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1
Purcell, Stephen. "A Shared Experience Shakespeare and popular theatre." Performance Research 10, no. 3 (January 2005): 74–84. http://dx.doi.org/10.1080/13528165.2005.10871440.
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Otto, Devin. "An Interdisciplinary Conducting Curriculum: Selected Theater Games From Viola Spolin’s “Improvisation for the Theater”." SAGE Open 10, no. 4 (October 2020): 215824402095492. http://dx.doi.org/10.1177/2158244020954927.
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This article presents a series of theater games with clear connections to conducting and rehearsing music ensembles, explaining both how to play them and how young conductors will benefit from the experience. These games are published in Viola Spolin’s seminal text Improvisation for the Theater, which presents a series of exercises that foster communication, creativity, immediacy, and spontaneity. Many games also focus on creating and communicating character through physical movement and posture, awareness of the body in space, and manipulation of “space objects,” which are imaginary props made real in the mind of the observer through understanding of shared human experiences. Theater games are effectively experienced in short periods of time, intended for players of all ability and experience levels, and encourage immediate emotive communication, making them highly effective for young conductors and easily incorporated into undergraduate and graduate conducting classes.
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Layng, Kris, Ken Perlin, Sebastian Herscher, Corinne Brenner, and Thomas Meduri. "CAVE: Making Collective Virtual Narrative: Best Paper Award." Leonardo 52, no. 4 (August 2019): 349–56. http://dx.doi.org/10.1162/leon_a_01776.
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CAVE is a shared narrative six degrees of freedom (6DoF) virtual reality experience. In 3.5 days, 1,927 people attended its premiere at SIGGRAPH 2018. Thirty participants at a time each saw and heard the same narrative from their own individual location in the room, as they would when attending live theater. CAVE set out to disruptively change how audiences collectively experience immersive art and entertainment. Inspired by the social gatherings of theater and cinema, CAVE resonated with viewers in powerful and meaningful ways. Its specific pairing of colocated audiences and physically shared immersive narrative suggests a possible future path for shared cinematic experiences.
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Teale, Polly. "‘Distilling the Essence’: Working with Shared Experience." New Theatre Quarterly 31, no. 3 (July 9, 2015): 213–22. http://dx.doi.org/10.1017/s0266464x15000469.
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In this wide-ranging interview of 25 November 2014, Polly Teale, writer, director, and Artistic Director of UK-based Shared Experience theatre company, reflects on her stage adaptations of literary works, the lives of their authors, and the processes of adapting texts between genres. Founded in 1975 by Mike Alfreds, Shared Experience has toured internationally from Sydney to Beijing with highly physical stage adaptations of literary texts and biographies that express the inner lives of complex and fascinating characters. Teale discusses the adaptation of her play Brontë to a screenplay, Shared Experience’s upcoming production of Mermaid, and rehearsal strategies she uses to encourage actors to explore the subjective truths that lie beneath the surface of their characters. Besides Brontë, past productions have included Jane Eyre, The Mill on the Floss, and After Mrs Rochester. Shared Experience was recently awarded a £105,000 grant by the Andrew Lloyd Webber Foundation and has won several theatre awards including Time Out’s Live Award for Best Play in the West End (2004) and an Edinburgh Fringe First Award (2010). Rebecca Waese is a lecturer and researcher in Creative Arts and English at La Trobe University, Melbourne. She is co-writing a book on Polly Teale and has previously written on interdisciplinary adaptations and dramatic modes in Australian and Canadian literature.
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Noy, Kinneret. "Creating a Movement Space: the Passageway in Noh and Greek Theatres." New Theatre Quarterly 18, no. 2 (May 2002): 176–85. http://dx.doi.org/10.1017/s0266464x02000258.
