vapeur troupe that took place in Belgrade in 1994, she examines how theatrical and political spaces refer to and transform one another. Silvija Jestrovic was a SSHRC postdoctoral fellow at York University in Toronto, and has recently taken up an appointment in the School of Theatre Studies at the University of Warwick. She is currently working on a book-length project entitled Avant-Garde and the City.
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L, Tina, and Kristian Pandža. "Implications of the Repertoire of Croatian National Theatre in Mostar 1993-2005." Društvene i humanističke studije (Online) 6, no. 3(16) (July 27, 2021): 71–80. http://dx.doi.org/10.51558/2490-3647.2021.6.3.71.
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Croatian National Theatre in Mostar is a relatively new cultural institution when compared to other theatrical institutions. Turbulent incidents of newer Bosnian and Herzegovinian history, as well as historical, political and social changes, left their marks on all levels of the city of Mostar. Therefore, the repertoire of this Theatre, since it has been founded in 1994 (and was primarily named as „War Scene“), needs to be critically analyzed not only in relation to the reality of political and national occurrences of that period but also in comparison with theatrological specificities after the World War II. This paper questions the Theatre’s repertoire under those terms from 1993 to 2005.
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Ince, Bernard. "Rash Speculation or Sheer Misfortune? Insolvency and Bankruptcy in the Victorian and Edwardian Theatre." New Theatre Quarterly 32, no. 3 (June 30, 2016): 283–98. http://dx.doi.org/10.1017/s0266464x16000269.
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Bernard Ince here surveys insolvency and bankruptcy in the theatres of England and Wales during the period 1830 to 1913. His methodology analyzes failures in absolute and relative terms, using aggregate and disaggregated data. The annual pattern of failure shows a marked volatility in the aggregate, with the absolute number of failures tending to increase towards the 1880s before declining thereafter. When the data are expressed as a rate relative to annual theatre population change, the trend is, however, reversed, failures being much higher in the 1830s and 40s than in the later decades. When annual failures are analyzed alternatively in terms of the number of theatres actually managed or owned by bankrupts, and the data disaggregated between the London and provincial theatres, different patterns of failure emerge, London theatres experiencing higher risk during those early decades, while the provincial Theatres Royal on the other hand are especially vulnerable during the 1830s, 40s, and 50s, and other theatres in the provinces are exposed more during the 1860s. From an analysis of over 200 cases it is clear that factors contributing to theatrical failure are diverse and often complex. Rarely is failure the result of a single catastrophic event but is more often caused by a combination of events, or from the cumulative impact of insolvencies carried over from previous years. While a correlation between annual fluctuations in theatrical failures and cycles in the general economy cannot be firmly established, anecdotal evidence suggests that regional or local conditions play a more important role. It is concluded that while the financial situation of many theatres operated on the limits of financial viability, bankruptcy on a significant scale was uncommon, indicative of remarkable resilience in the face of profound economic, social, political, and legislative change. The author is an independent theatre historian.
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Jordan, James. "Audience Disruption in the Theatre of the Weimar Republic." New Theatre Quarterly 1, no. 3 (August 1985): 283–91. http://dx.doi.org/10.1017/s0266464x00001664.
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Disruption of plays by their audiences has not been an uncommon occurrence in theatre history, but the received wisdom has it that rioting more or less went out of fashion once the house lights could be lowered for the performance. But the combination in the theatre of the Weimar Republic of the politically radical and artistically experimental drama of inter-war Germany with the high political tensions of the times proved an explosive one. The frequent audience disturbances of the period were, however, less the spontaneous expression of genuine indignation than a carefully planned and orchestrated attempt to suppress radical art and opinion. In this article, James Jordan, a member of the Department of German at the University of Warwick, traces the course of theatrical disruption as a tactic of emergent Nazism – and the reactions to it of the theatres, the playwrights, and a too-often-myopic judiciary.
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Zimnica-Kuzioła, Emilia. "Actors in the social world of public drama theatre in Poland during the communist period and in the 21st century. A comparative analysis." Acta Universitatis Lodziensis. Folia Sociologica, no. 73 (June 30, 2020): 111–26. http://dx.doi.org/10.18778/0208-600x.73.07.
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This article aims to provide a comparative analysis of the social condition of actors during the communist era in Poland and after the political transformation of 1989. The empirical material used by the author includes popular science publications devoted to actors of Polish public drama theatres as well as free-flowing interviews conducted by the author in 2015–2017 with theatre artists representing six Polish theatrical centres.
