Relevant bibliographies by topics / Puppet theater, history and criticism

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

Academic literature on the topic 'Puppet theater, history and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Puppet theater, history and criticism"

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Тома, Л. А. "Creative activity of Galina Kantor-Molotova in the puppet theatre and not only." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 44–59. http://dx.doi.org/10.46748/arteuras.2021.03.004.

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В статье раскрываются разнообразные задачи, решаемые Галиной Кантор-Молотовой в области театрального и декоративного искусства, станковой живописи и скульптуры. Достижения работающей в Кишиневе с 1972 года выпускницы Ленинградского института театра, музыки и кинематографии (1971, по специальности «театральная техника и оформление спектакля» со специализацией «художник-скульптор театра кукол») признаны в Молдавии и в других странах. Ее произведения находятся в Театральном музее имени А.А. Бахрушина и Музее Театра Образцова в Москве, в Ташкенте, в частных коллекциях России, Украины, Эстонии, Гер
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Shchukina, J. "“Radianskyi teatr (Soviet Theatre)” as the main theatrical and analytical periodical at the turn of the 1930s." Culture of Ukraine, no. 89 (June 20, 2025): 41–52. https://doi.org/10.31516/2410-5325.089.04.

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The relevance of the research. As evidenced by numerous academic works and topics of international research-to-practice conferences, the study of art criticism is one of the promising areas of art history. Unlike, for example, the history of music criticism, the segment of theatre analytics in Ukraine has not been sufficiently studied: there are no monographs and manuals on this topic, which determines the relevance of this study. The purpose of the article is to clarify the specifics of coverage of theatrical life in “Radianskyi teatr (Soviet Theatre)” (1929–1931); to outline the range of top
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Maryash, Tajigaliyeva. "A LOOK AT THE HISTORY OF THE KARAKALPAK PUPPET THEATER." Crossroads of culture 4, no. 2 (2022): 4. https://doi.org/10.5281/zenodo.7375752.

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Feruza, Kobilova. "History of the Uzbek National Puppet Theater." International Journal of Multidisciplinary Research and Analysis 04, no. 11 (2021): 1669–74. https://doi.org/10.47191/ijmra/v4-i11-28.

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This article examines the evolution of the formation and development of the art of scenography of puppet theaters in Uzbekistan, the factors of their development during the period of Independence on the example of the National Puppet Theater of Uzbekistan. In shaping the worldview of the young generation, which is the future of our country, modern puppet theater plays a leading role in educating them towards spiritual maturity. Today, a lot of attention is paid to this field of art, and a number of decisions are made for the development of the industry. The main idea of the independence of our
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Starina, Evgeniia Valentinovna. "Puppet theater. History and modern times." Human and Society, no. 1 (6) (March 27, 2018): 18–20. http://dx.doi.org/10.21661/r-467694.

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TUROBOVA, Malokhat Abdurakhim kizi. "UZBEK FOLK PUPPET THEATER AND ITS CHARACTERISTICS." МАДАНИЯТ ВА САНЪАТ ЖУРНАЛИ 1, no. 5 (2023): 31–35. https://doi.org/10.5281/zenodo.8144243.

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Art, especially theater, has a spiritual impact on the human soul and mind. In connection with this, measures for further development of theatrical art are widely implemented in our country. Currently, the study of the history of theater art becomes one of the most important tasks. Proceeding from this purpose, the given article deals with the history, traditional appearance and features of the Uzbek puppet theater.
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Đerković, Ksenija S. "Pozorište lutaka u Kragujevcu (1951-1952)." Šumadijski anali 19, no. 13 (2023): 183–93. http://dx.doi.org/10.46793/sanali19.13.183c.

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Puppetry in Serbia dates back to the early 20th century, in the tradition of traveling puppeteers and entertainers at fairs. Puppet theaters in Serbia as theater institutions were established only after World War II when they consisted of professional ensembles with a permanent repertoire and a regular theater audience. The work explores puppetry as an art form on all levels, requiring a unique form, with the aim of uncovering the chronology of the establishment of Puppet Theaters, with a special focus on Kragujevac, which was among the early pioneers of puppetry. Throughout history and to thi
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Ivanova-Ilyicheva, A., and N. Orekhov. "ROSTOV PUPPET THEATER: "OLD" AND "NEW" IN THE ARCHITECTURE OF SOVIET MODERNISM." Bulletin of Belgorod State Technological University named after. V. G. Shukhov 6, no. 1 (2021): 58–65. http://dx.doi.org/10.34031/2071-7318-2021-6-1-58-65.

