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Journal articles on the topic 'Sacred Theatre'

Author: Grafiati

Published: 9 September 2021

Last updated: 29 July 2025

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Thurston, Alan. "Sacred rituals in the operating theatre: summarising the science." Current Orthopaedics 18, no. 2 (2004): 135–46. http://dx.doi.org/10.1016/j.cuor.2004.02.006.

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12

Roșu, Ioana. "Sublimul trădării." Cercetări teatrale 5, no. 1 (2024): 210–12. https://doi.org/10.46522/ct.2024.01.12.

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In his volume, "The Sublime of Betrayal", Sorin Crișan meditates on the role of theater as a living mirror of life. The book discusses the concept of working through an artistic context, in contrast to a psychoanalytic one, and discusses the concept of Brechtian distancing and mimesis, inspired by Roland Barthes, emphasizing the interplay between thought and perception in contemporary theatre. The themes of the sacred and the profane are discussed in relation to Mircea Eliade's theories and Husserl's phenomenology, to highlight how theater transcends everyday reality and opens new perspectives

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13

Lauer, A. Robert. "Strindberg and the Quest for Sacred Theatre. By Theo Malekin." European Legacy 17, no. 3 (2012): 416. http://dx.doi.org/10.1080/10848770.2012.673353.

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14

Munday, Jenny. "1 The Comedy Asylum." Canadian Theatre Review 48 (September 1986): 26–31. http://dx.doi.org/10.3138/ctr.48.006.

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The Comedy Asylum began in 1982 when Lou Roelofsen, then manager of the Wandlyn Inn In Fredericton, decided to present dinner theatre in order to promote the hotel during the traditionally slow winter season. He got together with Marshall Button and Michael McHugh, and the great Comedy Asylum dinner theatre experiment began. At that time there was nothing like it in Fredericton. Apart from several good amateur groups throughout the province, the only English-language theatre in New Brunswick was Theatre New Brunswick. Lou believed not only that dinner theatre was commercially viable, but also

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15

Borbáth, Katalin. "Circle Dance and Dance Therapy for Talented Children with Disadvantages and Special Needs." Tánc és Nevelés 2, no. 1 (2021): 135–47. http://dx.doi.org/10.46819/tn.2.1.135-147.

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At the meeting points of different cultures, a unique quality is born. That is what we can experience when sacred round dance, dance therapy, and talent development meet and overlap. The study aims to present a project operated by the Budapest 10th district Educational Consultant Team with the support of the Hungarian National Talent Program. The program, named Square-Dance-Theatre-Scene, was started as an experiment, integrating 12–14-year-old students, including psychologists, drama experts, art therapists, dance therapists, and dance teachers. In the paper, a sacred dance therapeutic worksh

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Hwang, Jihye. "Exploring Secular Spirituality in Korean Muism (Shamanism) through the Lens of Grotowski." Korean Society of Culture and Convergence 45, no. 11 (2023): 439–51. http://dx.doi.org/10.33645/cnc.2023.11.45.11.439.

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This study explores the convergence of Jergy Grotowski's ‘Secular sacrum in the theatre’ and Korean Muism(Korean Shamanism)’s shamanic rituals in the context of secular spirituality. Grotowski advocates for the theatrical stage as a sacred space, breaking barriers for genuine inner exploration, with the ‘holy actor’ crucial for manifesting secular spirituality. Drawing parallels, Muism’s shamans(mudang) embody the ‘holy actor’ through acts like ‘self-sacrifice’ and ‘emptying oneself’, seen in rituals such as the initiation ceremony(Naerim Gut). The shaman, bridging the divine and human realms,

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Dickson, D. Bruce. "Public Transcripts Expressed in Theatres of Cruelty: the Royal Graves at Ur in Mesopotamia." Cambridge Archaeological Journal 16, no. 2 (2006): 123–44. http://dx.doi.org/10.1017/s0959774306000084.

