Relevant bibliographies by topics / Sacred Theatre

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

Academic literature on the topic 'Sacred Theatre'

Author: Grafiati
Published: 9 September 2021
Last updated: 29 July 2025

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Journal articles on the topic "Sacred Theatre"

1

Ley, Graham. "Sacred ‘Idiocy’ the Avant-Garde as Alternative Establishment." New Theatre Quarterly 7, no. 28 (1991): 348–52. http://dx.doi.org/10.1017/s0266464x00006047.

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Is there a postmodernist theatre – and if so, what was the modernist theatre? What qualifies as avant-garde – and for how long? And why does the ‘established’ alternative theatre lean so heavily on appropriation, whether of ancient myths or contemporary ideologies – such as postmodernism? Graham Ley uses analogies from dance and design to explore our perceptions of and attitudes towards those contemporary theatre practitioners who may once have broken boundaries, but now often head the queue for lavish corporate finance. Graham Ley has taught in universities in England, Australia, and New Zeal
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Curran, Colleen, Daniel MacIvor, John Mighton, and Heather Janes. "Sacred Hearts, See Bob Run and Wild Abandon, Scientific Americans." Canadian Theatre Review 68 (September 1991): 92–93. http://dx.doi.org/10.3138/ctr.68.025.

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Read together, these three plays offer a cross sectional perspective of recent English-Canadian drama. Commissioned by Montreal’s Centaur Theatre, Colleen Curran’s Sacred Hearts was workshopped during The Blyth Festival Winter Writers’ Retreat of December 1987 and also at the Banff Playwrights’ Colony of May-June 1988, both venues once again showing their importance as fosterers of new mainstream Canadian playwrights and their work. On the other hand, Scientific Americans premièred for Contemporary Theatre in New York City in October of 1988 and had its first Canadian production at Theatre Pas
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Rue, Victoria. "Rehearsing Justice: Theatre, Sexuality and the Sacred." Feminist Theology 25, no. 2 (2017): 170–81. http://dx.doi.org/10.1177/0966735016673259.

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The theatre actor’s process in a rehearsal hall is reality and metaphor. It can be a rehearsal for justice, where we can live freely. In this laboratory the actor becomes all of us. Like the actor, we inhabit our bodies and our sexualities, sometimes as spiritual practice, or as sacred and creative, even as incarnations. In particular, women’s bodies remember what it is like to be no-body and what it is like to be a some-body. The texts of women’s bodies contain their history of pain, wellness and illness. In creating a character, the actor creates a biography, an inner life, and the actor’s i
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Gerould, Daniel. "Representations of Melodramatic Performance." Browning Institute Studies 18 (1990): 55–71. http://dx.doi.org/10.1017/s0092472500002868.

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Among the reformers advocating a people's theater in the early twentieth century, there were those theorists of culture for the masses, like Romain Rolland and Anatolii Lunacharsky, who realized that to appeal to a broad audience a genuinely popular theatre must not only be uplifting and civic in spirit, but also entertaining. They recognized that such a popular theater already existed in the nineteenth century in the form of melodramatic performance: it had democratized the stage, brought the lower classes into the theatre, reduced the gap between the actor and the auditorium, and enabled the
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Kalidasan, R., and R. K. Jaishree Karthiga. "Girish Karnad's Hayavadana - A Setting for Sacred and Profane." Shanlax International Journal of English 7, no. 4 (2019): 57–61. http://dx.doi.org/10.34293/english.v7i4.599.

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Hayavadana, a multiplex play, offers various binary themes for discussion. By combining the indigenous Yakshagana and the western Brechtian Epic theatre practices, Girish Karnad has created a unique theatre display, presenting it as a social and religious satire that point to the persistent pursuit of the humanity to achieve perfection. The plot and the sub-plot of the play get interlocked by raising questions on identity and the nature of reality. The dramatist intentionally effects a dynamic communication between the audience and the performance, noting that the audience too are not separate
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Attisani, Antonio, and Geraldine Ludbrook. "Tibetan Secular Theatre: The Sacred and the Profane." PAJ: A Journal of Performance and Art 21, no. 3 (1999): 1. http://dx.doi.org/10.2307/3245961.

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Thomas, Kyle A. "The Medieval Space: Early Medieval Documents as Stages." Theatre Survey 59, no. 1 (2018): 4–22. http://dx.doi.org/10.1017/s0040557417000461.