Actors who remember the period of the People’s Republic of Poland well are nostalgic about the past theatrical life, they remember being on familiar terms within theatre teams, anti-rankism, and the inclusion of technical and administrative staff in the community of artists without emphasising hierarchies. Today, the social, ideological and political divides in theatre teams are more noticeable. Distinguished actors are being challenged by young colleagues, while they were held in high regard in the past. Nowadays, multi-active actors demythologise the profession of an actor and point to the decline of the professional ethos.
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Richards, Jeffrey H. "Politics, Playhouse, and Repertoire in Philadelphia, 1808." Theatre Survey 46, no. 2 (October 25, 2005): 199–224. http://dx.doi.org/10.1017/s004055740500013x.
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In theatre and drama histories, the politics of the American stage has most often been judged by the litmus test of nationalism, primarily in the “rise” of American-authored drama set in America, the development of American character types, and the appearance of American-born actors on the stages of the early United States. To uncover in the old playbills the mention of a performance of Royall Tyler's The Contrast, to celebrate the development of the stage Yankee, or to focus on Edwin Forrest's muscular rant in The Gladiator is to score a palpable hit for national theatre. Given the scarcity of American texts before the War of 1812, this search for national needles in the (British) theatrical haystack is understandable. But the politics reflected in the theatre in early America is far more complex than traditional theatre histories have acknowledged. Fortunately, there are signs of a new historiography at work. Heather Nathans's recent history of the postrevolutionary playhouses (to 1800) in Boston, New York, and Philadelphia, for instance, uncovers a web of economic and social relationships among the shareholders in the various theatres, which shows that simple party definition hardly accounts for a clear sense of who supports the stage and who does not. Examined more closely than as buildings in which to launch “Jonathan,” American theatres reveal their own traditions for handling topical material, a particularly thorny problem for cultural spaces dominated by British plays and actors. In other words, beyond identifying stage Yankees or following Forrest, finding the political in the theatrical may require other strategies of reading in order to determine the full range of interaction between the political and theatrical spheres.
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Hansen, Kathryn. "Theatrical transvestism in the Parsi, Gujarati and Marathi theatres (1850–1940)." South Asia: Journal of South Asian Studies 24, sup001 (January 2001): 59–73. http://dx.doi.org/10.1080/00856400108723436.
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Larson, Orville K. "Portrait of a Seventeenth Century Playhouse: Il Teatro Dei Comici, Mantova." Theatre Survey 28, no. 2 (November 1987): 17–26. http://dx.doi.org/10.1017/s0040557400000466.
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The third quarter of the seventeenth century brought considerable changes in the social composition of theatre audiences in Italy. Gone was the exclusiveness of the ducal and academy theatres whose audiences of royalty and nobility attended by invitation only. These were replaced by an audience of a growing bourgeoisie with an ability to pay. As soon as this audience appeared entrepreneurs, quick to recognize the possibilities, opened public playhouses. Theatrical activities became a commercial rather than an artistic, intellectual or political enterprise. Although some vestiges of the past, such as the royal box for important dignitaries, were retained, public theatres soon assumed a more democratic aspect, patronized by audiences who had earned the right to attend by means of personal enterprise rather than by accident or privilege of birth. Foremost in this phenomenon was the city of Venice whose theatrical activities soon became the model. Mercantile families like the Tron, Grimani, Giustinian and Vendramini opened the first public playhouses in the 1630s. Audiences of courtiers and courtesans, Dukes and Doges, Princes and panderers, merchants and magistrates soon became involved in a social mix that would have amazed and scandalised the more formal audiences of earlier times.
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Tillotson, Stephanie, and Stephanie A. Tillotson. "Fiona, Phyllida and the ‘F’-Word: the theatrical practice(s) of women playing the male roles in Shakespeare." Exchanges: The Interdisciplinary Research Journal 1, no. 2 (March 30, 2014): 260–78. http://dx.doi.org/10.31273/eirj.v1i2.92.