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The interpretation of the Royal Graves at Ur, Mesopotamia, by their excavator, Sir Leonard Woolley, has long been accepted. Woolley implies that the people sacrificed along with the dynasts went willingly to their deaths out of loyalty, devotion, and faith in the dead monarchs; but other interpretations are plausible. One is that these graves are the remains of dramas portraying a ‘public transcript’ played out in a public theatre of cruelty staged by rulers claiming divine status. State power united with supernatural authority can create extraordinarily powerful ‘sacred or divine kingdoms’; b

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Babenko, Valeriia. "PREVENTION OF TRADITION, REGULARITY OF POSITIVE RECEIVES, DELL’ARTE CANONICAL CODE REVALUATION. COMMANDARY TRANSFORMATION OF COMMEDIA CIVILE RUSTICALE INTO COMMEDIA DELL’ARTE (ITALIAN DRAMATURGY)." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 63–69. http://dx.doi.org/10.28925/2412-2475.2019.1310.

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The author of the article studies the peculiarities of comedy dell’arte, regularities of its poetic techniques. Particular attention is drawn to the style and genre of the dramatic works. The masks of dell’arte (mainly zan), having gone from the notion of a dual creature that is on the verge of a funny and terrible, profane and sacred («spirits and ghosts» of the cult of the crops of fertility, devils of the mysterious action), to the mask types of comedy del arte and further - masks-characters in the work of Goldoni, at the turn of the 19–20 centuries, turned into a symbol of the ancient thea

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BALOGUN, Lekan. "Diaspora Theatre and the Yoruba Sacred Tradition: Aimé Césaire's A Tempest." Cultural Intertexts 7/2017 (December 22, 2017): 33–53. https://doi.org/10.5281/zenodo.7854843.

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Poet and playwright, Aimé Césaire occupies a prominent place in the history of Caribbean literature generally, and postcolonial Shakespeare adaptation scholarship in particular. His adaptation of Shakespeare‘s The Tempest, entitled A Tempest, described by Peter Dickinson as a ―classic of postcolonial drama,‖ has continually been examined by scholars in light of how the play engages, and consequently exposes, Shakespeare‘s text as a ―foundational allegory of the experience of colonization and the expression of cultural imperialism‖ (Dickinson 2002: 194-5). Most comment

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20

Woodruff, Paul. "Theatre as Sacrament." Ramus 42, no. 1-2 (2013): 5–22. http://dx.doi.org/10.1017/s0048671x00000047.

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All theatre is sacramental. A theatrical event establishes itself as theatre by setting aside a measured space as inviolable for a measured time. This framing effect of theatre is sacramental. Within the frame of theatre, other sacraments can be represented or performed. Part I of this paper develops conceptual distinctions necessary to understanding the sacramental in theatre, using an ethics-based theory of sacrament. Part II sets out to use the theory, applying it to open up new questions for the interpretation of ancient Greek tragedy, and using the theory to explain certain plot elements

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21

Brook, Peter. "As the Story Goes …" Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 2 (2018): 110–11. http://dx.doi.org/10.33178/scenario.12.2.23.

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In the rubric Texts around Theatre (TaT) we present various perspectives on theatre – historical and contemporary, intercultural and culture-specific, unexpectedly weird, unusually suspenseful, disturbedly gripping, fascinatingly enigmatic etc. Through the following story renowned theatre director Peter Brook reminds us that what happens on the theatre stage has to be of interest to everyone in the audience, and he leaves us with the question: How can this be achieved? God, seeing how desperately bored everyone was on the seventh day of creation, racked his overstretched imagination to find so

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22

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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23

Ciocoi-Pop-Vecsei, Maria-Miruna. "Death Is Sacred: Being and Non-Being in Sarah Hall’s “Theatre 6”." East-West Cultural Passage 23, no. 1 (2023): 51–60. http://dx.doi.org/10.2478/ewcp-2023-0005.

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Abstract The short story “Theatre 6” is one of three post-apocalyptic short stories included in Sarah Hall’s collection Madame Zero, first broadcast on BBC Radio 4 in 2013. The story is inspired by the real-life case of Savita Halappanavar, who died of septic shock at Galway University Hospital in 2012 because of being denied an abortion on grounds of septic miscarriage. The text paints a dystopian vision of a not so far away future where the Hunter fetal care act legislatively places the life of unborn babies higher than the one of mothers. The protagonists are a genderless anaesthesiologist,

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Purnama, Arif Sadikin, Matfa Kresna Maarifarsyah, Putri Rahayu Nengsih, Dewi Desiana, Yusuf Guntur Hari Putra, and Gita Anggraini. "Pendidikan Karakter Melalui Seni Teater Berbasis Kearifan Lokal Secara Daring untuk Anak-Anak Kampung Kumuh Pasar Keramat." ABDIMAS: Jurnal Pengabdian Masyarakat 3, no. 2 (2020): 351–59. http://dx.doi.org/10.35568/abdimas.v3i2.971.