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Peter Brook begins the second chapter ofThe Empty Space,“The Holy Theatre,” with a lament for the loss of sacred approaches to theatre; approaches that satisfy a community's need to make visible its identity, its hope, and its history. In describing the vacuum within the modern theatre once occupied by ceremony—what he defines as the importance of a noble aim for theatre—Brook critiques hollow and backward attempts to fill new and grand spaces with old and meaningless ritual. In postwar Europe, he saw a need for new spaces that “crie[d] out for a new ceremony, but of course it is the new cerem
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Ashby, Clifford. "The Three-Actor Rule." Theatre Research International 20, no. 3 (1995): 183–88. http://dx.doi.org/10.1017/s0307883300008634.

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For those who may have been a little dismayed by my previous questioning of such sacred absolutes of the Greek theatre as (1) the circular shape of the original orchestra, (2) the central placement of the altar, (3) the panoramic siting of Greek theatres, and (4) the dawn beginning of performance, please accept this assurance: the three-actor rule for tragedies is alive and well—and not presently refutable. I shall apply the three-actor rule to the extant tragedies in order to see what effect it had upon acting and production practices during the Classic period.
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Martinovich, Kay. "Sacred Play: Soul-journeys in Contemporary Irish Theatre (review)." New Hibernia Review 10, no. 1 (2006): 155–56. http://dx.doi.org/10.1353/nhr.2006.0026.

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Pendzik, Susana. "The theatre stage and the sacred space: A comparison." Arts in Psychotherapy 21, no. 1 (1994): 25–35. http://dx.doi.org/10.1016/0197-4556(94)90034-5.

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Dissertations / Theses on the topic "Sacred Theatre"

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Williams, Robert Hunter. "Directing For the Small Professional Theatre: Directing "Nothing Sacred"." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/763.

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The challenges of producing and directing small professional theatre in any metropolitan area are many. This thesis is concerned with the process of finding a producing theatre, casting, rehearsal and staging the play, "Nothing Sacred" by George F. Walker, in the Washington D.C. metropolitan area. Unlike many thesis projects this one was conducted completely outside of the university setting and is thus a true reflection of the small professional theatre community.
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Groves, Peter A. "Sacred tragedy : an exploration into the spiritual dimension of the theatre of Howard Barker." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/72932/.

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Although Barker began in the early 1970s as a Marxist satirical playwright, by 2005 his approach had shifted in focus to such an extent that he felt able to define his theatre as having ‘many of the characteristics of a religion.’ This study investigates the relationship between Barker’s theatre and religious and spiritual ideas, focusing on two key influences: the medieval Christian mystical theologian Meister Eckhart and religious and mythic elements of ancient Greek tragedy. Barker’s dramatic engagement with Abrahamic monotheism reveals his interest in early biblical portrayals of God and h
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Perrin, Daniel K. "The Zealot a musical-theatre presentation by Crossroads Bible Church of Bellevue, Washington /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Lewis, Heidi Diane. "Speaking Out of the Dust: Religious Reenactments with the Specific Iconic Identity of Place." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/505.

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Sometimes, the place where a play is performed is as important as or more important than the play itself. The first known theatrical rituals were performed in spaces which came to hold deep religious significance. Many religious traditions regard certain places as sacred because of spiritually significant events which took place there, sometimes involving the presence of Deity. In an effort to build on that sacrality, sometimes religious cultures bring theatre to these spaces, which, in turn, tend to alter the nature of the theatrical event. This seems especially true in regards to theatre whi
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Lao, Oliveros. "Ritual and the sacred in Peter Shaffer's theatre : a study of The Royal Hunt of the Sun, Equus and The Gift of the Gorgon." Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1781053.

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Ritter, Christina. "On hallowed ground the significance of geographic location and architectural space in the indenties [sic] of the Royal Shakespeare Company and Shakespeare's Globe /." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1188510799.

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Chuliá, Jordán Alejandra. "Fernando Arrabal et le théâtre panique en France : modèles artistiques et devenir scénique." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA117.