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Keir Elam's observation in 1980 that ‘the theatrical text is defined and perceived above all in spatial terms’ reflected a growing attention to the significance of spatial organization and utilization in creative and perceptive processes in the theatre. In the last twenty years space has found its long-deserved status as a prominent feature of the theatrical experience and a key element in theatre studies. In this article Kinneret Noy focuses on a unique spatial component shared by two theatrical traditions – the Greek and the Japanese. By comparing and contrasting the function of the eisodos in the Greek theatre with that of the hashigakari in the Japanese Noh, she offers a fresh look at both forms. The spatial relation between the passageway and the main ‘stage’ create what Mitsuo Inoue terms a ‘movement space’. Noy borrows this term from Japanese architecture to point the connection between theatrical space and dramatic techniques. After discussing the main characteristics of a ‘movement space’ in the theatre she deals with the differences that exist between Noh and Greek theatres' spatial qualities, suggesting some connections between developments in the theatres and social and political changes. A graduate from the University of Pittsburgh (1997), Kinneret Noy studied with the Noh master Takabayshi Shinji in Kyoto, and currently teaches in the Theatre Department and East Asian Department of Haifa University and the Hebrew University in Jerusalem.
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Barba, Eugenio, Christopher Cairns, and Judy Barba. "The Genesis of Theatre Anthropology." New Theatre Quarterly 10, no. 38 (May 1994): 167–73. http://dx.doi.org/10.1017/s0266464x00000324.
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This article – a chapter from The Paper Canoe: a Treatise on Theatre Anthropology, forthcoming from Routledge – was dedicated to NTQ's co-editor, Clive Barker, on his recent sixtieth birthday. In some senses, therefore, a reflection on the rite of passage into old age, it is more importantly a recognition of the quality and nature of experience understood – as applied to life and, in this case, to the profession of theatre. Eugenio Barba is the founder both of Odin Teatret and of ISTA, the International School of Theatre Anthropology, and here he links the impulses behind the two in highly personal experiences with universal implications – childhood epiphanies of feeling with the perception of theatrical genius, even the fending-off of boredom triggering an understanding of an actor's body movement shared across cultures and continents. Theatre, he concludes, ‘allows me to belong to no place, not to be anchored only to one perspective, to remain in transition’.
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Gildin, Marsha, Rose Binder, Irving Chipkin, Vera Fogelman, Billie Goldstein, and Albert Lippel. "Learning by Heart: Intergenerational Theater Arts." Harvard Educational Review 83, no. 1 (March 26, 2013): 150–52. http://dx.doi.org/10.17763/haer.83.1.r16186gr82t78471.
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We are a lucky group of older adults, ranging in age from sixty to ninety-two, who participate in an intergenerational arts program at our local senior center in Flushing, Queens, one of New York City's most culturally diverse communities. In our living history theater program, run by Elders Share the Arts (ESTA) and facilitated by ESTA teaching artist Marsha Gildin, we are joined weekly by fifth graders from PS 24, a public elementary school located around the corner. Some of our senior members joined just last year, while others have been involved for more than a decade. Our relationship with the children is very special and mutually nourishing. ESTA guides us in sessions based on sharing stories from life experience and in transforming memories into art. We explore our ideas through theater exercises and devise an original piece rooted in what we have learned from one another. Rehearsals are an ensemble learning process. With forty-five people on stage during our performances at the senior center and school, the performance experience is always challenging, surprising, and well received. We connect strongly with the children during the program year, and our goodbyes are tinged with sadness, for we have grown close in our shared art making. This year our theme focused on the power of music in our lives.
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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 culture has taken up in our lives. The vacuum shows us that what's missing mattered. And if scholars of Victorian theater have shared a primary goal, it's to insist on how deeply the collective experience of playgoing influenced the everyday practices and beliefs of the period—even when theater and drama may not always appear on Victorian syllabi or conference programs. This essay considers three recent studies in Victorian theater—The Cambridge Companion to English Melodrama (2018), edited by Carolyn Williams; The Drama of Celebrity (2019), by Sharon Marcus; and Everyone's Theater: Literature and Daily Life in England, 1860–1914 (2019), by Michael Meeuwis—to register the force that theatrical performance exerted on Victorians and to explore how that force could change our sense of the field. By dwelling with archives and objects that might otherwise get classed as cultural “ephemera,” these studies push us to acknowledge that the run of Victorian theater hasn't ended. In the collective pause before a moment of intense feeling, or in a contradictory attachment to a public figure who is both imitable and extraordinary, they find a repertoire of spectator behavior from which many of our own modes of attention derive.