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This article discusses the theatrical practice of women performing traditionally male roles in Shakespeare. Whilst historically the phenomenon is nothing new, since the 1970s the practice has been particularly associated with the politics of feminism. This article proposes to examine this connection in order to explore how far the convention of casting women in the male roles of Shakespeare has been influenced by changing social, political, and cultural discourses. It will do so by considering two specific manifestations of the theatrical practice: firstly, the National Theatre’s 1995/6 Richard II directed by Deborah Warner, in which Fiona Shaw played the eponymous male character and secondly the 2012/13 all-female Julius Caesar, directed by Phyllida Lloyd for the Donmar Warehouse. Moreover, it will locate these two productions, separated by seventeen years and the turn of a century, within their specific historical, theatrical, and theoretical contexts. Through an analysis of the material conditions that gave rise to the contemporary receptions of these two productions, the objective of this article is to draw conclusions concerning the differing ways in which, through casting women in the male roles of Shakespeare, theatre practitioners have created particular theatrical conversations with their audiences.
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Acquavella-Rauch, Stefanie. "Operette und die (Wiener) Theaterzensur - Politik auf der Bühne?" Die Musikforschung 73, no. 2 (September 22, 2021): 117–32. http://dx.doi.org/10.52412/mf.2020.h2.20.
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The study examines the impact of censorship on Viennese operetta theatres and theatre plays. The Niederösterreichisches Landesarchiv in St Pölten preserves about 15.000 censorship files from the late 1850s until the 1920s, documenting the act of censorship for various theatrical genres. After presenting the institutions and practices of censorship in the Habsburg Empire, three case studies demonstrate how censorship decisions were made according to the expected audience in different theatres and the political climate. Majestät Mimi (Felix Dörmann, Roda-Roda / Bruno Granichstaedten, 1911), Der Vogelhändler (Moritz West, Ludwig Held / Carl Zeller, 1891) and Der Obersteiger (West, Held / Zeller, 1894) have been chosen for their topival relevance. Although music was never part of the actual censorship act, it probably still played a role in the decisions made about the operettas.
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Eddershaw, Margaret. "Echt Brecht? ‘Mother Courage‘at the Citizens,1990." New Theatre Quarterly 7, no. 28 (November 1991): 303–14. http://dx.doi.org/10.1017/s0266464x0000600x.
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The Citizens Theatre in Glasgow has a long and honourable tradition of serving its neighbourhood and its city, and a directorial team which remarkably combines professional distinction with loyalty to their theatre. In view of its reputation for productions of great visual brilliance, it is surprising to be reminded that, of all British repertory theatres, ‘national’ or regional, it has also the strongest continuous tradition of playing Brecht. Margaret Eddershaw, Senior Lecturer in Theatre Studies in the University of Lancaster, outlines the history of this tradition, which stretches back even beyond the present triumviral management, and proceeds to look at the most recent encounter of ‘the Cits’ with Brecht, Philip Prowse's 1990 production of Mother Courage. This was significant not only for the director's attitude to Brechtian theory, theatrical and political, in the aftermath of the previous year's events in Eastern Europe, but for its inclusion of an international ‘star’, Glenda Jackson, within the Cits' usually close-knit ensemble – its consequences also, arguably, of ‘political’ as well as theatrical interest.
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KERTESZ, ELIZABETH, and MICHAEL CHRISTOFORIDIS. "Confronting Carmen beyond the Pyrenees: Bizet’s opera in Madrid, 1887–1888." Cambridge Opera Journal 20, no. 1 (March 2008): 79–110. http://dx.doi.org/10.1017/s0954586708002413.
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ABSTRACTBizet’s Carmen entered Spain’s cultural consciousness when it was first staged in Madrid in the 1887–8 season. A public battle for the performance rights in the autumn of 1887 led to competing productions at major theatres: the first in a new Spanish translation at the Teatro de la Zarzuela, and the second in the fully-sung Italian version at the Teatro Real. This article explores the Spanish encounter with Carmen during this season, from the political machinations of the lawsuit, to the opening nights and the extended critical debates that greeted the two premières. The Spanish adaptation is compared with the original French version and mapped against the native musico-theatrical tradition of the zarzuela, which had long purveyed constructions of ‘Spanishness’ for local consumption. Contemporary debates about national identity and its theatrical and musical representations underscore the varied critical responses to Carmen, which was embraced by Madrid opera audiences.
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KIM, YOO. "Mapping Utopia in the Post-ideological Era: Lee Yun-taek's The Dummy Bride." Theatre Research International 32, no. 3 (October 2007): 296–311. http://dx.doi.org/10.1017/s0307883307003124.