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Cette approche de recherche sur Fernando Arrabal et le théâtre panique pointe une période circonscrite à l’œuvre théâtrale du dramaturge dite « panique ».L’objet de cette thèse cherche donc à essayer de comprendre la théorie panique (la mémoire, le hasard et la confusion) ainsi qu’une thématisation sur les différents modèles artistiques de ses pièces paniques et l’influence arrabalienne dans le devenir scénique d’aujourd’hui. L’étude part d’une nouvelle esthétique théâtrale baroque allant du texte à la scène ainsi que de la stratégie utilisée par l’écrivain dramaturge dans ces pièces appelée l
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Madden, Jennifer. "Divine comedy : sacred play and subversion in contemporary neo-Pagan festival." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319108.

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Lamothe, Virginia Christy Carter Tim. "The theater of piety sacred operas for the Barberini family Rome, 1632-1643 /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2009. http://dc.lib.unc.edu/u?/etd,2295.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2009.<br>Title from electronic title page (viewed Jun. 26, 2009). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music." Discipline: Music; Department/School: Music.
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Combes, Emilie. "Le théâtre panique de Fernando Arrabal, « Science de l’essence de la confusion »." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040059.

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Notre approche du théâtre panique d’Arrabal a été dirigée par la perception d’une esthétique paradoxale, d’une dimension éthique et cathartique au cœur d’une théâtralité qui restitue sur scène la confusion de la vie et l’humain dans sa totalité. Cette thèse s’interroge sur les moyens par lesquels Arrabal a créé l’univers panique ainsi que sur les piliers d’une esthétique a priori fondée sur la dérision et l’altération de la réalité, dans une perpétuelle oscillation entre l’outrancier et le fascinant. Il s’agit de comprendre le fonctionnement du dispositif de la cruauté, à la fois dramaturgique
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Books on the topic "Sacred Theatre"

1

Malekin, Theo. Strindberg and the Quest for Sacred Theatre. Rodopi Bv Editions, 2010.

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1956-, Savidge Dale, ed. Performing the sacred: Theology and theatre in dialogue. Baker Academic, 2009.

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Gopalakrishnan, K. K. Kathakali, dance-theatre: A visual narrative of sacred Indian mime. Niyogi Books, 2016.

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Rubin, Peggy. To be and how to be: Transforming your life through the nine powers of sacred theatre. Quest Books, 2010.

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Schranz, John J. Never on a Sunday: The sacred of performer's space. John J. Schranz & Groups for human Encounter, 2001.

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Salomone-Marino, Salvatore. Sul teatro in Sicilia nel secolo XVI. Documenta, 2004.

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Hermann, Danuser, and Kassel Matthias, eds. Musiktheater heute: Internationales Symposion der Paul Sacher Stiftung Basel 2001. Schott, 2003.

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Sŏng, Ki-ryŏn. 1930-yŏndae u̇̆i p'ansori ŭmak munhwa. Minsogwŏn, 2021.

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Sacred Theatre (Intellect Books - Theatre and Consciousness). Intellect Ltd, 2008.

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10

O'Reilly, Anne F. Sacred Play: Soul-Journeys In Contemporary Irish Theatre (Theatre Arts). Carysfort Press, 2005.

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Book chapters on the topic "Sacred Theatre"

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Hong, Moonyoung. "Sacred Spaces." In Tom Murphy’s Theatre of Everyday Space. Routledge, 2025. https://doi.org/10.4324/9781003489023-5.

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Sepsi, Enikő. "Sacred or holy? Dramaturgy in Valère Novarina's theater." In Poetic Images, Presence, and the Theater of Kenotic Rituals. Routledge, 2021. http://dx.doi.org/10.4324/9781003163930-12.

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Monaco, Marzia, Flavio Carnevale, and Marcello Ranieri. "A Study on the Orientation of Greek Theatres." In The Light, The Stones and The Sacred. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-54487-8_7.

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Bennett, Bridget. "Sacred Theatres: The Spiritist Performances of Shakerism in the 1830s and 1840s." In Transatlantic Spiritualism and Nineteenth-Century American Literature. Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230604865_4.

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Ekweariri, Dominic Nnaemeka. "Die Betrachtung von Kunstwerken: die Leiblichkeit und die „perzeptive“ Phantasia." In Phänomenologie des Leibes und der Leiblichkeit bei Marc Richir. Springer Berlin Heidelberg, 2023. http://dx.doi.org/10.1007/978-3-662-67190-0_7.