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Motal, Jan. "Imagine the Utopia! Rethinking Alain Badiou’s Theatre-Politics Isomorphism." Slovenske divadlo /The Slovak Theatre 66, no. 3 (September 1, 2018): 311–29. http://dx.doi.org/10.2478/sd-2018-0019.
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Abstract The presented article is a polemic with Alain Badiou’s concept of theatre-politics isomorphism. The author adapts the basic elements of Badiou’s philosophy (event, void Ø, truth etc.), provides an interpretation of his theory of theatre and presents crucial critical arguments to reveal the reductionism of Badiou’s philosophy. Subsequently, the author presents his alternative theory of theatre based on this ground. The article assumes that theatre performance is a live, truthful event, an encounter of humans experiencing an imagined Utopia based on their structural homology (shared materiality, phylogenetic archetypal memory, existentiality). The argument is supported by the recent research in neuroscience. As the article argues, this Utopia has its social and political significance. The theatre is not political only if it constructs both a political body (crowd, public) and a discourse, as Badiou suggests. The author concludes that theatre is inherently political because its imaginative nature, which allows humans to experience the utopical attachment exceeding the subject-object boundaries. This imagined Utopia with its critical and anticipative power allows people to transcend their singularity to interpersonal and intercultural dialogue and universality, and it provokes their political imagination (in the sense of David Graeber). The author employs Erika Fischer-Lichte’s concept of performativity to present theatre performance as an event.
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Allen, David. "Exploring the Limitless Depths: Mike Alfreds Directs Chekhov." New Theatre Quarterly 2, no. 8 (November 1986): 320–35. http://dx.doi.org/10.1017/s0266464x00002335.
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‘Deadly British productions of Chekhov remain all too common.’ Or so suggests David Allen, who finds in the Chekhov productions of Mike Alfreds a refreshing recognition of the distinctively ‘Russian’ qualities of the plays, and an ability to render these in terms of the choices available to British actors. Mike Alfreds founded the Shared Experience company in 1975, and in Theatre Quarterly No. 39 (1981). Clive Barker interviewed him and members of the company on the processes of collective creation through which most of their productions then evolved: the present feature thus in part reflects Alfreds's own developing interest in working on ‘fixed’ scripts, both with Shared Experience, for whom he directed Three Sisters earlier this year, and in his work as guest director of The Cherry Orchard, first for Oxford Playhouse in 1982, and subsequently for the National Theatre at the Cottesloe, in 1985. In the following interview, Mike Alfreds's own perceptions of his work are intercut with author David Allen's observations during rehearsals, and the subsequent reactions of the critics.
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Howell-Meri, Mark. "Acting Spaces and Carpenters' Tools: from the Fortune to the Theatre Royal, Bristol." New Theatre Quarterly 25, no. 2 (May 2009): 148–58. http://dx.doi.org/10.1017/s0266464x09000244.
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Against the received wisdom, Mark Howell-Meri argues here for a continuing tradition between Elizabethan and Restoration (or ‘long eighteenth-century’) playhouses. He bases his argument in part on measurements which suggest the common use of traditional building methods and relationships between measurements and spaces based on ad-quadratum geometry, as shared by theatre builders across the centuries; but also on his own experience as a performance-practitioner specializing in an historiographical approach to making sense of eighteenth-century plays for today's audiences in surviving (or reconstructed) eighteenth-century spaces. He was the first director to restore a three-sided stage front to the Georgian Theatre (now Theatre Royal) in Richmond, Yorkshire, in 1987 with his hit production of Garrick's Miss in her Teens (1747), and other research productions have included Robert Dodsley's The King and the Miller of Mansfield (1737), Colman the Younger's Inkle and Yarico (1787), Inchbald's The Midnight Hour (1787), again at the Georgian Theatre in Richmond, and Lillo's The London Merchant (1731). He is now completing his doctoral thesis, ‘Theatre and Liberty: Eighteenth-Century Play Production on the Three-Sided Stage’.
