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Journal articles on the topic 'Religious articles in the theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Wang, Shizhe. "Adolphe Nourrit is singer of the July Revolution." PHILHARMONICA. International Music Journal, no. 5 (May 2023): 21–33. http://dx.doi.org/10.7256/2453-613x.2023.5.69333.

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The subject of the article is the socio-cultural and religious-philosophical views of the greatest French tenor of the XIX century, Adolphe Nurrit (1802-1839). His stage work was carried out at the Paris Op&#233;ra, and during the July Revolution of 1830 he performed revolutionary songs, supporting and inspiring compatriots to fight for freedom. Considering Nurrit's creative portrait and revolutionary agitator activity in the 1830s, the author focuses on his commitment to the ideas of sentimonism, in particular, on the desire to deepen the religious and moral role of theater in society. Th

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Choi, Sooran. "Art-Kut! The Counter-Cultural and Feminist Spirituality of Shamanism in Postwar South Korean Art." Religion and the Arts 27, no. 1-2 (2023): 86–106. http://dx.doi.org/10.1163/15685292-02701012.

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Abstract On 17 January 1981, during a cold Winter Day at the height of an authoritarian military regime, a group of South Korean artists named “Baggat Misul [Outdoor Art]” gathered around a riverbank outside Seoul to interact with nature and called it “jayeon misul [nature art].” A young woman artist Yong-sin Suh performed an act the group called “a lark,” during which Suh alternated with two male artists in reading aloud sections of newspaper articles. These unhinged, free-spirited acts were inspired by the Korean folk theater tradition of pansori (traditional Korean musical opera), and kut (

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3

CHIZHOV, Nikolay S. "DREAM POETICS IN THE LYRICS OF IVAN ZHDANOV. ARTICLE ONE." Tyumen State University Herald. Humanities Research. Humanitates 8, no. 1 (2022): 123–44. http://dx.doi.org/10.21684/2411-197x-2022-8-1-123-144.

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The purpose of the article is to show, through a commentary on four poetic texts in the book “Air and Wind”, the features of I. Zhdanov’s artistic modeling of the metaphysical reality of a dream, its main philosophical and literary context, the associated features of the poet’s worldview and the poetics corresponding to them. We conclude that when the poet shapes metaphysical reality he appeals to folklore and mythological sources (dreams perceived as death as reflected by Russian proverbs, myth about the son of the Thunder-God, tradition of serious laughter etc.), to the religious and philoso

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4

Vičinskas, Žydrūnas. "Verification of Mythological Material on Celebrations as Recorded by Matthaeus Praetorius: the Celebration of Midsummer Herb Fest and Driving the Cattle out to Pasture." Tautosakos darbai 56 (December 20, 2018): 110–32. http://dx.doi.org/10.51554/td.2018.28474.

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Authenticity of the mythological information by Matthaeus Praetorius (Matthäus Prätorius) regarding the sowing festival was already discussed in our previous publication. That was the first work in the intended series of articles seeking to verify the reliability of data on celebrations described by Praetorius (sowing, midsummer herb fest, driving the cattle out to pasture, rye-harvesting, grain harvesting Samborios / Sąbarios, driving the cattle back to stable, Gabjaugis, and taking manure out to fields). The introduction to this article presents general insights (characterizations) regarding

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Fetisenko, Olga L. "Dual Faith of Evgeny Ivanov: To the Study of the Role of Vera F. Komissarzhevskaya in the History of Symbolist Life Creating." Studia Litterarum 9, no. 1 (2024): 266–83. http://dx.doi.org/10.22455/2500-4247-2024-9-1-266-283.

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The article, based on materials from two archival funds of the Manuscript Department of the Pushkin House, recreates in detail one of the most significant components of the spiritual life of Evgeny Ivanov (1879–1942), a writer and religious thinker, a close friend of А. Blok. It is the history of his long-term worship of Vera Komissarzhevskaya, which influenced not only the formation of his worldview but also his work (first of all, his unfinished articles about H. Ibsen’s female characters, about the high destiny of theatre actors, about religious faith). Ivanov found himself in a situation o

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Ayusheeva, Marina V. "Anti-Religious Printed Propaganda in the Buryat-Mongol Autonomous Soviet Socialist Republic: A Case Study of the Erdem ba Shazhan Magazine." Vestnik Tomskogo gosudarstvennogo universiteta, no. 458 (2020): 130–35. http://dx.doi.org/10.17223/15617793/458/16.