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Keramat is the name of one of the markets in Sampit City which is mostly inhabited by the middle to lower economic population. Located in a congested area and market dumping waste directly into the river that flows under people's houses along with garbage that seems scattered in the river flow makes the settlement look very shabby. The children's daily activities here have to mingle with market waste and unhealthy rivers for bathing and playing. Often littering, fighting, and not caring about the environment are the daily sights of the children here. This community service is an activity of th

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Ravensbergen, Lisa Cooke. "Co-Carrying Rupture and Repair." Canadian Theatre Review 188 (October 1, 2021): 9–12. http://dx.doi.org/10.3138/ctr.188.002.

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Through evocative and holistic description, this article investigates how ceremony performs its spiritual, communal, pedagogical, and embodied work. Identifying ceremony as transformational, as carrying memory, and as medicine work, she contrasts it with settler-Canadian theatre practices and histories, which she identifies as colonial apparatus that, in their preoccupation with imperialism, have actually been pre-occupied by sacred processes, relationship, and memory. She suggests that the pandemic has deepened a rupture, opening space for reckoning and for the transformation of potential fut

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Fabiszak, Jacek. "Whose Authority May I Ask? Polish, English, German, Shakespearean or Directorial? On the Boundaries Between Ethnicity, Nationality, Religion and Theatricality in Jan Klata’s Shakespearean Productions." Multicultural Shakespeare: Translation, Appropriation and Performance 17, no. 32 (2018): 51–60. http://dx.doi.org/10.18778/2083-8530.17.05.

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Jan Klata is a director who has been labelled a provocateur and who is considered to hold nothing cultural or national sacred. From the beginning of his artistic career he is said to have challenged authorities: theatrical, ethnic, national, etc. by debunking and questioning prevailing heroic myths and forms. Today, imperceptibly yet steadily, Klata himself becomes an authority and his theatrical productions gradually become classics in the eyes of the new generations of theatre directors and audiences, at the same time inciting and inevitably inviting cultural rebellion ... The article examin

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Gde Agung Rahma Putra, Anak Agung, and I. Nyoman Sedana. "The Dance Of Sacred Water." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 5, no. 1 (2022): 1–14. http://dx.doi.org/10.31091/lekesan.v5i1.1646.

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The Dance of Sacred Water featuring water in culture and religion is a brand new dance uniquely choreographed and presented for the academic commitees and the public audiences as part of an academic requirement to complete my Ph.D degre in Dance Department, Indonesian Arts Institute Surakarta, Middle-Java. The original title of this Ph.D final performance dissertation in local language is “Tari We Beji Langon” (literary means the Dance of Aqua Culture and Religion), presented in a newly chorepgraphed dance composition integrating dance, narration, song, and gamelan music. It is designed as a s

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Senthil Kumar.S and Puthiyarasu.P. "Women in the Drama of Girish Karnad With Reference Yayati & Hayavadana." INTERNATIONAL JOURNAL OF SCIENCE TECHNOLOGY AND HUMANITIES 2, no. 2 (2015): 55–58. http://dx.doi.org/10.26524/ijsth55.

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Drama constitutes an integral part of any civilized society. It is true that the dramatic instinct is quite universal. The theatre whether in the sacred or the secular from has never failed holds its powerful appeal to men. Undeniably every nation and every race has its own dramatic history. Drama as the best from of literary composition mirrors the social, political and cultural history of a people and him characteristic nature of the genius of any nation cannot be fully comprehended and appreciated without its study.

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Lozzi, Giuliano. "Dalle Baccanti all’Ibiza-Gate. «Schwarzwasser» di Elfriede Jelinek." Studia austriaca 30 (June 8, 2022): 121–44. http://dx.doi.org/10.54103/1593-2508/18016.

