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Journal articles on the topic 'Serf Theater'

Author: Grafiati

Published: 5 June 2025

Last updated: 1 August 2025

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1

Belov, Alexey V. "Serf Theater of the Demidovs ‘Sloboda Palace’ in German Quarter: Organization, Creativity and Decline of the Noble Home Theaters Tradition in Moscow at the Turn of 19th Century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 119–31. http://dx.doi.org/10.37816/2073-9567-2023-69-119-131.

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Serf theaters played an important role in the development of the European theatrical tradition in Russia. For the most part they were nonprofessional and private. Both public and professional serf collectives were rather rare. The paper analyzed the history of the home serf theater, created by Russian nobles and industrialists N. A. and N. N. Demidov. It functioned in their Moscow house “Sloboda Palace”, located within the German Quarter — an elite suburb which contributed to the spread of theatrical culture here. The Demidov Theater was related to a small group of serf theaters that stood bet

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Zlobin, Yuriy. "Serfs Theatres in Poltava at the End of XVIII – Early XIX Century." Bulletin of Kyiv National University of Culture and Arts. Series in Stage Art 1, no. 1 (2018): 28–36. https://doi.org/10.31866/2616-759x.1.2018.144789.

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The purpose of the article is to consider the activities of serf theaters in Poltava region in the context of amateur theatrical art development in the late XVIII – early XIX century; to highlight the actors’ influence, with V. Gogol-Yanovsky and I. Kotlyarevsky’s works are related and on Ukrainian professional theater formation. Methodology of investigation consists in an organic set of basic principles in research: objectivity, historicism, multifactoriality, systematic, complexity, development, and pluralism. The problem-ch

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3

Penskaya, Elena Naumovna. "A. V. SUKHOVO-KOBYLIN’S COMEDY THE MARRIAGE OF KRECHINSKY AND THE TRADITION OF THE MANOR THEATER." Russkaya Literatura 4 (2024): 121–30. https://doi.org/10.31860/0131-6095-2024-4-121-130.

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The article consideres A. V. Sukhovo-Kobylin’s literary and theater debut, The Marriage of Krechinsky, in the context of the manor or serf theater, with its centennial history reaching its culmination in the 1850s. The Marriage of Krechinsky was written to be staged in one of the greatest serf theaters of the day, in Vyksa. The archives — the playwright’s diaries, his notebooks, epistolary legacy, collections of newspaper and magazine clippings with the owner’s notes — feature some mentions of Vyksa, of the guests and the hosts of the manor house, as well as of the local theater. They help to

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Kudina, Ekaterina O. "To the creative history of Yuri Belyaev’s play Psisha." Izvestiya of Saratov University. Philology. Journalism 22, no. 1 (2022): 72–77. http://dx.doi.org/10.18500/1817-7115-2022-22-1-72-77.

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The paper examines the creative history of the play Psisha by Yuri Belyaev – a theatre critic, fiction writer and dramatist of the Silver Age. While working on the article cycle A night at “The Opera House” about theatre history of the times of Catherine II, the critic researched historical sources: periodical, fiction, documents of the second half of the 18th – early 19th centuries. There Belyaev must have found the material for his early fictional experience – the historical short story Psisha. Among the characters of the story were a landowner – аn avid theatergoer, and the actors of his se

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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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6

Lobko, Nataliia, and Karina Kartava. "Stages of the Life and Work of Anna Zatyrkevich-Karpynska." Sums'ka Starovyna (Ancient Sumy Land), no. 63 (2023): 76–86. http://dx.doi.org/10.21272/starovyna.2023.63.7.

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The article examines the main stages of the life and work of the outstanding Ukrainian artist, teacher, and theater actor Hanna Petrivna Zatyrkevich-Karpynska. The sources of writing the article are materials from periodicals, memories of her contemporaries, and materials from the Romny Museum of Local History. Hanna Petrivna was born on February 20, 1855, in the noble family of the Kovtunenkos in the town of Srybny, Prylutsky District. At first, she participated in amateur performances. Since 1883, Hanna Petrivna Zatyrkevich began to perform with luminaries of the Ukrainian theater and their

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7

Gordeeva, L. "“Laugh, clown, but don’t you dare cry!...”." Philology and Culture, no. 2 (September 17, 2023): 45–50. http://dx.doi.org/10.26907/2782-4756-2023-72-2-45-50.