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Written by Lee Yun-taek, arguably the most prolific and influential of contemporary Korean dramatists, The Dummy Bride (1993) is of considerable significance to the Korean political theatre's search for a new dramatic idiom in the increasingly apathetic post-ideological era. Although the issue of modernization of tradition has been a constant preoccupation with a number of other Korean playwrights in the 1990s, Lee's exploration of the relationship between tradition and contemporary social reality strikes a much more political note under the influence of Brecht and Artaud. His incorporation of the utopian realm of imagination into everyday life does not offer a stable sense of resolution to the audience. Swerving away from the ‘decontextualization and museumization’ of tradition and cautiously guiding against the excessive optimism of madang theatre, a dominant form of political theatre in the 1980s, his unique theatrical aesthetic stands as a vigilant rehearsal for how to dream without disregarding or succumbing to a frustrating reality.
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Prokopovych, Lada. "Socio-philosophical foundations of theatricalization of the political sphere." Науково-теоретичний альманах "Грані" 22, no. 2 (April 22, 2019): 48–58. http://dx.doi.org/10.15421/171922.
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Public policy is always focused on finding the most effective ways to communicate with the broad masses (society, population, electorate). Historical experience shows that one of such methods is the introduction of theatrical elements into the communication process. The purpose of this study is to identify and comprehend the social and philosophical foundations of the theatricalization of the political sphere. The concept of theatricality of sociocommunicative manifestations of culture was chosen as a methodological research strategy (based on methods of sociocultural analysis). This approach made is possible to find out that the combination of the elements of the game, performance, ritual, carnival, masquerade in political “spectacles” helps to: attract the attention of opponents; demonstrations of solidarity with the protest movement; the formation of the image of the politician in accordance with the role that he plays in the political “theater”; creating additional channels of communication policy with the “public”. One of these channels is costume jewelry and accessories, which are not only an addition to the image of a politician, but also an important dramatic element. By allowing the replacement of a direct message with a sign-symbolic form, jewelry helps to impart a gaming, theatrical format to the communication process. On the one hand, it helps to expand the audience, but, on the other hand, it introduces an element of interpretation into the process of information transfer. This circumstance is used by the mass media, strengthening its role in the political “theater”. It has also been established that to a certain extent theatricality has always been inherent in politics. But the theatrical component does not always prevail in it: the desire for theatricality increases with the division of the political sphere into public and “hidden”. Strengthening theatrical manifestations in the modern political sphere indicates that this is the trend that is developing in social relations. This, in turn, determines the emergence of new technologies and communication formats in the system “power – society”.
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Smith, Phil. "Theatrical-political possibilities in contemporary procession." Studies in Theatre and Performance 29, no. 1 (February 2009): 15–31. http://dx.doi.org/10.1386/stap.29.1.15_1.
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Lachman, Michal. "States of mind – political theatre at the age of nomadism." Open Cultural Studies 3, no. 1 (January 1, 2019): 531–38. http://dx.doi.org/10.1515/culture-2019-0046.
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Abstract The review article comments on major themes and ideas analysed by S.E. Wilmer’s Performing Statelessness in Europe (Palgrave 2018). Wilmer’s analysis offers an overview of most recent as well as historical approaches to the concept of citizenship and the state which have been developed by avant-garde artists and theatre makers. The overall aim of Wilmer’s survey of political art is to “assess strategies by creative artists to address matters relating to social justice”. He also gives a significant amount of attention to various projects carried by German theatres which attempt to integrate resident immigrants into German society. The central thrust of his argument falls on a variety of contemporary theatrical initiatives directly concerned with the life of refugees and asylum seekers. The review highlights those aspects of Wilmer’s argument which directly concern the concept of modern society, nation state and identity. Wilmer shows precisely these aspects of modern state as most destructive. The review questions that assumption, arguing that the criticism of modern society should be more subtle and nuanced and that the potential failure of responding properly to the crisis does not necessarily lie entirely on the side of the state
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Arnott, Peter. "Connections with the Audience: Writing for a Scottish Theatre." New Theatre Quarterly 6, no. 24 (November 1990): 318–34. http://dx.doi.org/10.1017/s0266464x00004887.
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Peter Arnott is a young playwright whose relatively brief working career has spanned a wide spectrum not only of Scottish theatrical outlets, but of the styles and approaches open to a politically committed writer in a community which has consistently and vehemently rejected Thatcherism, yet which has to live within its political if not its cultural boundaries. Here, Peter Arnott talks with Greg Giesekam, of the Department of Theatre Studies in the University of Glasgow, about the development of his own thinking, and its relationship to his working methods and their theatrical applications.