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The article analyzes anti-religious propaganda in the early 1920s in the Buryat-Mongol Autonomous Soviet Socialist Republic on the example of the magazine Erdem ba Shazhan [Science and Religion]. An important component of the state policy in the antireligious struggle in the republic was the Regional Union of Atheists, created in Verkhneudinsk on December 2, 1926. The publication of Erdem ba Shazhan in the Mongolian script was aimed at covering the gap of specialized literature on anti-religious propaganda. While analyzing issues of the magazine stored in the Center of Oriental Manuscripts and

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Moosavi, Marjan. "Desacralizing Whispers: Counter-Conduct in the Iranian War Theatre." New Theatre Quarterly 34, no. 3 (2018): 235–48. http://dx.doi.org/10.1017/s0266464x18000222.

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The commemoration of sacrifice and martyrdom in the Iran–Iraq war led to dissemination of the ‘sacred defence’ culture and its theatre progeny – the Arzeshi genre, which is rooted in Shi’i religious values, Persian culture, and Iranian performance traditions. In response to this, Iranian anti-war theatre practitioners have intervened through a counter-conduct theatricality made up of characters, stories, reasoning, embodied emotions, and scenic languages. A thematic and aesthetic analysis of three stagings of the anti-war play The Whispers Behind the Front Line by the prominent Iranian playwri

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8

Hyldig, Keld. "The Pagan-Christian Admixture in Romeo Castellucci's Oedipus the Tyrant." New Theatre Quarterly 33, no. 2 (2017): 99–112. http://dx.doi.org/10.1017/s0266464x17000021.

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In 2015, the Italian director Romeo Castellucci presented Oedipus the Tyrant at the Schaubühne in Berlin. His staging was based on the German poet-philosopher Friedrich Hölderlin's translation of 1804, which is known for its peculiar linguistic, philosophical, and theatrical approaches to Greek tragedy. In this article Keld Hyldig examines how Castellucci, in a response to Hölderlin's translation and commentaries on the tragedy, staged Oedipus as a theatrical and philosophical confrontation between religious and rational approaches to knowledge. The staging was seemingly simple, showing a grou

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Urban, Eva. "Reification and Modern Drama: an Analysis, a Critique, and a Manifesto." New Theatre Quarterly 32, no. 3 (2016): 256–68. http://dx.doi.org/10.1017/s0266464x16000233.

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Drawing on a close reading of Theodor Adorno's essay, ‘Education after Auschwitz’, in this article Eva Urban develops the argument that an analysis of the reification that reduces human relationships to mere business interactions has been a central concern of modern drama. The article offers an analysis of some of the ways in which this theme continues to be represented, interrogated, and challenged internationally in contemporary political plays and theatre performances across a range of genres and grounded in a variety of dramaturgical principles. It asks how drama, theatre-making, theatre-s

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Rędziński, Kazimierz. "Aktywność kulturalno-oświatowa Stowarzyszenia Katolickiej Młodzieży Rękodzielniczej „Skała” we Lwowie (1856–1914)." Kultura - Przemiany - Edukacja 8 (2020): 13–31. http://dx.doi.org/10.15584/kpe.2020.8.2.

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In the times of the Partitions, the Austrian authorities permitted, in the year 1856, that a Polish association of craftsmen combining mutual aid with cultural and educational activity be established. Within the scope of the activity of 'Skała', two periods are distinguished: paternalistic, until the year 1889, and also democratised, after making changes in the articles of association in this latter year. In the first period of its activity, only be craftsman apprentices being bachelors enjoyed the right to become the full members, and women were not permitted to join the Association. The memb

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Hobson, Theo. "The policing of signs: Sacramentalism and authority in Rowan Williams' theology." Scottish Journal of Theology 61, no. 4 (2008): 381–95. http://dx.doi.org/10.1017/s0036930608004158.