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The article examines the semantic history of linguistic units related to the nomination of persons in theatrical terminology. The subject of the study is the words actor, clown, buffoon, gaer, nominating “comic and funny” images. The article identifies a common source of the listed gallicisms, continuity in the definition of lexemes and stylistic markings of the units. We analyze the lexical role of foreign words, based on A. Pushkin’s texts, since of interest is a significant number of the units characterizing “actors” that were borrowed in the 17th–18th centuries; thus, we consider their con

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8

Morozova, Irina Pavlovna. "Theatre activity in the southern Urals at the initial period of the thaw." Samara Journal of Science 6, no. 4 (2017): 169–73. http://dx.doi.org/10.17816/snv201764211.

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The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examine

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9

Lebedeva-Emelina, Antonina. "Problems of reconstruction of music of the 18th century (using the example of the chant "Angel Vopiyashe")." St. Tikhons' University Review. Series V. Christian Art 49 (March 31, 2023): 50–67. http://dx.doi.org/10.15382/sturv202349.50-67.

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The article deals with an unknown manuscript of the late 18th century found in the archives of the Dmitrov Kremlin. Notes previously belonged to the Apraksin family and were kept in the library of the Olgovo estate. Stepan Stepanovich Apraksin was a well-known music lover, in Olgov there was a serf theater, an orchestra, and a choir. The singers sang at divine services in the Church of the Introduction of the Virgin in the village adjacent to the estate. The manuscript contains two hymns — "Dostojno est’" and "Angel vopijashe". The manuscript contains an indication of the authorship of Bortnya

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Hladkykh, A., and V. Shchepakin. "Orchestral Wind Instruments Performance in Slobozhanshchyna in the Middle of the XIX and Early XX Centuries." Culture of Ukraine, no. 79 (March 23, 2023): 83–96. http://dx.doi.org/10.31516/2410-5325.079.08.

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The history of the development of academic orchestral wind instruments performance in Slobozhanshchyna in the XIX — early XX century has many bright pages that have entered the annals of unique artistic events of the city, as well as those that have not yet been analyzed in modern musicology, but significantly enrich the overall picture of the cultural life of the capital of Sloboda Ukraine. References to publications on the pages of the local newspapers “Kharkovskie gubernskie vedomosti” and “Yuzhny kray” significantly supplement certain lacunae that still exist in the understanding of the mu

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Kondrashkina, Elena V., and Igor A. Sharshov. "Amateur theatre arts as a means of creative self-development in adolescents with disabilities." Psychological-Pedagogical Journal GAUDEAMUS 23, no. 1 (2024): 67–75. http://dx.doi.org/10.20310/1810-231x-2024-23-1-67-75.

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Revealed features of theatre art are in its educational influence on emotions and self-development of personality. We consider amateur theater as a developing environment in which activities aimed at personal development based on the available potential can be fully realized in accordance with the norms of morality and cultural context accepted in society. The characteristic features of amateur theatre art in comparison with professional theater are revealed. The emphasis is placed on the social accessibility of amateur theater, that is, its openness to all age and social groups of the populat

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Muñoz Salazar, Luz Elena, and David Eduardo Palacios Cortés. "Survival of Cali’s theatrical ecosystem against the impact of covid-19, comparative of the years 2018, 2019 and 202." Córima Revista de Investigación en Gestión Cultural 9, no. 17 (2024): 1–37. http://dx.doi.org/10.32870/cor.a9n17.744.

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The present research focuses on analyzing Cali’s theater ecosystem survival against the impact of covid-19 based on the analysis and comparison of the theatrical programming of concerted theaters between 2018 and 2020. The sample is composed by nine theaters located in Cali, winners of the National Program of Concerted Theaters during the years 2018, 2019 and 2020. Theapproach used was mixed research and the concurrent triangulation design (DITRIAC, in Spanish). The research technique is the documentary analysis of primary sources; for this purpose, a Matrix of analysis of concerted theater pr

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Muñoz Salazar, Luz Elena, and David Eduardo Palacios Cortés. "Survival of Cali’s theatrical ecosystem against the impact of covid-19, comparative of the years 2018, 2019 and 2020." Córima Revista de Investigación en Gestión Cultural 9, no. 17 (2024): 1–37. http://dx.doi.org/10.32870/cor.a9n17.7443.

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The present research focuses on analyzing Cali’s theater ecosystem survival against the impact of covid-19 based on the analysis and comparison of the theatrical programming of concerted theaters between 2018 and 2020. The sample is composed by nine theaters located in Cali, winners of the National Program of Concerted Theaters during the years 2018, 2019 and 2020. Theapproach used was mixed research and the concurrent triangulation design (DITRIAC, in Spanish). The research technique is the documentary analysis of primary sources; for this purpose, a Matrix of analysis of concerted theater pr

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14

Svarnyk, Bohdan. "Ukrainian pantomime theater through the prism of the synergetic paradigm." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 100–104. http://dx.doi.org/10.32461/2226-3209.2.2021.239973.