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VARNEY, DENISE. "Identity Politics in Australian Context." Theatre Research International 37, no. 1 (January 26, 2012): 71–73. http://dx.doi.org/10.1017/s0307883311000794.
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Identity mobilises feminist politics in Australia and shapes discursive and theatrical practices. Energised by the affirmative politics of hope, celebration and unity, Australian feminism is also motivated by injustice, prejudice and loss, particularly among Indigenous women and minorities. During the 1970s, when feminist theatre opened up creative spaces on the margins of Australian theatre, women identified with each other on the basis of an unproblematized gender identity, a commitment to socialist collectivism and theatre as a mode of self-representation. The emphasis on shared experience, collectivism and gender unity gave way in the 1980s to a more nuanced critical awareness of inequalities and divisions among women based on sexuality, class, race and ethnicity. My discussion spans broadly the period from the 1970s to the present and concludes with some commentary on recent twists and turns in identity politics.
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Barba, Eugenio. "The Third Theatre: a Legacy from Us to Ourselves." New Theatre Quarterly 8, no. 29 (February 1992): 3–9. http://dx.doi.org/10.1017/s0266464x00006266.
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Eugenio Barba's work with Odin Teatret and the International School of Theatre Anthropology has always been substantiated by a body of written theory. In earlier issues of NTQ he has developed his ideas about the nature of the actor's work in relation to its energies and their origins in experience and social ritual – most recently, in NTQ20 (1989), discussing the way in which the actor's body is falsely perceived as an ‘instrument’, somehow separate from himself, and exploring the processes which give the actor a true ‘second nature’, distinguishing his work as ‘ritual in search of a meaning’. In the present article, he looks rather at the company or the lone practitioner pursuing a vision of theatre beyond the safe confines of institutional theatre. Such ‘Third Theatre’ may be short-lived – sometimes to be revered in retrospect, sometimes almost lost to history, sometimes confined to a theory never realized in practice. Eugenio Barba looks at the elements which these disparate kinds of ‘Third Theatre’ have in common, including a shared concern with the search for meaning, necessarily combined with a ‘personal discovery of the craft’ – that ‘patient building up of our own physical, mental, intellectual, and emotional relationship with texts and spectators, without conforming to those balanced and proved relationships current at the centre of theatre’.
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Bell, John. "Can Theatre Change Lives and Impact Underserved Communities?" Theatre Survey 57, no. 3 (August 10, 2016): 441–51. http://dx.doi.org/10.1017/s0040557416000478.
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It is hard to say if and how the experience of theatre might change lives or serve a community. Has theatre ever done so? Thinking of the effects of contemporary possibilities of ritual performance—a lifetime attending Catholic mass, yearly pilgrimages to Burning Man festivals or Disney World, an annual subscription to a regional theatre season, yearly participation in Mardi Gras, habitual involvement in political demonstrations, attending Red Sox games every season, following the Grateful Dead for years, or regular exposure to wayang kulit shadow-puppet shows in a Javanese village—one imagines that it's not so much that change takes place but that existing values are reinforced and community and personal identity are confirmed in live, shared experience. The live, in-time realization during a Donald Trump rally that one is not alone in feeling rebuffed and abused and that enemies can be identified, named, and vilified in a collective catharsis might change a life in the sense that both buried fears and suspicions and hopes for a “better” future might just be realized (in this case through the embrace of an authoritarian, if not fascist, spirit). This kind of transformation is not so much a doorway to change—a new direction—as it is a confirmation of convictions already deeply held.
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Golovlev, Alexander. "Theatre Policies of Soviet Stalinism and Italian Fascism Compared, 1920–1940s." New Theatre Quarterly 35, no. 04 (October 8, 2019): 312–24. http://dx.doi.org/10.1017/s0266464x19000368.