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Rostov Puppet Theater is an interesting example of the early stage of Soviet modernism in the region. It has an unusual building history and originality. The building with laconic and simplified forms outwardly corresponds to the image of the mass development of the 1960–1970s. Special features distinguish the building from among similar buildings. These are scale and harmony with the environment, compliance with the residential complex House of State Security Officers, and mosaic panels. On the basis of field studies of the Puppet Theater, the study of archival materials and design drawings,
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Supriyadi, Moh. "تدريس مهارة الكلام بوسائل مسرح العرائس للمرحلة الإبتدائية بمعهد دار اللغة والدراسات الإسلامية سنينان أكور بالنجاءان باميكاسان". Al-Irfan : Journal of Arabic Literature and Islamic Studies 3, № 2 (2020): 143–60. http://dx.doi.org/10.36835/al-irfan.v3i2.4015.

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In Darul Lughah wad dirasatil islamiyah, it is one of the concentrated institutes that teach Arabic to non-native speakers. All students speak Arabic and it is forbidden to speak anything else. There is no exaggeration in it that teaches the Arabic language, communication on the four language skills, and it also teaches vocabulary, conversation, reading, writing, listening, speaking, grammar, and so on. Teachers used several methods of teaching language skills, including using puppet theater, which is achieved in teaching the skill of speech.
 The objectives of the research are: (1) Teach
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Avezov, MirzoUlug'bek Komiljon o'gli, and Azamjon Abdullaxanovich Abduxalilov. "NURTURING YOUNG PEOPLE WITH HIGH ARTISTIC AND INTELLECTUAL POTENTIAL. ISSUES OF DRAMATURGY IN PUPPET THEATER." Eurasian Journal of Academic Research 1, no. 1 (2021): 95–98. https://doi.org/10.5281/zenodo.4700348.

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<em>This article discusses the types, history and drama of the Uzbek National Puppet Theater. The author also tries to assess the role of the industry in the field of educational work, educational issues, as well as problems of drama.</em>
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Dissertations / Theses on the topic "Puppet theater, history and criticism"

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Doe, Connor Bartlett. "Puppet Theater in the German-Speaking World." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/88.

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This work begins with a brief history of puppet theater in Germany. A look at important social aspects, pertinent philosophical discussions and the significance of puppet theater in the German literary tradition follow. The final chapter looks at Peter Schumann, a German puppeteer and artist who lives in America. In Germanistik, German puppet theater deserves a devoted place in the field of legitimate study in terms of its history, content and influence. Puppet theater's historical development in Germany represents the larger evolution of Germany. From ancient times up to the present day, this
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Bishop, Mardia Joanna. "A history of Cincinnati theatre from 1938-1969 based on the criticism of E. B. Radcliffe." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1400075510.

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Shahriari, Khosrow School of Media Film &amp Theatre UNSW. "Breaking down borders and bridging barriers: Iranian Taziyeh Theatre." Awarded by:University of New South Wales. School of Media, Film & Theatre, 2006. http://handle.unsw.edu.au/1959.4/26310.

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In the twentieth century, Western theatre practitioners, aware of the gap between actor and spectator and the barrier between the stage and the auditorium, experimented with ways to bridge this gap and cross barriers, which in the western theatrical tradition have been ignored over the centuries. Stanislavski, Meyerhold, Piscator, Brecht, Grotowski, and more recently Peter Brook are only a few of the figures who tried to engage spectators and enable them to participate more fully in the play. Yet in Iran there has existed for over three centuries a form of theatre which, thanks to its unique m
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Hutchinson, Kenneth. "A Study of the Performance of Magic During the Golden Age." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1366570812.

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Przychodzeń, Janusz 1962. "Le théâtre québecois dans tous ses discours /." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34767.

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This study is inspired by social discourse theory and sociocriticism of literature. it aims to describe an organizational system that informs theatre practice in Quebec and to go beyond aesthetic form, critical interpretation and institutional structure to reveal Quebecois theatre in its most synthesized form.<br>To comprehend the model's overall operation, three broad sectors of the theatre's sphere of activity were explored and juxtaposed: institution, reception and creation. For this purpose, a preliminary set of quantitative and discursive data was assembled from a study of the network of
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Hutchison, Yvette. ""Memory is a weapon" : the uses of history and myth in selected post-1960 Kenyan, Nigerian and South African plays." Thesis, Stellenbosch : Stellenbosch University, 1999. http://hdl.handle.net/10019.1/51338.