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AbstractThis article reflects on Rowan Williams' postmodern approach to sacramentalism and ecclesiology, tracing it through various books and articles. Partly under the influence of the Roman Catholic reception of Wittgenstein, he expounds the centrality of the Eucharist in cultural-linguistic and semiotic terms. Through this central ritual the church signifies the Kingdom of God in a uniquely strong sense of ‘signifies’. He foregrounds a dramatic model: the worshipping community performs the new humanity, it is remade through this unique form of ‘community theatre’. Its guardianship of the ul

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Barta, Róbert. "Klebelsberg Kunó és a sárospataki Angol Internátus." Gerundium 9, no. 3 (2019): 84–101. http://dx.doi.org/10.29116/gerundium/2018/3/6.

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Kuno Klebelsberg and the English College of Sárospatak. The study analyses historical aspects and relationships between the English College of Sárospatak (1931–1947), as one of the practical outcome of Kuno Klebelsberg’s education policy and the general features of the cultural and education policy of the time. The making of the College served threefold aims: strenghten the revisionist policy of the regime, emphasize new features of cultural and education policy (cultural superiority, new nationalism) and enforce vivid British–Hungarian relationships. The existence of the College also helped t

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Wortham, Christopher John. "Shakespeare Survey 54: Shakespeare and Religions. Edited by Peter Holland. Cambridge: Cambridge University Press, 2001; pp. x + 372. $80 cloth." Theatre Survey 45, no. 1 (2004): 161–62. http://dx.doi.org/10.1017/s0040557404420080.

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This richly eclectic volume contains much of interest for theatre historians and academic critics of Renaissance drama as a sociocultural phenomenon. Additionally, it offers a good deal for theatre artists. The main part of the volume, dedicated to the theme of “Shakespeare and Religions,” comprises sixteen articles on topics as various as performance in Japan and the first translation of Shakespeare into Hebrew. Most of the articles are broadly new historicist in flavor, offering insights into interpretation through examination of cultural formations embedded within the text of the plays. Rel

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Rachman, Taufiq Nur. "Theather Association of The Religious Groups in Yogyakarta During 1960s." SHAHIH: Journal of Islamicate Multidisciplinary 4, no. 2 (2019): 75–91. http://dx.doi.org/10.22515/shahih.v4i2.1875.

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This research focuses on the dynamics of theaters based on religious groups (Teater Muslim, Starka, Teater KristenTeater Kristen and Sthemka) in Yogyakarta, which initially adopted realist theater and then turned into an experimental theater, from the 1950s to the 1960s. The 1950s was a time when realism exploded in Indonesian theater. Whereas the 1960s was a period when theater groups began to adapt new forms and were called the experimental theater period. For this reason, this research takes place in the 1950s to 1960s. To cover the idea of writing, research uses the theory of dramaturgy fr

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Serdechnaya, V. V., and D. N. Zhatkin. "Problems of Russian Theatrical Reception of Shakespeare in Criticism of Yuli Eichenwald." Nauchnyi dialog 13, no. 1 (2024): 256–73. http://dx.doi.org/10.24224/2227-1295-2024-13-1-256-273.

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The problem of this study lies in evaluating the methodological approach of Yuli Eichenwald (1872—1928) as a theatrical critic and theorist, specifically his writings on Shakespearean productions both in Russia and abroad. Known primarily as a literary critic, Eichenwald also wrote about theater, but his works in this area have been largely unexplored. The aim of this study is to shed light on Eichenwald's principles of theatrical criticism. The material used consists of little-known articles by Eichenwald on theater theory and Shakespearean productions from 1903 to 1927. The research employs

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Kirillova, A. S. "Literary and Theatrical Parody in the Context of the Discussion on the Development of the National Theater of the Early 20th Century." Russian Studies in Philology, no. 1 (March 13, 2025): 79–90. https://doi.org/10.18384/2949-5008-2025-1-79-90.

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Aim. To prove the participation of literary and theatrical parodies of the “Crooked Mirror” cabaret theater in the controversy about the development of Russian drama and theater at the beginning of the 20th century through opposition to the collection of articles “Theater. The book about the new theater”.Methodology. The article analyzes the socio-cultural context of the discussion on the problems of Russian theatrical art and the participation in it of the resonant collection-manifesto “Theater. The book about the new theater”, as well as literary and theatrical parodies staged by the “Crooke

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17

Seo, Jeonghyun, Minyoung Jung, and Sangjun Bae. "A Systematic Literature Review on Domestic Academic Journal Articles of Theater⋅Film Acting Education." Korean Association For Learner-Centered Curriculum And Instruction 25, no. 6 (2025): 549–67. https://doi.org/10.22251/jlcci.2025.25.6.549.