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Taking studies on deconstruction, performance theories, and pragmatics as my point of departure, I investigate Elfriede Jelinek’s last political play Schwarzwasser (2020), where the so-called Ibiza-gate – which in 2018 involved the former Vice Chancellor of Austria – is represented. In her interpretation, Jelinek refers to René Girard’s Violence and the Sacred and Euripides’ Bacchae in an intertextual dialogue. This contribution aims to show how and why Jelinek recalls and employs The Bacchae in her play and to establish a connection between the political function of Greek theatre and Jelinek’

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Elizabeth, K. Mary. "Performing the Elements in Indian Eco-Theatre: Deepan Sivaraman’s The Legends of Khasak." Modern Drama 64, no. 2 (2021): 218–37. http://dx.doi.org/10.3138/md.64.2.1115.

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This article considers The Legends of Khasak, a Malayalam play by Deepan Sivaraman, as a landmark Indian eco-theatrical production. I argue for the play as an important development in a nascent Indian eco-theatre, telling an ecologically significant tale about the relationship between humans and nature through performative and scenographic innovations that transform the theatrical space into a sacred grove, a place of deep significance in terms of ecological balance. This essay elaborates on how the play celebrates the pancha bhutas, the five elements of nature, by displaying their agency and

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STANCIU, Alba Simina. "Jedermann. Medieval Mystery, Towards a Timeless-Contemporary Stage Directing." Theatrical Colloquia 14, no. 2 (2024): 68–80. https://doi.org/10.35218/tco.2024.14.2.05.

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The both starting point and impetus from the content of Salzburg Festival which maintains the medieval-baroque identity of this artistic area, is Jedermann, a play without author, reformulated by the dramatist Hugo von Hofmannsthal, and initially put on stage by the director Max Reinhardt. The preservation of medieval mystery’s authentic character and street theatre’s efficacy from central european perimeter, becomes the connecting thread between a time defined by spirituality, devotion and specifically persuasion, through the artistic resources of popular theatre. These reasons tie without al

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Sojka, Eugenia. "Land-Based Theatre and Performance in Sovereign Artistic Ceremonies of Selected Indigenous Artists from Canada." Review of International American Studies 17, no. 2 (2024): 219–40. https://doi.org/10.31261/rias.17818.

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The article focuses on the problem of Indigenous theatrical sovereignty which is examined on the basis of theater/performance theories and practices by such Aboriginal artists/theorists/performers from Canada as Floyd Favel, Monique Mojica and Kim Senklip Harvey. The theoretical framework of this study focuses on the decolonization and indigenization of theatrical practices, and specifically on theater as artistic ceremony and theater as a research methodology. The selected artists vehemently oppose colonial violence, exploitation and marginalization of Indigenous populations, their lands and

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Chorna, Krystina. "Cultural Anthropology and Anthropological Theatre: Interaction of Research Fields." Issues in Cultural Studies, no. 42 (November 13, 2023): 316–27. https://doi.org/10.31866/2410-1311.42.2023.293805.

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<em>The aim of the article </em>is to analyse the research fields interaction of cultural anthropology and anthropological theatre as a significant methodological approach that encourages theatre scholars and actors-practitioners to turn to cultural tools in their creative work and encourages cultural studies scholars to develop methodological studies. <em>Research results</em>. One of the most promising areas of contemporary research is interdisciplinary projects in social and humanitarian knowledge, including the convergence of cultural anthropology and anthropological theatre, whi

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Dutta Gupta, Aabrita. "Crossings with Jatra: Bengali Folk-theatre Elements in a Transcultural Representation of Lady Macbeth." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (2021): 91–108. http://dx.doi.org/10.18778/2083-8530.23.06.

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This paper examines a transcultural dance-theatre focusing on Lady Macbeth, through the lens of eastern Indian Bengali folk-theatre tradition, jatra. The wide range of experimentation with Shakespeare notwithstanding, the idea of an all-female representation is often considered a travesty. Only a few such explorations have earned recognition in contemporary times. One such is the Indian theatre-dance production Crossings: Exploring the facets of Lady Macbeth by Vikram Iyenger, first performed in 2004. Four women representing four facets of Lady Macbeth explore the layered nuances that constitu

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Oki, Olumide Joshua, Jones Profit, and God'sgift Adepoju. "Spiritual Aesthetics and Audience Reception in Contemporary Nigerian Christian Drama Using Festus Dairo’s Production of Mike Bamiloye’s The Return of the Bridegroom." African Journal of Religious and Theological Studies 4, no. 1 (2025): 1–17. https://doi.org/10.62154/ajrts.2025.04.01011.