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Thesis (PhD)--Stellenbosch University, 1999.<br>ENGLISH ABSTRACT: In hierdie proefskrif word gekyk na die verwantskap tussen geskiedenis, mite, geheue en teater. Daar word ook gekyk na die mate waartoe historiese of mitiese toneelstukke gebruik kan word om die amptelike geheue en identiteite, soos deur bewindhebbers in post-koloniale Nigerie en Kenya geskep, terug kon wen of uit kon daag. Hierdie werke word dan vergelyk met die soort teater wat tydens die Apartheidbewind in Suid-Afrika geskep is, om verskille en ooreenkomste in die gebruik van historiese en mitiese gegewens te bekyk. Di
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Percival, Gary William. "Developments towards a theatre of the absurd in England, 1956-1964." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/14879.

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In 1961 Martin Esslin created the term 'Theatre of the Absurd' as a working hypothesis, a device with which to make fundamental traits present in the plays of a number of France-based dramatists accessible to discussion by tracing the features they had in common. Despite the popularity of Esslin's study, there has been no comparable discussion of England-based absurdism. An explanation for this lack of critical attention may be found in the dogged insistence amongst scholars that there are only two absurd playwrights in the English theatre before 1967. My first aim in this thesis is to redress
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Hahn, Monica Anke. "Go-Between Portraits and the Imperial Imagination circa 1800." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/508898.

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Art History<br>Ph.D.<br>This dissertation examines representations of Native peoples during the British Imperial Age of the late eighteenth and early nineteenth centuries. It concentrates specifically on diplomatic Go-Between figures, individuals who performed a mediating role between their own indigenous communities and the colonizers. The dissertation examines images and objects within a postcolonial framework, engaging notions of hybridity and mimicry in order to interrogate more traditional readings of colonial power and representation. The images of Native peoples that appeared in ethnogr
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Haxton, Robert Peter. "Refusal and rupture as a postdramatic revolt : an analysis of selected South African contemporary devised performances with particular focus on works by First Physical Theatre Company and the Rhodes University Drama Department." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1015671.

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This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questi
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GRAY, FRED ALLEN. "CHILDREN'S MUSICALS, 1973-1985: ANNOTATIONS WITH SOURCEBOOK FOR PRODUCTION (DRAMA, ELEMENTARY, HISTORY, VOICE, CHORAL)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188089.

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The purpose of this study was to collect and annotate the musical dramas for children of elementary school age published since 1972. Musical dramas selected were limited to those having a story line rather than just a narrator and chorus, having dialogue interaction between the characters, containing mostly original music, and written for grades kindergarten through six. This document is intended as a resource for elementary school teachers and church workers who are searching for appropriate material for performance or study. Annotations of 210 musicals for children, sacred and secular, are t
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Books on the topic "Puppet theater, history and criticism"

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Arts, Detroit Institute of, ed. Strings, hands, shadows: A modern puppet history. Detroit Institute of Arts, 2000.

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Tillis, Steve. Toward an aesthetics of the puppet: Puppetry as a theatrical art. Greenwood Press, 1992.

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Myrsiades, Linda S. Karagiozis: Culture & comedy in Greek puppet theater. University Press of Kentucky, 1992.

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Pacchioni, Federico. L'immagine del burattino: Percorsi fra teatro, letteratura e cinema. Metauro, 2020.

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Simon, Ronald T. Rehearsing with gods: Photographs and essays on the Bread & Puppet Theater. Chelsea Green Pub., 2004.

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John, Bell. American puppet modernism: Essays on the material world in performance. Palgrave Macmillan, 2008.

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Vladova, Elena. Bŭlgarskata kuklena piesa ot modernostta do 90-te godini na 20-ti vek: Tekstove za kuklen teatŭr v Bŭlgarii︠a︡ do 90-te godini na 20-ti vek. Bŭlgarska akademii︠a︡ na naukite, Institut za izkustvoznanie, 2009.

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Gao, Shu. Zhangzhou bu dai mu ou xi chuan cheng ren kou shu shi: Zhangzhou budai muouxi chuanchengren koushushi. Ji nan da xue chu ban she, 2016.

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Ünver, Oral, ed. Kukla kitabı. Kitabevi, 2005.

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Vladova, Elena. Bŭlgarskata kuklena piesa ot modernostta do 90-te godini na 20-ti vek: Tekstove za kuklen teatŭr v Bŭlgarii︠a︡ do 90-te godini na 20-ti vek. Bŭlgarska akademii︠a︡ na naukite, Institut za izkustvoznanie, 2009.

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Book chapters on the topic "Puppet theater, history and criticism"

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Pacchioni, Federico. "The Pupo and the Theater of History: A Rossellinian Parenthesis." In The Image of the Puppet in Italian Theater, Literature and Film. Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98668-1_7.