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Objectives The purpose of this study is to provide basic research data for the development and revitalization of Theater⋅Film Acting education research through a systematic analysis of domestic research related to Theater⋅Film Acting education. Methods The research method was a systematic literature review, and the analysis was conducted by establishing five analysis criteria (status, topic, content, method, and school level). 34 analysis data were selected according to the analysis data selection stage. The research tools used for creating descriptive statistics and visualization data were EX

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18

Melander, Rochelle Y. "From Theater to Liturgy." Liturgy 8, no. 3 (1990): 66–71. http://dx.doi.org/10.1080/04580639009408951.

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Man Hong, Dao. "The Stanislavsky system plays an important role in the theater of Vietnam." Voprosy kul'turologii (Issues of Cultural Studies), no. 3 (February 18, 2021): 238 (280)—243 (285). http://dx.doi.org/10.33920/nik-01-2103-04.

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K.S. Stanislavsky plays an important role in the theater of Vietnam. Konstantin Sergeevich Stanislavsky (real name Alekseev; 1863–1938) — actor, director, theater teacher, founder and director of the Moscow Art Theater (Moscow Art Theater). People's Artist of the USSR (1936). An activist, thinker and major theater theorist, he, on the basis of modern science, created a school of theatrical art — the Stanislavsky generation. In addition to a successful psychological approach to the performing arts, he also contributed greatly to the formation of progressive art and art for the people. English v

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Heard, Emma, Allyson Mutch, and Lisa Fitzgerald. "Using Applied Theater in Primary, Secondary, and Tertiary Prevention of Intimate Partner Violence: A Systematic Review." Trauma, Violence, & Abuse 21, no. 1 (2017): 138–56. http://dx.doi.org/10.1177/1524838017750157.

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There is an immediate need to advance knowledge around the effective prevention of intimate partner violence (IPV), which is responsible for significant negative health and well-being outcomes for women around the world. Creative approaches are being explored internationally—this systematic review provides a timely synthesis of applied theater interventions addressing primary, secondary, and tertiary IPV prevention. Six hundred and ten articles were identified through a comprehensive search of five cross-disciplinary databases. Eleven studies discussed in 15 quantitative and qualitative peer-r

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Porter, James I. "Theater of the Absurd." American Catholic Philosophical Quarterly 84, no. 2 (2010): 313–36. http://dx.doi.org/10.5840/acpq201084224.

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22

Nakonechna, Zoriana. "«NOVYI CHAS» NEWSPAPER (1923-1939) ABOUT THE THEATRICAL LIFE IN GALICIA." Presoznavstvo. Press Studies, no. 2 (2023): 163–73. http://dx.doi.org/10.37222/2786-7552-2023-2-9.

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The article examines the peculiarity of the coverage of theatrical life in Galicia in the «Novyi Chas» newspaper (Lviv, 1923–1939). The subject of the materials offered to readers is analyzed, and determines their genre affiliation, among which, in particular, with articles and reviews prevailing among them. Newspaper publications dedicated to the activities of theaters and organizations involved in the development of theatrical art in Galicia during the 1920s and 1930s are considered. These included: the «Ukrainskyi Teatr» cooperative (Lviv) and the «Prosvitianskyi Teatr» society (Sokal). The

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Nodira, Egamkulova. "JADID PRESS AND THEATER." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY 3, no. 5 (2023): 665–68. https://doi.org/10.5281/zenodo.7952194.

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By the 20th century, Uzbek literature began to experiment with many genres. More attention was paid to the ideological issues of literature than to the aesthetic aspects. The unity of literature and journalism has increased. Therefore, in the literature of this period, the border between journalistic and artistic genres disappeared, their features overlapped. Prose mixed with elements of drama. The form and content of the poem have been updated. Finger and arm weights have become popular. Prose literary genres in this season: travel, comedy, story, commentary, anecdote; genres of literary crit

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Hamza, Moayyad. "The emergence of conventional theater and its implications for the theatrical scenery (scenic design – the structure of the play and mise-en-scène – costume design)." Imagologiya i komparativistika, no. 21 (2024): 95–114. https://doi.org/10.17223/24099554/21/5.