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When theatre becomes a vessel for spiritual encounter, it transcends entertainment and enters the realm of sacred experience. This study explores the reception of The Return of the Bridegroom, a stage play written by Mike Bamiloye and directed by Festus Dairo under Zion Royal Theatre, as performed at Joseph Ayo Babalola University (JABU). Anchored in Reception Theory and the Theology of Aesthetics, the research investigates how a faith-based university audience interprets and internalizes the play’s theological messages, symbolic imagery, and emotive performances. Reception Theory—particularly

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Yardeni, Myriam. "Huguenot Prophecy and Clandestine Worship in the Eighteenth Century. "The Sacred Theatre of the Cévennes."." Church History and Religious Culture 87, no. 2 (2007): 273–74. http://dx.doi.org/10.1163/187124207x190008.

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37

Bynum, L. J. "Performing the Sacred: Theology and Theatre in Dialogue. By Todd E. Johnson and Dale Savidge." Literature and Theology 24, no. 4 (2010): 441–42. http://dx.doi.org/10.1093/litthe/frq037.

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Higonnet, P. "Huguenot Prophency and Clandestine Worship in the Eighteenth Century: 'The Sacred Theatre of the Cevennes'." English Historical Review CXXII, no. 497 (2007): 828–29. http://dx.doi.org/10.1093/ehr/cem148.

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Hill-Kirkland, Michael. "Performing the Sacred: Theology and Theatre in Dialogue - By Todd E. Johnson and Dale Savidge." Religious Studies Review 36, no. 1 (2010): 61. http://dx.doi.org/10.1111/j.1748-0922.2010.01402_23.x.

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40

Akhtar, Amer, Rida Rehman, and Neelum Almas. "The Theatre of Historical Revision: An Analysis of the Native American Drama Tradition." Global Language Review VI, no. II (2021): 56–62. http://dx.doi.org/10.31703/glr.2021(vi-ii).07.

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We attempt to analyse the form and content of major Native American plays to discuss their relationship with the traditional English drama and its content. By looking at plays of key Native American playwrights, we show that the Native American tradition goes against the English tradition of drama in its form by challenging the unities of time and place and characterization. It also brings in elements of Native American tradition of storytelling such as the blend of the sacred and the profane, the use of humor, the attitude towards facticity, to the tradition of drama to carve out a unique spa

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Młynarczyk, Jolanta. "New research in the sacred zone of the Fabrika Hill in Nea Paphos, Cyprus." Studies in Ancient Art and Civilisation 24 (December 1, 2020): 59–76. http://dx.doi.org/10.12797/saac.24.2020.24.03.

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New research in the sacred zone of the Fabrika Hill in Nea Paphos, Cyprus The rocky hillock of Fabrika in the north-eastern most part of ancient Nea Paphos, founded during the late 4th century BC, is of key importance for understanding the early phase of the town planning, but at the same time very difficult to be methodically explored. Both its eminent location and geology made it a natural source of building material throughout the ages, greatly hindering any accurate reconstruction of the site development. However, the data collected so far strongly suggest that the arrangement of the

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Jasper, D. "Strindberg and the Quest for Sacred Theatre. Consciousness, Literature and the Arts, 26. By Theo Malekin." Literature and Theology 24, no. 3 (2010): 304. http://dx.doi.org/10.1093/litthe/frq030.

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MAINENTE, RENATO AURÉLIO. "O Período Joanino e as transformações no cenário musical no Rio de Janeiro * The Joanino Period and the changes in musical scene in Rio de Janeiro." História e Cultura 2, no. 1 (2013): 132. http://dx.doi.org/10.18223/hiscult.v2i1.943.