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The purpose of the article is to determine the priority forms of development, conceptual and organizational principles of the existence of domestic pantomime theaters in the conditions of modern socio-cultural space. Methodology. The cultural-historical method was used (to consider the general state of the domestic pantomime culture of the end of the XX – the beginning of the XXI century); synergetic method, thanks to which the historical paradigm of pantomime theater in Ukraine was studied; an art history method that contributed to the analysis of pantomime theater performances in an artistic

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15

Thevanayagam, Thevananth. "Srilankan Post-War Tamil Theater speaks about 'War Tragedies'." Maayan International Journal of Tamil Research (MIJTR) 2, no. 3 (2022): 1–13. https://doi.org/10.5281/zenodo.7370983.

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ABSTRACT:              The theatre is a reflection of social reality. Theatre can be described as man's weapon for change and self - realization as he struggles to overcome the forces that are hostile to him in order to  urvive. he theater draws people’s attention through a dramatic presentation of issues. It makes the audience see their problems in new and critical ways. Northern Sri Lanka Tamil theatre has always sought to address ethnic conflict issues and war affecting the community. The people of the war-torn area are oppressed in various

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16

Kavouras, Pavlos. "Between and Betwixt the Other Theatre and the Theatre of the Other:." Conatus 8, no. 1 (2023): 201–32. http://dx.doi.org/10.12681/cjp.32387.

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This article deals with the legendary figure of Eugenio Barba as a paradigmatic case to demonstrate the difference between the other theatre and the theatre of the other. Its main objective is to discuss the juxtaposition of performativity as (re)presenting, showing, and self-awareness by narrating the myth of Barba. The argument is presented through six interconnected caveats: the legend and its myth; The Moon rises from the Ganges: the story inside the myth; the critique of western civilization: an insider's story of self-reflexivity; the other theatre is not the theatre of the other; the li

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17

Balme, Christopher B. "Interpreting the Pictorial Record: Theatre Iconography and the Referential Dilemma." Theatre Research International 22, no. 3 (1997): 190–201. http://dx.doi.org/10.1017/s0307883300017004.

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In 1926 the German theatre critic and scholar Julius Bab compared the endeavour of the theatre historian engaged in reconstructing past performances with that of the art historian required to study paintings solely on the basis of descriptions. The analogy serves as a justification for Bab's own study of contemporary theatre based on personal observations: only the privileged status of the eye-witness account can do justice to the transitory nature of theatrical performance, he argues. What today may seem like a self-evident truth was in the 1920s by no means so. German Theater-wissenschaft of

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18

Greenleaf, Monika. "In medias res: A Diary of the Moscow Theater Season, 2007-2008." Slavic Review 67, no. 2 (2008): 422–36. http://dx.doi.org/10.1017/s0037677900023627.

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In this essay, Monika Greenleaf explores some reasons for, and directions of, the Moscow theater's growth as a cultural stimulus in Vladimir Putin's increasingly imperial, ideologically unified Russia. Focusing on four factors, the first part suggests why the theater, unlike the film industry, resisted collapse in the 1990s: directors’ studio theaters, the new “writer's theater,” the development of “autonomous and self-sustaining” institutions, and theater finance. The second part examines two functions of the theater in a postliterate age: to forge a richer sense of Russian identity by offeri

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19

Malpede, Karen. "Theatre of Witness: Passage into a New Millennium." New Theatre Quarterly 12, no. 47 (1996): 266–78. http://dx.doi.org/10.1017/s0266464x00010265.

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Karen Malpede's monologue, ‘Baghdad Bunker’, whose origins in an experience of vicarious empathy she describes in the following article, was first performed by Ruth Maleczech at La Mama in June 1991. It subsequently became the centrepiece of Malpede's play Going to Iraq, about life in New York during the Gulf War. Later, in The Beekeeper's Daughter, she addressed our lack of empathy in the face of ‘racial cleansing’ in the former Yugoslavia. Here, Karen Malpede uses both this latter play and a play by the dissident Croatian playwright Slobodan Snajder, Snakeskin, as examples of an approach to

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20

Zimnica-Kuzioła, Emilia Anna. "Polityka teatralna w Polsce po transformacji ustrojowej." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (2018): 111. http://dx.doi.org/10.17951/l.2017.15.2.111.