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Vsevolod Meyerhold was one of the most influential theorists of conventional theater who actively promoted creative models he laid out in his articles, speeches, and lectures. This study analyzes Meyerhold’s perspective of conventional theater, drawing on the available modern sources. In relation to Meyerhold and other pioneers of this theatrical approach, the article aims to clarify the concept of conventional theater in terms of scenery. The author focuses on the specificity of theatrical conventions and the origins of Meyer-hold’s artistic creativity in his theorizing about the politics of

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Hall, Joshua M. "Religious Lightness in Infinite Vortex." Epoché: A Journal for the History of Philosophy 23, no. 1 (2018): 125–44. http://dx.doi.org/10.5840/epoche2018725123.

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Dance is intimately connected to both Kierkegaard’s personal life and his life in writing, as exemplified in his famous nightly attendance at the dance-filled theater, and his invitation to the readers of “A First and Last Explanation” to (in his words) “dance with” his pseudonyms. The present article’s acceptance of that dance invitation proceeds as follows: the first section surveys the limited secondary literature on dance in Kierkegaard, focusing on the work of M. Ferreira and Edward Mooney. The second section explores the hidden dancing dimensions of Kierkegaard’s “leap” and “shadow-dance

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Nurhadi, Nurhadi. "Lokasi Dan Kelompok Teater Indonesia 2001-2005 (Analisis Rubrik Teater Majalah Tempo)." ATAVISME 13, no. 1 (2010): 15–32. http://dx.doi.org/10.24257/atavisme.v13i1.141.15-32.

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Artikel ini bertujuan mendeskripsikan kelompok-kelompok teater yang berkecimpung dalam pementasan teater di Indonesia dan peta lokasi pementasan sebagaimana diulas dalam majalah Tempo tahun 2001-2005. Hasil penelitian ini menunjukan kelompok teater yang paling konsisten dalam mementaskan suatu naskah setiap tahunnya adalah Teater Koma. Kelompok teater berikutnya yang relatif banyak berkiprah dari tahun 2001-2005 berdasarkan artikel rubrik teater Tempo yaitu Teater Mandiri, Teater Garasi, dan Actors Unlimited Bandung. Kelompok teater pada jajaran berikutnya yang mementaskan lebih dari satu kali

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Sibul, Karin. "Glimpses Into the History of Interlingual Simultaneous Theater Interpreting in Estonia." Journal of Audiovisual Translation 3, no. 2 (2020): 170–85. http://dx.doi.org/10.47476/jat.v3i2.2020.121.

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This paper examines the practice of simultaneous interpretation of theater performances, in particular between Estonian and Russian, in Estonia over 70 years. This type of interpreting has not received much scholarly attention; rather, studies have mostly focused on the sign language interpretation of theater performances for the deaf community. I conducted interdisciplinary historical research relying on the oral history method to help preserve the fast-disappearing oral heritage of theater interpreting. This paper distinguishes between two periods in theater interpreting in Estonia, as deter

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Tanner-Kennedy, Dana. "America’s Postsecular Stages." Theater 50, no. 2 (2020): 5–19. http://dx.doi.org/10.1215/01610775-8154777.

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Dana Tanner-Kennedy stakes a claim for an unacknowledged category of contemporary American theater: postsecular theater. She argues that religious belief becomes a matter of choice in a postsecular era that struggles between post-truth reality and transcendental belief. Through in-depth readings of contemporary plays and performances—such as Brandon Jacobs-Jenkins’s Appropriate, Stew’s Passing Strange, and the Wooster Group’s Early Shaker Spirituals—Tanner-Kennedy suggests that these works rescript existing religious values and counter the historic secularity of the American dramatic canon sin

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Kim, E. "A Theater that Begins with a Human. Community Theater as a New Art Form." Positive changes 3, no. 2 (2023): 80–86. http://dx.doi.org/10.55140/2782-5817-2023-3-2-80-86.