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<p><strong>Resumo:</strong> Após o desembarque da Corte Portuguesa, em 1808, o Rio de Janeiro assistiu a um significativo desenvolvimento da atividade musical, principalmente por meio da fundação da Capela Real e do Real Teatro São João. A música sacra produzida no período ganhou importância, bem como as apresentações nos palcos do Real Teatro, com a presença de músicos e companhias líricas estrangeiras, possibilitando um contato com a música e óperas de sucesso na Europa. Tais instituições desempenharam, portanto, um importante papel: mais do que um espaço para a apresentaçã

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Champonnois, Cécile. "Le mélange du sacré et du profane dans les livrets de tragédies lyriques du librettiste Nicolas-François Guillard (1752-1814)." Quêtes littéraires, no. 3 (December 30, 2013): 48–57. http://dx.doi.org/10.31743/ql.4604.

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Nicolas François Guillard (1752-1814) was one of the best librettists of the Tournant des Lumières. The libretto of Proserpine by Quinault, set to music by Lully at the end of the seventeenth century, was adapted by Guillard and once again set to music by Giovanni Paisiello in 1803. Six years later, in 1809, La Mort d’Adam, adapt-ed by Guillard from Friedrich Gottlieb Klopstock’ Der Tod Adams (1757), was set to music by Jean-François Lesueur. These rewritings, with religious or sacred topics staged for a secular theatre by Guillard, are very different from the original works and tend to

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Ro, Brandon Richard. "Blending the Subjective and Objective Realms of Sacred Architecture at the Pantheon: Creating a Comparative Framework for Evaluating Transformative Experiences in Ritual Contexts." Religions 13, no. 1 (2022): 75. http://dx.doi.org/10.3390/rel13010075.

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This paper seeks to create a comparative framework for evaluating transformative experiences for different types of ritual contexts found in sacred architecture by bridging the gap between the phenomenology of human experience and architecture’s built conditions. The methodology creates a framework for statistical analysis, whereby evidence of people’s actual (i.e., real, lived) “subjective” experiences can be evaluated against the “objective” architectural conditions. The comparative framework is put to the test by comparing the experiential and environmental conditions found at the Pantheon

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Griffiths, Richard, and J. S. Street. "French Sacred Drama from Beze to Corneille: Dramatic Forms and Their Purposes in the Early Modern Theatre." Modern Language Review 80, no. 2 (1985): 460. http://dx.doi.org/10.2307/3728715.

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Negruzzo, Simona. "Performance, Edification and Education in a Confessional Context. Protestant and Catholic Sacred Theatre in Early Modern Alsace." Revue d'Histoire Ecclésiastique 111, no. 3-4 (2016): 551–80. http://dx.doi.org/10.1484/j.rhe.5.111949.

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Frijhoff, Willem. "Georgia Cosmos, Huguenot Prophecy and Clandestine Worship in the Eighteenth Century:« The Sacred Theatre of the Cévennes »." Archives de sciences sociales des religions, no. 134 (May 1, 2006): 147–299. http://dx.doi.org/10.4000/assr.3496.

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Radaeva, E. A. "ENTELECHY OF EXPRESSIONISM IN CONTEMPORARY FINE ARTS: MARIA SUVOROVA'S EXPOSITION «MORE THAN THEATRE»." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 26 (2024): 104–15. https://doi.org/10.37313/2413-9645-2024-26-99-104-115.

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The research material is a series of paintings (2015–2024) from the exhibition of the contemporary Russian artist Maria Suvorova “More than a Theatre” presented in the Orenburg Regional Museum of Fine Arts. This article expands on the semantic palette of individual paintings by M. Suvorova and partially characterizes the features of the author’s technique. The author of the article makes assumptions regarding the traditions of expressionist painting and graphics (E. Nolde, E.L. Kirchner, E. Heckel, M. Pechstein, F. Bleyl), which can be traced in the creative manner of M. Suvorova, despite the

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Jighirgiu, Octavian. "“This Time of Isolation” Or about the Forgotten Meanings of Theatre." Theatrical Colloquia 10, no. 1 (2020): 23–36. http://dx.doi.org/10.2478/tco-2020-0002.

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AbstractThe individual’s alienation, the dehumanizing relationship with the technological advancement, the communication crisis and the entire theoretical field targeting the current collective psychosis are now moving into a pragmatism which is brutal, cruel, and immediate. The pandemic concerns all of us at the same extent, each of us is directly affected; the enemy is reproducing itself and is felt physically, therefore consciously, on a global scale. It is a lesson about another way of “being”, we are challenged to survive to ourselves according to the principle which is so well-rooted in

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