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<p>Artykuł dotyczy organizacji życia teatralnego w Polsce po roku 1989. W okresie transformacji ustrojowej nastąpiły zmiany w zakresie funkcjonowania instytucji kultury, w tym i teatrów. Polityka państwa określana jest przez pojęcia decentralizacji czy dewolucji (odejście od monopolu państwowego, przekazywanie instytucji kultury władzom gminnym i samorządom wojewódzkim) i deregulacji (proces odchodzenia od kontroli państwa, ideologiczna niezależność instytucji kultury). Publiczne teatry w Polsce reprezentują model teatru repertuarowego, którego podstawą jest stały zespół aktorski. Wzrast

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Goldmann, Kerry L. "Keepers of the Culture at 3201 Adeline Street." California History 98, no. 1 (2021): 98–120. http://dx.doi.org/10.1525/ch.2021.98.1.98.

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This article examines how the increase in the numbers of black-operated theaters between the 1960s and 1980s molded the character of black cultural and social movements in the West and nationally. The emphasis placed on institutionalizing black theater demonstrated a significant cultural front within the larger social, political, and economic conflicts of this era. These theatrical institutions were physical manifestations of the heart of Black Power campaigns, facilitating community outreach and sovereignty through separatism. Black theaters reflected local distinctions in leadership and ideo

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Shen, Dianhuai. "Method of Physical Action (MPA) in TAO Dance Theater." Communications in Humanities Research 9, no. 1 (2023): 290–96. http://dx.doi.org/10.54254/2753-7064/9/20231427.

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TAO Dance Theater is one of the contemporary dance companies with significant influence in the world. Its individualized and pure physicality prompts viewers to reevaluate and redefine aesthetics. This paper aims to investigate TAO Dance's "Method of Physical Action" which resembles Polish theatre master Grotowski's concept of "art as a vehicle." In other words, TAO Dance Theater achieves a suitable execution of self-constructed performance procedures, penetrating conscious and emotional manipulation under the influence of society and culture. It breaks away from the constraints of everyday li

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LAVRENTII, Roman. "ETHNOGRAPHIC DRAMAS AND PLAYS OF MANNERS AT THE UKRAINIAN THEATERS IN HALYCHYNA IN THE 1920s–1930s AS IN INSTRUMENT OF NATIONAL SELF-PRESERVATION." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 158–72. http://dx.doi.org/10.30970/vas.20.2019.10620.

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The issue of preserving the national identity in the conditions of statelesshood is still relevant. Artistic forms of national representation and the preservation of the national ethos, as well as various attempts to foreground it deserve close attention on the part of researchers. This article studies the stage practices of the touring theater companies in Western Ukraine that considered ethnographic dramas and plays of manners as an essential part of their repertoire. It traces the ways those plays were staged by the companies that seemed to pursue the repertoire policy which excluded plays

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Balestrini, Nassim Winnie. "Sensing a Twenty-First-Century Commons in the Theater: Relationality in a Climate of Distrust and Destruction." Journal of Contemporary Drama in English 12, no. 1 (2024): 14–33. http://dx.doi.org/10.1515/jcde-2024-2001.

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Abstract Conceptualizations of a “commons” have recently been gaining traction in theorizations of specific locations, gatherings, and activism in and beyond the arts. A theater-based commons that adopts a planetary and relational approach to selfhood, interaction, and future survival on Planet Earth tends to focus on breaking with social, political, economic, and aesthetic hierarchies. I will first introduce how notions of relationality have been integrated in theorizations of solidarity, humanitarian action, and a commons. Then, I will discuss these theorizations within the contexts of theat

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Leng, Haoran, Wei Xiong, and Bo Zhou. "The Sound Quality Characteristics of the Gan Opera Ancestral Temple Theater Based on Impulse Response: A Case Study of Zhaomutang in Leping, Jiangxi Province." Buildings 15, no. 6 (2025): 986. https://doi.org/10.3390/buildings15060986.

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Based on the relative lack of research on the acoustic characteristics of traditional Gan opera theaters, this paper takes the Zhaomutang theater in Leping, Jiangxi Province, as a case study. By employing impulse response measurements and sound quality index evaluation, this work investigates and analyzes the sound field characteristics of the stage, front patio, Xiangtang, rear patio, and Qintang through field measurements. The results show that the small volume and low ceiling in the stage area lead to higher early reflections and enhanced self-auditory support for performers. The semi-enclo

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Petcu, Ioana. "Change of Meaning and self-reference – Shakespearian Plays Adaptation in Olivier Py’s Concept." Philologica Jassyensia 40, no. 2 (2024): 253–67. https://doi.org/10.60133/pj.2024.2.20.