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In this article Alexander Golovlev offers a comparative examination of the theatre policies of Fascist Italy and Stalinist Soviet Union. He argues that, although the two regimes shared parallel time frames and gravitated around similar institutional solutions, Italian Fascism was fundamentally different in its reluctance to destroy the privately based theatre structure in favour of a state theatre and to impose a unified style, while Stalin carried out an ambitious and violent campaign to instil Socialist Realism through continuous disciplining, repression, and institutional supervision. In pursuing a nearly identical goal of achieving full obedience, the regimes used different means, and obtained similarly mixed results. While the Italian experience ended with the defeat of Fascism, Soviet theatres underwent de-Stalinization in the post-war decades, indicating the potential for sluggish stability in such frameworks of cultural-political control. Alexander Golovlev is Research Fellow at the International Centre for the History and Sociology of World War II and Its Consequences, National Research University, Higher School of Economics / Fondation de la Maison des Sciences de l’Homme, and ATLAS Fellow, Centre d’histoire culturelle des sociétés contemporaines, Université de Versailles-Saint-Quentin-en-Yvelines/ Université Paris-Saclay. His most recent publications include ‘Sounds of Music from across the Sea: Musical Transnationality in Early Post-World-War-II Austria’, in Yearbook of Transnational History 1 (2018) and ‘Von der Seine an die Salzach: die Teilnahme vom Straßburger Domchor an den Salzburger Festspielen und die französische Musikdiplom atie in Österreich während der alliierten Besatzungs zeit’, Journal of Austrian Studies (2018). He is currently working on the political economy of the Bolshoi theatre under Stalinism.
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Dunkle, Ruth E., Laura Sutherland, Garrett T. Pace, Ariel Kennedy, and Patricia Baldwin. "COMMUNITY BELONGING THROUGH THEATER: CREATIVE ARTS INTERVENTION FOR LOW-INCOME OLDER ADULTS." Innovation in Aging 3, Supplement_1 (November 2019): S198. http://dx.doi.org/10.1093/geroni/igz038.714.
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Abstract Creative arts can promote social contact and possibly reduce isolation. A professionally run theater group comprised of low-income older adults met for 12 weeks to learn basic skills and perform a play. Using a pre-post questionnaire, data were gathered from the treatment group (n=14) who participated in the class and a non-participating comparison group (n=5) to identify potential program effects on measures of social isolation, community belonging, and social exclusion. Participants were African American living in low-income housing in an urban area. The average age of the sample was 65 years, 21% were men, 83% had at least high school degree, 71% reported good to excellent health, and 58% reported at least one ADL. Regression analyses showed that a sense of community belonging was significantly greater for the treatment group than the comparison group at time 2.This was not the case when considering social isolation or social exclusion. When controls were added (age, health, and previous theater experience), the significant difference remained with higher age predicting a sense of community belonging. The greater number of class sessions attended was also associated with a greater sense of community belonging for the treatment group. Through the shared experience of theater, participants can gain a sense of community, but this activity does not seem to be related to social isolation or social exclusion. It could be that theater participation fosters a sense of belonging due to group dynamics but is not a significant enough activity to reduce a sense of isolation or exclusion.
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Clive, Rachel. "Panarchy 3: River of the Sea." Journal of Literary & Cultural Disability Studies: Volume 15, Issue 3 15, no. 3 (August 1, 2021): 329–46. http://dx.doi.org/10.3828/jlcds.2021.26.
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The article reflects critically on Panarchy 3: River of the Sea, a learning-disabled-led ecological performance project that evolved in connection with the River Clyde from 2018 to 2019. River of the Sea was a collaboration between The Panarchy Projects at the University of Glasgow and the Friday Club at the Citizens’ Theatre in Glasgow. The Friday Club is a learning-disabled theatre group with fifteen members that meets once a week to socialize and develop performance skills, and The Panarchy Projects are an ongoing series of neurodivergent-led, ecological, and theatre-based research projects. The article introduces the exploratory praxis of the River of the Sea project, which combines theatre practice as research method with participatory action research methods within an expanded ecological field. It then analyses the findings, insights, and accounts of experience which were generated through this praxis and shared in two very different performance events. The article ends by discussing these findings, suggesting that learning-disabled-led ecological performance practices, such as those explored in the River of the Sea project, can support aesthetic experimentation, and nurture solidarity. The article hopes to contribute to the development of what Alison Kafer has called a “cripped environmentalism” (131), and to the building of a bridge between learning disability and environmental discourses.