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In our new column, “In Simple Words,” we will publish materials that, as the title states, are written in simple words, without trying to be “scientific”. These articles are more like essays, representing their authors’ views and reflecting socially significant topics. “Real people, real stories, real us,” that’s what Elena Kim and Asya Belyaeva, creators of Moscow-based “This Is Us” community theater, say about themselves. Community theater is a new concept in performing arts, but numerous experts have already noticed its therapeutic power. Here, viewers tell their stories and see them immedi

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Bułat, Mirosława M. "Teatr Kamińskiego w Warszawie – panorama pierwszych lat (1911–1914)." Studia Judaica, no. 1 (51) (June 30, 2023): 117–49. http://dx.doi.org/10.4467/24500100stj.23.006.18223.

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Kamiński Theater in Warsaw: The First Years (1911–1914) The article focuses on the artistic activity of the Kamiński Theater in Warsaw (1/3 Oboźna Street) prior to World War I. First, it reviews publications related to the topic which present varying facts and dates. Then the author confronts these scholarly works with Yiddish dailies. Based on the Warsaw Yiddish daily Der Moment, she determines that Yiddish performances of the troupe run by Avrom-Yitskhok Kamiński started as early as June 1911, not 1913 or 1909 as previously thought. The Kamiński Theater building was used not only by Jewish b

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Yosia, Adrianus. "Merupa Teater Kemuliaan Allah Sebagai Ruang Publik." Indonesian Journal of Theology 6, no. 2 (2019): 114–37. http://dx.doi.org/10.46567/ijt.v6i2.9.

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This article attempts to conceptualize the notion of ‘public sphere’ from the perspectives of Reformed theology and religious studies. This construction proceeds using a largely forgotten theological concept put forth by Calvin, namely the theater of God’s glory, in tandem with Ninian Smart’s phenomenological scaffold of the seven dimensions of religion. Through this constructive act, the author intends to demonstrate that Calvin’s concept of the theater of God’s glory can become a kind of ‘public sphere’ by means of an integration of thought with the aid of religious studies.

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Yefimenko, Adelina. "First opera about Artificial Intelligence: Miroslav Srnka “Singularity”." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 135 (December 26, 2022): 70–80. http://dx.doi.org/10.31318/2522-4190.2022.135.271004.

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Relevance of the study. Scientists have been working on the research and practical implementation of artificial intelligence (AI) since the middle of the last century. In 2021, this research area celebrated a series of anniversaries that highlight an 85-year history of the impact of artificial intelligence on human consciousness. Various historical stages of the development of artificial intelligence in science, technology and culture are considered. In 2021, the first opera dedicated to this topic appeared. The Czech composer Miroslav Srnka tried to disguise the seriousness of the problem in

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De Groot, Kees. "Spelen met religie in hedendaags theater." Religie & Samenleving 6, no. 3 (2011): 307–29. http://dx.doi.org/10.54195/rs.12993.

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Contemporary theatre sometimes uses religious language, symbols and poses, including elements derived from the Christian tradition. The question is what these references mean: how serious is the courtship with religion? I have selected four productions with unmistakable religious elements. I used the tools of the anthropological informed study of liturgy to test whether these could help to produce an account of the liturgical quality of these shows and performances. Two conclusions could be drawn. Firstly, in some instances the boundary between performers and audience is made fluid. This induc

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Iudova-Romanova, Kateryna. "Plastic Formation Ways of Scenic Space (From the Ukrainian Theater History)." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art Current Archives Announcements About 1, no. 2 (2018): 72–92. https://doi.org/10.31866/2616-759x.2.2018.153228.

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The purpose of the article is to consider the theatrical space evolution of the Ukrainian theater in terms of architectural and technical provision of its plastic design. The author has used the following research methods: a critical analysis is in the scientific literature development on the theatrical art history, architecture and stage design in order to recapture information on the research topic; art analysis is for the plastics correlation of the stage space of performances and their informative content; synthesis is for combining various characteristics of the spatial and technical supp

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Gingerich, Owen. "The Universe as Theater for God's Action." Theology Today 55, no. 3 (1998): 305–16. http://dx.doi.org/10.1177/004057369805500302.