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Miru, György. "László Teleki, the diplomat of the Hungarian war of independence." Acta Neerlandica, no. 15 (July 10, 2020): 83–107. http://dx.doi.org/10.36392/actaneerl/2019/15/4.
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This paper gives an overview of the political career of László Teleki, the leading diplomat of the Hungarian war of independence. Based on the topics discussed in this volume, his efforts as a writer of literature will also be mentioned here, though his theatrical pieces met just modest popular acclaim. Teleki joined politics, and became a well-known and successful politician in support of reformists. Later, before the war with Austria, he was appointed to act as the ambassador of the independent Hungarian government to Paris. He had a key role in shaping Hungarian foreign policy, wanted to secure the independence of the country both during the war of independence and in emigration. This paper focuses on this latter period, when his correspondence clearly reflected his political commitment and approach, as well as changes in his personal relations.
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Piazzoni, Irene. "Bambini in scena. L'editoria teatrale per l'infanzia tra Otto e Novecento." MEMORIA E RICERCA, no. 29 (March 2009): 63–81. http://dx.doi.org/10.3280/mer2008-029006.
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- The essay explains the first results of a research on the spreading of the acting between children and teenagers in Italy in the period ranging between the XIXth century and the early years of the XXth. Staging various kind of theatrical works - like monologues, dialogues, comedies, both in schools, boarding schools, orphanages, and in domestic theatres of middle-class families, was a very common practice. This phenomenon gave birth to a real publication type where some publishers in particular of Milan, Florence and Turin became skilled in, together with amateur writers, who were often teachers and educationists. A large number of paperback or valuable collections were printed with the purpose of becoming an outline for the performance, by circulating within a heterogeneous public. The great children's theatrical publication season coincides with the building of a Unitarian State: it is therefore not by chance that the themes and subjects echo the objectives of national, patriotic events and pedagogy throughout time.
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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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Fisher, Tony. "Theatre at the Impasse: Political Theology and Blitz Theatre Group's Late Night." Performance Philosophy 4, no. 1 (August 30, 2018): 139–56. http://dx.doi.org/10.21476/pp.2018.41205.
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This essay describes a performance by the Greek theatre collective, Blitz Theatre – Late Night – as constituting a theatrical response to current political crises in Europe. What I call a ‘theatre of the impasse’ seeks to bear witness to the experience of impasse, where impasse and crisis must be fundamentally distinguished. Impasse is revealed where crisis admits of no decision adequate to the situation; and, correspondingly, where theatre loses faith in the power of decision to resolve its conflicts. I situate these claims with reference to Carl Schmitt’s and Walter Benjamin’s dispute over political theology, arguing that a theatre of the impasse might be thought as an ‘allegorical’ theatre in Benjamin’s terms. Blitz Theatre’s Late Night reveals, thereby, the concealed truth of the impasse: a founding human sociality experienced as world immanence. In doing so doing, I argue, this theatre frustrates every hope for the kind of political theology of the stage envisaged by Schmitt. I read the performance, instead, as an elegy to Nancy’s inoperative community, at the centre of which are the figure of lovers, bound to, yet unable to take possession of, one another. Staging impasse, Late Night allegorises the fragile human community, exposed in its fundamental precarity.
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Hindson, Catherine. "Holidaying with Late-Victorian Theatrical Celebrities: Rest, Wellbeing and Public Identity." Nineteenth Century Theatre and Film 48, no. 1 (March 24, 2021): 44–65. http://dx.doi.org/10.1177/17483727211004078.
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‘In the Theatrical World our talk is all of holidays.’ So opened one of Hearth and Home magazine’s gossip columns in July 1897. The holidays taken by London’s late-Victorian West End theatre stars attracted regular press coverage and formed a regular subject of letters between actresses, actors and their friends. The narratives of hard work and public service that had played a significant role in improvements in the theatre industry’s reputational and cultural status prompted a secondary narrative around rest: a widely shared understanding that rest was necessary to counter the impacts of the ongoing on- and off-stage labour undertaken by stage stars. Together newspaper accounts and correspondence capture both industry-focused concerns about the maintenance of the strong physical and mental health required to sustain a theatrical career and social disquiet around the changing world of work more widely and patterns of overwork and exhaustion. In this essay I consider a range of press accounts and correspondence to consider how evidence of stage stars’ holidays can extend our understandings of the professional culture of the late-Victorian theatre industry and theatre’s contribution to wider social and political ideas surrounding work and rest, and physical and mental health.