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In French dramaturgy, revisiting the Shakespearean canon is a significant path along with the writers value their own culture, history and literary style. The paradoxes and transition of meaning specific to the Elizabethan playwright are exploited in such a way that a fitting effect is produced (Sanders 2006) regarding the Bard’s plays. In theatre, translation is useful to the stage dynamics, from text to stage creating code or literary genre transformations, change of meaning offering new perspectives. The aim of this study is to follow the ways in which the translator Olivier Py, who is also

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Karelina, Yekaterina. "Tuvan Composer Ayana Oyun (Creative Portrait)." International peer-reviewed journal 11, no. 4 (2023): 68–77. http://dx.doi.org/10.59850/saryn.4.11.2023.30.

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Among the modern composers of Tuva, the personality and work of Ayana Oyun are covered little of musicology. The main stages of the composer’s creative biography are noted related to studying at Republican School of Arts and Kyzyl College of Arts, receiving a specialized education at Krasnoyarsk State Academy of Music and Theater, Mikhail Glinka Novosibirsk State Conservatory, as well as additional education at St. Petersburg Theatre Arts Academy. The composer’s creative portfolio is surveyed, providing an analysis of one of the illustrative works — the Piano Quintet. The periodization of crea

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Choi, Semi, and Yoonkyung Min. "A Narrative Study on the Performance Activity Experience of Daehak-ro Theater Artist by Generation." Korean Arts Association of Arts Management 64 (November 30, 2022): 59–92. http://dx.doi.org/10.52564/jamp.2022.64.59.

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Since the establishment of ‘Arko Arts Theater’ by the ARTS COUNCIL KOREA in 1981, the area around Dongsung-dong and Hyehwa-dong in Jongno-gu has been called ‘Daehak-ro’ and has become the center of the performing arts. However, there were not many studies that analyzed how Daehang-ro Theater Artist experienced and understood the policies implemented to revitalize the region and the changes in the commercial environment. With this awareness of the problem, this study tried to discuss the experience of theater activities of the Theater Artist staying in Daehang-ro while engaging in the theater c

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Vagapova, Natalia. "POLITICAL THEATER ON THE SCENES OF BELGRADE INTERNATIONAL THEATRE FESTIVAL." Urgent Problems of Europe, no. 2 (2021): 154–75. http://dx.doi.org/10.31249/ape/2021.02.07.

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The article presents a cultural and political analysis of the activities of the Belgrade International Theater Festival (BITEF) - a significant theatrical, general cultural and social phenomenon in Serbia, the Balkans / South-Eastern Europe, and throughout Europe as a whole. Before the collapse of the SFRY (1991-1992), being the official showcase of self-government socialism, the festival was at the same time one of the most representative shows of new theatrical trends in Europe. It was attended by troupes from the countries of the East and West - Western and Eastern Europe, the USSR, the USA

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Gontarski, Stanley. "The theater is always dying." Acta Universitatis Lodziensis. Folia Litteraria Polonica 59, no. 4 (2020): 191–209. http://dx.doi.org/10.18778/1505-9057.59.11.

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The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or

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Rosdeen Suboh. "MAKYUNG AS AN OLDEST FORM OF MALAY TRADITIONAL DANCE THEATRE IN SOUTHEAST ASIA." International Journal of Applied and Creative Arts 2, no. 1 (2019): 27–35. http://dx.doi.org/10.33736/ijaca.1441.2019.

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Almost all previous studies on the Makyung dance theater concurred that the aforementioned performance was the oldest form of traditional theater amongst the Malays in Southeast Asia. It arrived or started before the arrival of Islam to the Malay Peninsula. Unfortunately, the written record on Makyung only existed at the end of the 18th century. Hence, the exact date on the origin of Makyung is difficult to determine. This means that the main sources of research on Makyung are from oral traditions, including myths, as well as the evidence contained in the self-titled performances, and not only

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Dronov, Mikhail Yu. "Padyak V. Istoriia karpatorusyns′koho natsional′noho teatra y dramaturgiï. Vysokoshkols′kyi uchebnyk. Priashiv: Vydavatel′stvo Priashivs′koho univerziteta, 2018. 344 s." Slavic World in the Third Millennium 16, no. 1-2 (2021): 274–82. http://dx.doi.org/10.31168/2412-6446.2021.16.1-2.13.