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ZusammenfassungIn Ursprung des Kunstwerks erläutert Heidegger, dass das Kunstwerk uns das Ereignis der Wahrheit, die Wahrheit des Seienden, also eine Öffnung der Welt, und das Sein des Seienden eröffnet. Offensichtlich haben wir es hier mit einer Metaphysik der Kunst zu tun. Die Fragen, mit denen wir in dieser Arbeit konfrontiert werden, lauten daher: Kann die Wahrheit des Seins uns in der Erfahrung gegeben sein? Und wenn ja – auf welche Weise ist diese Erfahrung möglich? Hierzu werden wir mindestens drei Arten erörtern, wie Kunstwerken in der Geschichte der Kunstphilosophie betrachtet wurden.
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Kemp, Geoff, and Jason McElligott. "The Judgment and Decree of the University of Oxford Past in their Convocation July 21. 1683, against certain Pernicious Books and Damnable Doctrines Destructive to the Sacred Persons of Princes, their State and Government, and of all Humane Society (Oxford: printed at the Theater, July 1683). Wing, O891; ESTC, R14238." In Censorship and the Press, 1580-1720, Volume 3. Routledge, 2024. http://dx.doi.org/10.4324/9781003552567-58.

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Shorter, Bani. "Theatre of the soul." In Susceptible to the Sacred. Routledge, 2019. http://dx.doi.org/10.4324/9781315788074-3.

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"Sacred Narratives for Secular Spectators." In Future Theatre Research. Liverpool University Press, 2016. http://dx.doi.org/10.2307/j.ctv3029srm.17.

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Gussago, Luigi. "The Sacred-Sacred Theatre of Fosco Antonio’sMy Reality." In A Soul for Australia? ATF Press, 2014. http://dx.doi.org/10.2307/j.ctvrnfpg4.17.

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"PUPPET THEATRE: TOUCHING THE SACRED ROOTS." In The World Encyclopedia of Contemporary Theatre. Routledge, 2005. http://dx.doi.org/10.4324/9780203982471-13.

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Conference papers on the topic "Sacred Theatre"

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Szymanska-Stulka, Katarzyna. "SPACE PERFORMS FOR SACRED AMONG MUSIC AND ARCHITECTURE. THE CASE OF STABAT MATER??S MOTIF IN POLISH CONTEMPORARY MUSICAL WORKS BY PAWEL LUKASZEWSKI AND IGNACY ZALEWSKI." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/vs08.09.

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In sacred musical works we find structures and composing solutions that introduce a specific action, similar to visual elements. What are the means for the architectural and sound space that create a sacred space? Are there playing in common? I answer this question on the basis of contemporary architecture (e.g. Church of Light by Tadao Ando in Ibaraki/Japan, Fritz Hoger�s Kirke in Berlin/Germany, Basilica Sanctuary of Our Lady of Tears by Stephane Aboudaram in Syracuse/Italy) confronted with music dedicated to the sacred sphere. In accordance with the currently developed cognitive interpretat
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Oremusová, Daša, Magdaléna Nemčíková, Lucia Petrikovičová, Hilda Kramáreková, and Alfred Krogmann. "Rozvoj obcí v Nitrianskej diecéze v kontexte religiózneho turizmu." In XXV. mezinárodní kolokvium o regionálních vědách. Masaryk University Press, 2022. http://dx.doi.org/10.5817/cz.muni.p280-0068-2022-48.

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Religiosity is historically firmly rooted in Slovakia. It also has a historical foundation in the Nitra Diocese, which confirms the establishment of the Nitra Diocese in 880 by Pope John VIII. at the request of Prince Svätopluk. The aim of the article is to analyze the impact of religious tourism on the development of two selected rural municipalities in the Nitra diocese - Pozba and Močenok. From a methodological point of view, the basis was the excerpt of print and electronic information sources of various kinds, results of pilgrimage places questionnaires and their comparative analysis. Cri
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Reports on the topic "Sacred Theatre"

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Khomenko, Tetiana, та Yuriy Kolisnyk. Втрати української культури у російсько-українській війні: культурно-інформаційний спротив. Ivan Franko National University of Lviv, 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11749.

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The authors explored the activity of mass media and cultural organizations aimed at clarification of the current problematic issue – preservation of Ukrainian cultural heritage under the conditions of the full-scale invasion of Russia into Ukraine. The authors emphasize that occupants not only destroy historic buildings, i.e. material objects, but also steal art values, destroy library and archive funds; their actions are aimed at destruction of our spirituality, identity and history. It is pointed out that there are the main streams in the work of journalists, experts, and culture figures, na
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