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Sibińska, Maria. "The Sami Theatre from Kauotokeino: On the Trace of Nomads." Przegląd Wschodnioeuropejski 9, no. 2 (November 30, 2018): 263–74. http://dx.doi.org/10.31648/pw.3211.
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Beaivváš Sámi Našunálateáhter from Kautokeino (Norway) is an institutional theatre with Sami (Lappish) as the main stage language. Sami institutional theatres in Scandinavia have a relatively brief history which reflects the tension between the Sami people’s sociopolitical aspirations and Sami theatre artists’ freedom of expression. The theatre from Kautokeino is based upon a robust tradition (e.g. such pre-theatrical modes as the yoik, the art of storytelling, the shamanistic séance), and at the same time it is open to impulses from other cultures and theatrical traditions (both European and non-European). The article takes its point of departure in a postmodern concept of nomadism (Deleuze, Guattari, Braidotti, Islam). It focuses on the nomadic as the impetus and the driving force behind the Beaivváš Sámi Našunálateáhter. The nomadic, however, is understood not only as a reference to the Sami cultural heritage, but as an artistic practice based upon the reaction against aesthetically, historically, politically and socially rigid intellectual patterns. The practice is manifested, inter alia, in transgressions of established genres and aesthetic categories, multilingualism and cultural interferences.
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HUNDERT, E. J., and PAUL NELLES. "Liberty and Theatrical Space in Montesquieu's Political Theory." Political Theory 17, no. 2 (May 1989): 223–46. http://dx.doi.org/10.1177/0090591789017002004.
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Spivakovskyi, Oleksandr. "Ukrainian performances of small form operas in the era of the 2000s." Ukrainian musicology 46 (October 27, 2020): 75–85. http://dx.doi.org/10.31318/0130-5298.2020.46.234597.
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The purpose of the work. The article defines the role of the small form operas in the development of Ukrainian music and drama theatre of the 2000s. The research methodology is based on key provisions, concepts of music directing, developed during the twentieth century and their diversification in today's realities. Such general scientific methods as art history, history, analysis and synthesis, and comparative methods were chosen to compare Ukrainian productions of small form operas of the 2000s. The scientific novelty of the work lies in rethinking functioning of small opera forms according to the realities of modern Ukraine and elucidating the factors influencing their modern development and changes. Conclusions. The role of operas of small forms in the repertoire of Ukrainian musical theatres and artistic-theatrical projects is increasing under various conditions such as: socio-cultural and political conflicts of a new millennium, the role of operas of small forms in the repertoire of Ukrai-nian musical theatres and artistic-theatrical projects is increasing. The modern audience is the part of information society, which exists on its own, often developing at an accelerated pace, and it must be taken into account by the directors of musical theatre when deciding on the repertoire for subsequent staging of an opera. The relevance of the drama of the selected works, ideological and artistic qualities, aesthetic and educational aspects of the opera, as well as the assessment of creative and material possibilities for the realization of the idea of the play are essential, crucial elements that should be taken into consideration in order to ensure effective opera staging and production. In the 2000s, art and theatre projects enriched Ukrainian stage by conducting research and experimenting with the scope and subject of performance as well as with their genre and style, thus confirming and updating small opera forms.
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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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Saro, Anneli. "Mobility and Theatre: Theatre Makers as Nomadic Subjects." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 90. http://dx.doi.org/10.7146/nts.v27i1.24242.
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This article discusses the pros and cons of theatrical mobility, investigating situ- ations where theatre is breaking its traditional practices of being local and urban by becoming mobile, international and rural. The main features in this context are guest performances at home and abroad, the importation of guest directors, performers, designers et cetera, and finally, site-specific and open-air productions. The structure of the analysis is based on these features, partly derived from the historical development of theatre but partly also from the aim of contrary thinking, insisting that contrary to the widespread assumption of nomadism as something indigenous or postmodern, nomadic attitudes can also be detected in quite traditional forms of theatre making and living. While touring at home and abroad provides opportunities for theatre makers to practice nomadic life style, summer theatre creates an opportunity for spectators to experience nomadism in more local spaces. The above mentioned features are analysed in the context of Estonian theatre, drawing occasional parallels with the neighbouring country of Finland. Each section goes through three periods of Estonian theatre history; 1) the period before the Second World War when theatres belonged to societies; 2) the period between 1940 and 1991 when Estonia was a part of the Soviet Union and all theatrical activities were subject to state control; 3) the period of independence and globalization. Since each period had a different imprint on theatrical mobility, the phenomenon will be investigated in relation to the political, social and cultural contexts, using Bruno Latour’s concept of actor-network-theory as a methodological tool.