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This article presents the textbook of the famous Transcarpathian and Slovak Rusinist Valery Padyak Istoriia karpatorusyns′koho natsional′noho teatra y dramaturgiï [History of the Carpatho-Rusyn National theatre and drama]. The Rusyns (more precisely, the Carpatho-Rusyns) are the autochthonous East Slavic population of the Carpathian region: Ukrainian Transcarpathia and the adjacent regions of Poland, Slovakia, Hungary, and Romania. There is also a Rusyn diaspora present in Serbia, Croatia, the USA, Canada, and other states. The number of Rusyns in the world is a controversial issue, one reason

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Oblova, Liudmyla, Svitlana Khrypko, Maryna Turchyn, Yuriy Pavlov, and Tatiana Bezprozvanna. "Metaphysics of Corporeality in the Post-modern Thinking. A. Artaud’s Theater: Self-less Actions, Mercantile Identity Accents." Postmodern Openings 13, no. 4 (2022): 84–100. http://dx.doi.org/10.18662/po/13.4/507.

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The article is devoted to the experience of postmodern representation of the metaphysics of corporeality. The meaning of A. Artaud’s “Theatre of Cruelty” is shown as a living act of ontologization of the body through the pain phenomenon. The game of mercantile and thinking participant in the action is distinguished. The purpose of scientific research: to distinguish between psychological and metaphysical experiences as those that determine the bodily and carnal goals of the participants; accordingly, to show the actions of selfish and selfless roles with their ability to pass or block pain. Ob

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Westgate, J. Chris. "David Hare's Stuff Happens in Seattle: Taking a Sober Account." New Theatre Quarterly 25, no. 4 (2009): 402–18. http://dx.doi.org/10.1017/s0266464x09000682.

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As The Power of Yes, the third play by David Hare to document recent history, opens at London's National Theatre, J. Chris Westgate examines in this article Hare's Stuff Happens in a regional production in the United States, at Seattle's A Contemporary Theater in 2007. He tracks the emphasis placed on controversy during the advertising and marketing of the play, which stands in direct contrast to the response to the play, which was received with self-satisfaction rather than increased insight in this highly liberal city. From this contrast, he discusses the way that this production of Hare's p

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Demchenko, Olena, and Inna Stakhova. "EUROPEAN EXPERIENCE IN ORGANIZING THEATRICAL ACTIVITIES IN PRIMARY SCHOOL TEACHERS TRAINING (BASED ON THE RESULTS OF THE JEAN MONNET MODULE PROJECT 620252-EPP-1-2020-1-UA-EPPJMO-MODULE)." Scientific Journal of Polonia University 51, no. 2 (2022): 31–39. http://dx.doi.org/10.23856/5104.

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The European integration processes that permeate the Ukrainian education system need to be strengthened through the implementation of the European experience. The use of European experience in the organization of theatrical activities in preparing students for raising children is meaningful and multifaceted in this context. Theatrical activity promotes the development of cognitive interests of future teachers, allows you to delve into the historical and social processes of writing a play, which expands the worldview, promotes self-realization, forms aesthetic tastes and preferences, stimulates

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ÜNEY, Muharrem. "A Theatre of a History: Major Themes in Early African-American Theater and their Relations with the History." International Journal of Social, Political and Economic Research 7, no. 4 (2020): 1023–39. http://dx.doi.org/10.46291/ijospervol7iss4pp1023-1039.

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Although it is not the first literary type that comes to mind related to African-American literature, the drama has become an important form of black self-expression. The black theater, modernized with time and adapted to the popular formats of the era, has achieved rapid development in the after-slavery period. The Harlem Renaissance was especially a booming era in this respect. This genre sometimes appears as a reinterpretation of the classics like Shakespeare's works with a black point of view, but most often it appears as exclusive works, belonging to, and produced for black people. Black

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Ley, Graham. "The Rhetoric of Theory: the Role of Metaphor in Brook's ‘The Empty Space’." New Theatre Quarterly 9, no. 35 (1993): 246–54. http://dx.doi.org/10.1017/s0266464x00007971.

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In his discussion-piece for NTQ 28 (1991), Graham Ley raised questions about the self-determination of the avant-garde, drawing on analogies from dance and design to explore the problem of the post-modern in the theatre. He also outlined a critique of what he called an ‘alternative establishment in theatrical endeavour’: here, he extends that critique into an analysis of the techniques of persuasion to be found in one of the most influential texts in post-war theatrical theory, Peter Brook's The Empty Space, arguing for an enhanced attention to be given to the language and textuality of theory

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Prokopovych, L. V. "Socio-philosophical analysis of the visualization of cultural identity in the “theater” of everyday life." Науково-теоретичний альманах "Грані" 22, no. 1 (2019): 57–67. http://dx.doi.org/10.15421/17198.