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François, Paul. "5. Brève de méthodologie : Une « rétro-architecture » pour l’histoire des spectacles." In St Andrews Studies in French History and Culture. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0400.05.

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Restituer un théâtre disparu du XVIIIe siècle impose de s’intéresser à des sources de nature différente. Pour le projet VESPACE (Virtual Early Modern Spectacles and Publics, Active and Collaborative Environnement), nous avons développé une méthodologie permettant de tirer parti au mieux de la spécificité de ces documents et de la technologie d’immersion en réalité virtuelle : la rétro-architecture. Elle consiste à reproduire non seulement l’environnement tel qu’il est représenté dans les sources graphiques ou décrit dans des sources littéraires, mais également – c’est la spécificité de cette m
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Kanemitsu, Janice. "Puppet theater: from early jōruri to the golden age." In The Cambridge History of Japanese Literature. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cho9781139245869.046.

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Steffen, William H. "Epilogue." In Anthropocene Theater and the Shakespearean Stage. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192871862.003.0008.

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Abstract This chapter addresses the implications of combining histories of weather accidents with ecological contingencies across global history. I address potential avenues for further exploration in using a deep timescale as an approach to literary criticism and performance studies.
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Gennaro, Liza. "Conclusion." In Making Broadway Dance. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190631093.003.0009.

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Musical theater dance is an ever-changing, evolving dance form, egalitarian in its embrace of any and all dance genres. It is a living, transforming art developed by exceptional dance artists and requiring dramaturgical understanding; character analysis; knowledge of history, art, and design; and most importantly, an extensive knowledge of dance, both intellectual and embodied. Its ghettoization within criticism and scholarship as a throw-away dance form, undeserving of analysis—derivative, cliché-ridden, titillating and predictable, the ugly stepsister of both theater and dance—belies and ign
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Shakhmatova, Elena V. "O. Wilde’s Dramaturgy on the Stage of Moscow Theaters of the Post-Soviet Period (1990–2020)." In O. Wilde and Russia: The Issues of Poetics and Reception. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0711-3-298-332.

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The article is the first to recreate the history of stage performances of O. Wilde’s works on the stage of Moscow theaters in the post-Soviet period over three decades (1990–2020). In the first decade, the appeal to Wilde was associated with the de-ideologization of society and the desire for aestheticism and eroticism. The most popular work of this period was “Salome”. Among the five performances by A. Sigalova, K. Strezhnev, S. Voskresenskaya, D. Bryantsev and R. Viktyuk, the performance of the “Roman Viktyuk theater” has got a long stage life. One may consider as the main result of the seco
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Vinogradov, Igor A. "“Taras Bulba” and Russian History of the 19th–20th Centuries." In Literary Process in Russia of the 18th–19th Centuries. Secular and Spiritual Literature. Issue 3. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/lit.pr.2022-3-97-168.

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The article is devoted to the study of readers’ receptions of N.V. Gogol “Taras Bulba” in Russia. This work, imbued with a deep religious and patriotic intention, occupies such a significant place in Russian culture that the reviews of readers and critics, the assessments and interpretations of its researchers, dramatizations in the theater, opera and ballet, etc. allows to analyze not only history of the story’s existence, but also to trace the key moments of Russian life in the second half of the 19th–20th centuries. The interaction of the patriotic story’s spiritual lyricism with the contra
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Di Summa, Laura T. "Clouds of Sils Maria." In Metacinema. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190095345.003.0008.

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In a way that is reminiscent of Luigi Pirandello’s take on character impersonation, Clouds of Sils Maria (2014, dir. Olivier Assayas) plays with the history of film, with the layering of performances, crossing theater and film, actors and characters. This chapter focuses on how the duo Binoche / Maria Enders encourages a reflection on metacinema by questioning what it means to be a character, to create one for ourselves, and to assess the very viability of such a creation. More narrowly, the chapter argues that Clouds of Sils Maria is capable of adding a significant contribution to the debate,
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Wang, Ning. "Realist Drama as World Drama." In The Oxford Handbook of Global Realisms. Oxford University Press, 2024. https://doi.org/10.1093/oxfordhb/9780197610640.013.35.

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Abstract Although the term “realism” is often used to describe mainstream literary creative methods of nineteenth-century European novels, it also has its own historical origins, which are usually traced back to Aristotle who regarded it as an aesthetic principle of literary theory and criticism. Due to the ease with which drama can travel across languages and cultures worldwide, some playwrights who create works based on everyday life have transcended the boundaries of time and space, and their works have achieved global significance. Therefore, constructing a theoretical concept of realist d
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