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AMES, MARGARET, DAVE CALVERT, VIBEKE GLØRSTAD, KATE MAGUIRE-ROSIER, TONY MCCAFFREY, and YVONNE SCHMIDT. "Responding to Per.Art'sDis_Sylphide: Six Voices from IFTR's Performance and Disability Working Group." Theatre Research International 44, no. 1 (March 2019): 82–101. http://dx.doi.org/10.1017/s0307883318000846.
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This submission by IFTR's Performance and Disability working group features responses by six participants – voices projected from Canada, New Zealand, Norway, Wales, England and Australia – to Per.Art's productionDis_Sylphide, which was presented on 7 July 2018 at the Cultural Institution Vuk Karadžić as part of IFTR's conference in Belgrade at the invitation of the Performance and Disability working group. Per.Art is an independent theatre company founded in 1999 in Novi Sad, Serbia, by the internationally recognized choreographer and performer Saša Asentić, the company's artistic director. The company brings together people with learning disabilities, artists (theatre, dance and visual arts), special educators, representatives of cultural institutions, philosophers, architects and students to make work. This co-authored submission examines how the production responds to three important dance works of the twentieth century – Mary Wigman'sHexentanz(1928), Pina Bausch'sKontakthof(1978) and Xavier Le Roy'sSelf Unfinished(1998) – to explore normalizing and normative body concepts in dance theatre and in society, and how they have been migrating over the course of dance histories. The shared experience of witnessing the performance provoked discussion on the migration of dance forms across time and cultures, as well issues of access and (im)mobility, which are especially pertinent to a disability studies context.
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Hatchuel, Sarah, and Nathalie Vienne-Guerrin. "From zones to Zoom: Shakespeare on screen in the digital era." Cahiers Élisabéthains: A Journal of English Renaissance Studies 105, no. 1 (July 2021): 3–13. http://dx.doi.org/10.1177/01847678211008362.
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This introduction explores the consequences of the digital revolution on the production, distribution, dissemination, and study of Shakespeare on screen. Since the end of the 20th century, the rise (and fall) of the DVD, the digitalisation of sounds and images allowing us to experience and store films on our computers, the spreading of easy filming/editing tools, the live broadcasts of theatre performances in cinemas or on the Internet, the development of online archives and social media, as well as the globalisation of production and distribution have definitely changed the ways Shakespeare on screen is (re)created, consumed, shared, and examined.
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Tuisku, Katinka, and Pia Houni. "Experiences of Cultural Activities provided by the Employer in Finland." Nordic Journal of Working Life Studies 5, no. 1 (March 1, 2015): 115. http://dx.doi.org/10.19154/njwls.v5i1.4768.
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The increasing mental demands of healthcare work call for developing complementary health promotion strategies. Cultural leisure activities have long been recognized as a source of wellbeing and coping for employees. Yet, little is known about implementation of employer-provided cultural activities—how they are encountered and experienced. In this study, a public sector hospital department offered monthly cultural events for personnel: Theater, concerts, musicals, dance-performances, museum visits and sight-seeing. A digital questionnaire was sent to hospital staff (N = 769) to ask about their participation in employer-provided cultural activities during the past 6 months. The motives and obstacles for participation, and the quality of experience of the cultural events, were explored quantitatively and qualitatively. The main motives for participation were related to well-being, content of cultural events and invitations from employer or colleagues. For some, the participation was hampered by work-shifts and missing information. The participants experienced recreation, relaxation and psychological detachment from strain, which is essential for recovery. Community participation was more common than individual participation. Shared cultural experiences among employees may increase the social capital at workplace, but equal access for all employees should be guaranteed.
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Hilmes, Michele. "Soundwork." Resonance 1, no. 4 (2020): 340–43. http://dx.doi.org/10.1525/res.2020.1.4.340.