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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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Posner, Dassia N. "America and the Individual: The Hairy Ape and Machinal at the Moscow Kamerny Theatre." New Theatre Quarterly 34, no. 1 (January 10, 2018): 3–15. http://dx.doi.org/10.1017/s0266464x17000641.
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Between 1926 and 1934 the Moscow Kamerny Theatre staged a cycle of six American plays: Eugene O’Neill's The Hairy Ape, Desire under the Elms, and All God's Chillun Got Wings; Sophie Treadwell's Machinal; Rosita, a stage adaptation of a Hollywood film; and John Dos Passos's Fortune Heights. In this article Dassia N. Posner analyzes and contextualizes two of these productions: The Hairy Ape (1926) and Machinal (1933). By the mid-1920s, Kamerny Theatre director Alexander Tairov was under intense pressure to stage work that aligned with the Soviet Union's political goals. A significant portion of the Kamerny's repertoire had long consisted of foreign plays that celebrated the individual's struggle against oppression. The Hairy Ape and Machinal provided Tairov with a unique opportunity to combine artistic, political, and human relevance in a way he had not achieved before, using the artistic language of the theatre's earlier stylistic and acting innovations. Drawing on rich archival sources, Posner illuminates ways in which stylistic juxtaposition allowed these productions to address a specific political context while also reflecting on oppression more broadly as it relates to class, gender, national origin, artistic freedom, and individual thought. Dassia N. Posner is Associate Professor of Theatre and Slavic Languages and Literatures at Northwestern University. Her books include The Director's Prism: E. T. A. Hoffmann and the Russian Theatrical Avant-Garde and The Routledge Companion to Puppetry and Material Performance.
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Diamond, Catherine. "Dreaming our own Dreams: Singapore Monodrama and the Individual Talent." New Theatre Quarterly 24, no. 2 (May 2008): 170–88. http://dx.doi.org/10.1017/s0266464x08000146.
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For its size, Singapore hosts an exceptional amount of theatrical activity, emanating both from within the city state and from its role as sponsor of regional international workshops and productions. Its English-speaking dramatists are in the forefront of staging original plays about the foibles of Singaporean society and serving as mediators among South-east Asian theatre practitioners. While troupes depend on government funding and must obtain government permits to perform, most have opted to take an alternative position to the government's narrative of the Singapore success story. This has created an uneasy relationship that undermines the strength of the theatre's social-political critique and encourages self-censorship. In the following essay, Catherine Diamond examines the psychologically cramped conditions within which current Singaporean dramatists operate through a comparison of monodramas. Catherine Diamond is a professor of theatre at Soochow University in Taiwan, and a frequent contributor to NTQ. She is currently directing a flamenco dance-drama adaptation of The House of Bernarda Alba.
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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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Kuhns, David F. "Expressionism, Monumentalism, Politics: Emblematic Acting in Jessner's ‘Wilhelm Tell’ and ‘Richard III’." New Theatre Quarterly 7, no. 25 (February 1991): 35–48. http://dx.doi.org/10.1017/s0266464x00005170.
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Leopold Jessner's productions of Schiller's Wilhelm Tell (1919) and Shakespeare's Richard III (1920) marked a culminating point in the short-lived, politically volatile era of German theatrical Expressionism. Jessner's distinctive work in this staging style did much to define the features of one mode of performance among several which billed themselves – or were branded as – ‘Expressionist’. In the following article, David Kuhns explores the particularly striking impact of Jessner's ‘emblematic’ approach to Schiller and Shakespeare upon the acting of those productions. By transforming his actors from mimetic agents into monumentalized emblems, Jessner analyzed political consciousness in what amounted to allegorical terms. The result was a politically provocative presentation of political behaviour – particularly the will to power – as an essentially spiritual matter. David Kuhns teaches theatre history, dramatic literature, and critical theory at Washington University in St. Louis.