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Wang, Jing. "The Religious Meaning in Waiting for Godot." English Language Teaching 4, no. 1 (2011): 197. http://dx.doi.org/10.5539/elt.v4n1p197.

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Waiting for Godot is one of the classic works of theater of the absurd. The play seems absurd but with a deep religious meaning. This text tries to explore the theme in four parts of God and man, breaking the agreement, repentance and imprecation and waiting for salvation.

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Brask, Per, William Morgan, and Robert Appleford. "Aboriginal Voices: Amerindian, Inuit, and Sami Theater." Canadian Theatre Review 78 (March 1994): 66. http://dx.doi.org/10.3138/ctr.78.016.

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Apart from a few scattered articles, the area of contemporary Native theatre appears virtually untouched by substantial scholarly investigation. This is why Aboriginal Voices, the only (to my knowledge) full-length anthology devoted entirely to First Nations drama and performance, is so exciting. It indicates not only the great range of Native theatre (focusing on the far north but with additional material relating to other Native groups), but also of the problems encountered by those wishing to understand it and help foster it.

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Domínguez, Frank A., Ann Nickerson Hughes, and Frank A. Dominguez. "Religious Imagery in the Theater of Tirso de Molina." South Atlantic Review 50, no. 1 (1985): 96. http://dx.doi.org/10.2307/3199537.

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Sullivan, Henry W. "Religious Imagery in the Theater of Tirso de Molina." Bulletin of the Comediantes 37, no. 2 (1985): 275–77. http://dx.doi.org/10.1353/boc.1985.0000.

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Block, Ed. "Drama and Religious Experience, or Why Theater Still Matters." Logos: A Journal of Catholic Thought and Culture 8, no. 1 (2005): 65–89. http://dx.doi.org/10.1353/log.2005.0002.

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Constantinescu Dranca, Părăscuța-Minodora. "Tradițional și actual în obiceiurile de iarnă din Cajvana, județul Suceava." Analele Bucovinei 60, no. 2 (2023): 533–45. http://dx.doi.org/10.56308/ab.2023.2.12.

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This article presents the customs and traditions of the winter holidays in Cajvana, with references to the transformations that have occurred in the last 50 years, the disappearance of some customs, the renewal of others, and the identification of the causes that have produced these changes. The winter holidays encompass most of the traditions and customs specific to the three major holidays: Christmas, New Year, and Epiphany. The article aims to structure the New Year's traditions and customs in Cajvana into three branches: the popular theater of the “outlaws”; the popular religious theater,

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Poliakova, Yu Yu. "Researches of Kharkiv’s Theater Culture of the 19th and the first half of the 20th cc.: Problems of Historiography." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 142–63. http://dx.doi.org/10.34064/khnum1-51.08.

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Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources,

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Goncharova, E. I. "P.P. Pertsov and gazeta «Novoye vremya» (1898–1901) (New aspect of creative biography)." Solov’evskie issledovaniya, no. 3 (September 30, 2020): 157–68. http://dx.doi.org/10.17588/2076-9210.2020.3.157-168.

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The article examines the early stage of cooperation between the writer and philosopher P.P. Pertsov and the conservative newspaper Novoe Vremya (1868–1917). Fragments of Pertsov's archival correspondence with the philosophical writer V.V. Rozanov, Pertsov's father and the critic of the liberal magazine «Russian wealth» A.G. Gornfeld are partially introduced into scientific circulation. The author analyzes the reasons for Pertsov's difficult attitude to the publisher and editor of Novoye Vremya, the playwright and founder of the Maly theater in St. Petersburg, A.S. Suvorin. The author substanti

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Manzarkhanov, Eduard Evgenyevich. "BUDDHIST MOTIVES IN THE CREATIVITY OF TSYRENDORZHO BALZHANOV (PROBLEMS OF DIRECTING AND TRAINING ACTORS IN THE BURYAT THEATRE IN THE 1990s and 2000s)." Вестник Восточно-Сибирского государственного института культуры 176 (December 28, 2023): 122–43. http://dx.doi.org/10.31443/2541-8874-2023-4-28-122-143.