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In the 1990s, thanks to digital convergence, many disciplines centrally concerned with the mediated uses of sound from a variety of different orientations—communication, musicology, speech, ethnography, history of technology, journalism, theater and drama, and art, to name a few—began to recognize the need for a new term to indicate their shared focus. Here I propose soundwork as that term, laying out the reasons why we need it, how it can change our thinking across a broad range of cultural forms, the kind of cultural and political work it can perform, and how linking sound to our understanding of lived experience changes the way that we perceive the world around us.
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Patrick, Holly. "Nested tensions and smoothing tactics: An ethnographic examination of ambidexterity in a theatre." Management Learning 49, no. 5 (October 31, 2018): 559–77. http://dx.doi.org/10.1177/1350507618800940.
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All organisations face contradictory demands, such as exploiting existing revenue sources while exploring new opportunities. The tensions of balancing these demands are largely met by employees, yet nearly all studies focus on the managerial perspective. This article uses an ethnographic study of a UK theatre to explore the experience of employees switching between exploitation and exploration in developing a play. Adopting a paradox lens, it identifies the existence of nested tensions. The organisational level is characterised by the well-studied contradiction between exploration and exploitation. Nested within this at the project level, a series of tensions are produced around resources, power, and learning. These tensions lead to an identity-based paradox for employees. They must perform well in the project to secure their ties of belonging to the organisation, but this simultaneously distances them from established expectations, weakening their ties of belonging. The article contributes to the literature on ambidexterity by illustrating the relational and emotional challenges faced by employees balancing exploitation and exploration, identifying the nested tensions involved in delivering ambidexterity, and through illustrating how employees smooth over these tensions using humour, shared vocabulary, and self-effacing language. On this basis, it argues for a practice-based view of ambidexterity as paradox.
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Smith, Matthew. "“At War ’Twixt Will and Will Not”: On Shakespeare’s Idea of Religious Experience in Measure for Measure." Religions 9, no. 12 (December 17, 2018): 419. http://dx.doi.org/10.3390/rel9120419.
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“Religions in Shakespeare’s Writings,” the title of this special issue, can prompt consideration not only of singular exceptions to the normative religious landscape but also of the ideas that support the banner under which a plurality of examples together may be described as “religious.” In recent years, readers of Shakespeare have devoted attention to exploring Shakespeare’s engagement with specific theological and sectarian movements in early modern Europe. Such work has changed how we view the relation between theater and its religious landscapes, but it may be that in focusing on the topical we overlook Shakespeare’s place among such sociologists and philosophers of religion as Montaigne, Hobbes, James, Weber, and Berger. To this end, I argue that in Measure for Measure Shakespeare uses law to synthesize certain aspects of religious experience from divergent corners. And drawing on descriptions of religion from anthropology and phenomenology, I suggest that Shakespeare unites his characters through patterns of action within this deadly exigency that demonstrate a shared experience of religion as a desire for salvation beyond the law.
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Favre, June. "Did Clive Barker Write The Hostage?" New Theatre Quarterly 23, no. 4 (November 2007): 326–30. http://dx.doi.org/10.1017/s0266464x07000243.
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Clive Barker often wrote about Joan Littlewood and his time at Theatre Workshop with a mixture of warmth and bewilderment at her unorthodox methods. While preparing her doctoral thesis, Text and Collaboration: an Examination of the Roles of Joan Littlewood and Theatre Workshop in the Genesis and Production of Brendan Behan's ‘The Hostage’, at the National University of Ireland, Galway, June Favre wrote to Clive praising the article ‘Closing Joan's Book: Some Personal Footnotes’ (NTQ, May 2003). As a result of that first letter, Clive and June began a correspondence – exchanging questions, notes, published and unpublished material, with a final email to June dated 4 March 2005, less than two weeks before his death on 17 March. Clive had accepted the position of external examiner for the thesis with the viva voce to take place 10 May 2005 in Galway – a city Clive had never visited. An email sent on 21 February 2005 informed June that Clive was looking forward to ‘seeing the sun go down on Galway Bay’. His sudden death deprived him of that pleasure. Concluding the ‘Acknowledgments’ of the thesis, June wrote: ‘Above all my heartfelt gratitude for the dozens of emails, letters, and articles Clive Barker shared with me. He promptly supplied information on Joan Littlewood and the productions of Brendan Behan plays from first-hand experience.’ There follow some of the informative and humorous exchanges between Clive and June, who was awarded her doctoral degree later in 2005.