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The purpose of the study is to identify the specific features and socio-philosophical foundations of the visualization of cultural identity in the “theater” of everyday life. The research methodology is based on: 1) the theory of the image, which evolves from the perception of the image as a simple sign to the understanding that in some cases it can become a symbol (with broad interpretational possibilities); 2) method of sociocultural analysis in the framework of concept of theatricality of sociocommunicative manifestations of culture. The effectiveness of the concept of theatricality of soci

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Afandiyeva, Nazrin R. "Turandot by Carlo Gozzi in the Russian theatre reception of the 1910-1920s." Imagologiya i komparativistika, no. 18 (2022): 154–67. http://dx.doi.org/10.17223/24099554/18/8.

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The article discusses the staging of the play Turandot by C. Gozzi in Russia in the 1910-1920s. The reasons why Russian directors turned to the play of C. Gozzi at that time were determined by the theatre aesthetics of the Silver Age, when the plots of the Italian comedy and its characters were perceived as a manifestation of a pure comedy aesthetics. The author analyses the productions by Fyodor Komissarzhevsky in 1912 and Evgeniy Vakhtangov in 1922 and concludes that Komissarzhevsky brought the comedy of masks closer to the comedy of characters, which resulted in an aesthetically contradicto

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Nabil Mahmoud Abdullah, Neval. "Fragmented Psyches and Devastating Testimonies: Staging the Post- Traumatic Experience in Iraq through Heather Raffo's 'Nine Parts of Desire' and Judith Thompson's 'Palace of the End'." International Journal of Arabic-English Studies 17, no. 1 (2017): 109–26. http://dx.doi.org/10.33806/ijaes2000.17.1.6.

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How to represent the trauma of others so that it can still affect the spectators, shock them into recognition, and, above all, prompt them to act against war – is a crucial question posed by both women dramatists, Heather Raffo and Judith Thompson, in their two prominent theatrical reflections on war in Iraq, namely, Nine parts of Desire and Palace of the End, respectively. The present paper aims to prove that the plays under consideration are attached to fact and research, yet they skirt the boundaries of what we conventionally consider 'documentary' theatre by shifting the emphasis from the

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Bondareva, Olena. "A symbolic farewell to the “russian world” in the virtual playwright's anthology “Without them”." Synopsis: Text Context Media 31, no. 1 (2025): 27–32. https://doi.org/10.28925/2311-259x.2025.1.4.

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The object of analysis in this article is the playwright’s anthology Without Them, published in the public domain on the UKRDRAMACHUB resource in late 2022 — early 2023: the authors of the playwrights’ texts contained in it are the co-founders of the Dramaturgs’ Theatre, which today actively positions itself as a pro-Ukrainian creative theatre and playwrights’ center. The purpose of the article is to explore how playwrights who, even after 2014, collaborated with Russian theater and drama projects, against the backdrop of full-scale Russian aggression, define their Ukrainian self-identificatio

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Yusupov, Dr Azat A. "FEATURES OF THEATER-SPECTATOR INTERACTION." CURRENT RESEARCH JOURNAL OF HISTORY 02, no. 11 (2021): 68–72. http://dx.doi.org/10.37547/history-crjh-02-11-14.

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In this article, the traditions of perceiving the relationship between the theater and the actor exclusively as a performance and the artists playing in it were studied and analyzed, that the theatrical product is perceived by the theater workers themselves not as a volumetric and stereoscopic phenomenon, but, as a rule, is traditionally one-dimensional. Meanwhile, in modern society, theater acquires significance for the public not only as an art phenomenon, but also as an element of fashion, prestige, social status, the context of certain behavior, as a way of spending leisure time, self-pres

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Eriks Cline, Lauren. "The Long Run of Victorian Theater." Victorian Literature and Culture 48, no. 3 (2020): 623–31. http://dx.doi.org/10.1017/s106015032000025x.

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It's March 2020 as I write this, and the theaters are closed. Broadway is dark, and the Globe is once again shut due to a plague. Perhaps “self-isolation” is a strange condition under which to be thinking about crowded Victorian playhouses. As I make dates to watch movies with friends hundreds of miles away on the Netflix Party app, the media environment in which I pursue entertainment has perhaps never felt more dissimilar to that of nineteenth-century theatergoers. But, then again, maybe the photos of empty auditoria and deserted streets are the best demonstration of the space that public cu

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Visych, O. "Critiсal Discourse in Metadrama "Actress without Roles" by Varvara Cherednychenko". Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, № 1(87) (13 травня 2018): 58–62. http://dx.doi.org/10.35433/philology.1(87).2018.58-62.