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The article examines the creativity of the Buryat director Tsyrendorzho Balzhanov, formed in connection with theatrical phenomena and events that determined the future of the Buryat drama theater at the turn of cultural epochs. Having chosen the Buddhist theme as the main motive of his work, Tsyrendorzho Balzhanov faced a number of issues that raised the problem of staging solutions and the problem of training an actor while creating Buddhist images and characters, as well as the possibility of achieving a special state of «satori» in terms of theatrical action. The lack of experience in the r

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Fajar, Fajar, and Ridhwan Ridhwan. "PERAN SENI TEATER DALAM MENTRANSFER NILAI-NILAI AKHLAK PADA PEMBELAJARAN SEJARAH KEBUDAYAAN ISLAM." AL-QAYYIMAH: Jurnal Pendidikan Islam 4, no. 2 (2021): 151–74. http://dx.doi.org/10.30863/aqym.v4i2.2033.

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This paper examines the role of theater arts in transferring moral values in islamic cultural history learning. This paper aims to reveal the meaning and origin of theater as well as the moral values contained in learning the history of Islamic culture through theater. The research method uses literature review. The results of the research show that theater is a matter of mysticism, in my eyes there are many things that can be tried in theater, because the crisis experienced by the Indonesian state for me is a spiritual tension. At first the theater was only performed for ritual purposes only

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Anugrah, Reza, Rosyid Ridho, and Kurtubi Kurtubi. "Mengasah Karakter Santri Melalui Seni Teater pada Hari Santri Nasional." Journal of Community Development and Empowerment 1, no. 1 (2025): 6–10. https://doi.org/10.70716/jocdem.v1i1.117.

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National Santri Day is an important moment to commemorate the role of santri (Islamic boarding school students) in preserving and developing religious, cultural, and national values. One way to strengthen the character of santri is through activities that support the formation of good personality traits, one of which is theater arts. This study aims to explore the role of theater arts in shaping and honing the character of santri, with a focus on the implementation of theater training during National Santri Day celebrations. The research employs a qualitative approach with a case study of seve

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Sung, Meung-Heyn. "Review of the Yun, Baek-nam's Articles 「Theater and Society」(1920)." Journal of the Korea Contents Association 15, no. 10 (2015): 46–55. http://dx.doi.org/10.5392/jkca.2015.15.10.046.

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Dritan, BORIÇI. "Close up theater - an innovation in stage art studies." Polis 21, no. 2022 (2022): 128–37. https://doi.org/10.5281/zenodo.7557218.

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<strong>Abstract</strong> In this article we will try to offer a new perspective on the theater, and we will try to include the theater in other spaces to create artistic values, including digital technology. Since its beginning, the theater space has been a place to see, to watch, to present, to perceive, to understand. So, in a basic sense, theater has been and is a first pathway. At the core of the theatrical experience – as Peter Brook suggests – is the act of watching and being watched. Throughout the history of Western culture, the theater has been a primitive dance circle, a

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Boron, Oleksandr. "Sources of Shevchenko’s acquaintance with Japanese culture (a comment on several diary entries)." Synopsis: Text Context Media 28, no. 3 (2022): 140–45. http://dx.doi.org/10.28925/2311-259x.2022.3.6.

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The research subject of the offered article is Shevchenko’s scope of reading in the aspect of his awareness of Japan. The main problem is to clarify the content of Shevchenko’s diary entries, in which the Japanese, “something Japanese”, and “Japanese comedy” are mentioned. Thus the goal was set to find out the range of printed sources of the poet’s knowledge about Japan. In the course of the research, traditional means and methods of literary source studies as well as the method of philological reading were used. The works of his predecessors, in particular of Leonid Bolshakov and Mykola Sulym

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Myasnikova, Marina A., and Artyom A. Novoselov. "Russian professional and "amateu" theater criticism in the mirror of discussions." Vestnik Tomskogo gosudarstvennogo universiteta, no. 500 (2024): 96–106. http://dx.doi.org/10.17223/15617793/500/11.

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The article is dedicated to discussions in old and new media about the state of modern Russian theater criticism and reveals the mechanism and consequences of dividing its authors into professionals and “amateurs” who write about the same performances, but with different degrees of responsibility and on different platforms – in special publications not for a mass audience and in amateur blogs that are easily accessible to everyone. A whole layer of scientific literature on theater criticism and theater journalism existing today in the conditions of digitalization of the media space and reflect

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