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The history of drama shows that in transitional periods dramatic texts often turn into a space for analyzing of the ways of art development and, above all, the theater. Experiments, denial of traditions, and the acute need to update aesthetic coordinates become an integral part of the communicative discourse of characters, as well as the basis of dramatic conflict. Legitimate at such stages is the demand for metadramatic forms. The theory of metadrama actively develops in modern literary criticism, based on the studies of Lionel Able, Richard Hornby, Karen Viweg-Marks, Slavomir Sviontka and ot

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Zlotnikova, Tatiana S. "Civilizational and Mental Discourses of the Russian Theatre as an Identity Code." Observatory of Culture 16, no. 1 (2019): 4–15. http://dx.doi.org/10.25281/2072-3156-2019-16-1-4-15.

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The Russian theatre of the last centuries is a distinctly formed identity code, possessing certain content (social and moral) and formal (artistic and aesthetic, including those genre and verbal) features. The purpose of this article is to justify the presence of the Russian theater as an identity code, of which we believe there are two discourses — civilizational and mental.Drama is defined as a borderline civilizational code of the Russian theatre. This is both a kind of literature that has developed dynamically, paradoxically, creating an outstanding repertoire for the theater, and the def

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Johnson, Marina, and Nabra Nelson. "Exploring Affinity Spaces: Insights from the 2023 MENATMA Convening." Theatre Topics 35, no. 1 (2025): 45–52. https://doi.org/10.1353/tt.2025.a953951.

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Abstract: This Note from the Field explores affinity spaces, focusing specifically on the MENATMA (Middle Eastern North African Theater Makers Alliance) Convening, an affinity space for MENA/SWANA artists and scholars. Held annually, the MENATMA Convening exemplifies three primary aspects of affinity groups: Community Care and Solidarity, Sustainability and Self-Preservation, and Inclusivity and Intersectionality. Through a detailed examination of three key livestreamed panels from the Fall 2023 Convening in San Francisco—“Sustainability and Self-Preservation: Palestinian Artists Speak Out,” “

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TOMA, Florin. "THE CONVENTIONAL APPROACH OF DRAMATIC SITUATIONS TO THE DISADVANTAGE OF THE ORGANIC APPROACH FROM A HUMAN PERSPECTIVE." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 4, no. 1 (2020): 123–28. http://dx.doi.org/10.26520/mcdsare.2020.4.123-128.

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This study aims to present some arguments that would highlight the difference in the approach of a dramatic text from a literary, conventional perspective and from an organic, violently subjective one. The analysis of drama from an acting perspective involves a set of difficulties and peculiarities resulted especially from its dual nature, because it is in the same time literature (fiction), as well as theater (action, show). The completion of a dramatic text involves, most often, its transformation into a show, but also into a processually-objective reality through the actor's creativity. The

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Oláh, Tamás. "The Self-Definitions of the Hungarian Minority in Vojvodina in the Performances of the Tanyaszínház (Grange Theatre)." Theatron 17, no. 4 (2023): 53–61. http://dx.doi.org/10.55502/the.2023.4.53.

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The Hungarian travelling theatre company named Tanyaszínház (Grange Theater) was founded in 1978 in Yugoslavia, and it has not stopped since. In their performances, one can observe how successive political systems generated social issues that also affected minorities. These issues are not presented as historical facts but rather as everyday realities on stage. Their productions, which are given in villages and small towns, serve as prisms that directly reflect social experiences back to the community. From the history of the company’s performances, one can discern the infinitely complex narrat

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Baek, OKhyun, and Jairan Byun. "A Study on the Effective Cooperative Class of Korean language and Theater to Improve Self-Expression in Lower Grades of Elementary School." Institute of Humanities at Soonchunhyang University 41, no. 3 (2022): 139–67. http://dx.doi.org/10.35222/ihsu.2022.41.3.139.

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The purpose of this study is to propose efficient co-teaching for school teachers and theater instructors in the Korean language curriculum to improve self-expression among lower grade levels of elementary school. To this end, after identifying the basic concepts and components of self-expression and investigating self-expression from the perspective of theater, this study investigated self-expression education for the lower grades of elementary school. As a result of conducting a survey on theater teaching and learning methods on 10 theater instructors, it was identified that both Korean list

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Kuryumova, Natalia. "Provincial dances theatre: From a local project to a flagship of contemporary choreography in 35 years." Managing of Culture 4, no. 1 (2025): 37–47. https://doi.org/10.70202/2949-074x-2025-4-1-37-47.

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The article is devoted to the consideration of the phenomenon of the domestic dance theater, which appeared in Russia in the early 1990s, and one of the iconic representatives of which is the Yekaterinburg troupe "Provincial Dances". The goal is an attempt to periodize the 35-year creativity of the troupe and the inextricably linked creativity of the choreographer Tatyana Baganova. The periodization is based on mixed criteria. On the one hand, the connection of each chronological period with certain organizational changes, on the other - their connection with certain artistic and stylistic shi

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