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Pufahl, Jeffrey, Jaison Nainaparampil, and Carol A. Mathews. "Inside OCD: Perspectives on the Value of Storytelling with Individuals with OCD and Family Members." Healthcare 9, no. 8 (July 21, 2021): 920. http://dx.doi.org/10.3390/healthcare9080920.
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The Center for Arts in Medicine at the University of Florida (UF) partnered with the UF Center for OCD, Anxiety, and Related Disorders to develop a storytelling program for individuals with obsessive compulsive disorder (OCD) and their families. Over ten weeks, participants shared stories regarding their experiences with OCD and engaged in theater and storytelling exercises. In collaboration with each other and the facilitators, participants workshopped and transformed their stories into a cohesive theatrical performance. Participants performed in front of a live audience and engaged in a post-show discussion with the audience, which focused on the diagnosis of OCD, stigma regarding the illness, and the benefits of the program. Program members participated in a post-program focus group and completed a qualitative and quantitative online survey. Participants reported improved understanding of their OCD, more acceptance from family and friends, less shame and guilt related to their OCD, and more confidence about sharing their OCD stories. Although the program was not designed to be therapeutic, participants also reported therapeutic value. Preliminary findings of this study suggest storytelling programs can lead to a reduction in both self-stigma and community stigma; improvement of understanding of the lived experience of OCD by families, loved ones, and clinicians; and facilitation of interpersonal connections.
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Zadek, Peter. "Hoping for the Unexpected: the Theatre of Peter Zadek." New Theatre Quarterly 1, no. 4 (November 1985): 323–37. http://dx.doi.org/10.1017/s0266464x00001743.
Full textAbstract:
Over the last three decades the work of Peter Zadek in Germany has consistently aroused strong reactions, whether of lavish enthusiasm or disdainful rejection (Peter Stein is supposed to have commented that Zadek's productions of Shakespeare were ‘Shakespeare with his trousers down’). Whatever the critical reception, Zadek's work demands close attention for its free-wheeling, unpredictable, and dangerous qualities, as well as for the remarkably sensitive interplay he achieves between his actors. If Stein's productions at the Schaubühne and elsewhere are masterpieces of formal perfection, Zadek's work by contrast is characterized by a flamboyant, imaginative exploration of the text and a healthy suspicion of polished results. In the interview which follows, Roy Kift discussed with Peter Zadek not only his attitudes to the problems of acting, but also his opinions on German theatre and literature and the experiences which shaped his development as one of West Germany's leading directors. Roy Kift has been living in West Berlin since 1981, where he has written plays for stage and radio and a prizewinning opera libretto, as well as directing for theatre and television. His article on the GRIPS Theater in Berlin appeared in TQ 39 (1981).
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CAMPBELL, ALYSON, and STEPHEN FARRIER. "Queer Practice as Research: A Fabulously Messy Business." Theatre Research International 40, no. 1 (February 6, 2015): 83–87. http://dx.doi.org/10.1017/s0307883314000601.
Full textAbstract:
This short piece highlights a current spurt in queer researcher–practitioners doing practice as research (PaR) in higher education and explores potential reasons why PaR is so vital, appealing, useful and strategic for queer research. As a starting point, we offer the idea of messiness and messing things up as a way of describing the methods of PaR. Queer mess is to do with asserting the value and pleasure of formations of knowledge that sit outside long-standing institutional hierarchies of research. The latter places what Robin Nelson calls ‘hard knowledge’ above tacit, quotidian, haptic and embodied knowledge. The methodological and philosophical impulses of PaR make space for a range of research methods inherently bound up with the researcher as an individual and the materiality of lived experience within research. Yet, in our experience, although each PaR project is individual, PaR projects follow certain shared modes evolving largely from embodied and heuristic research methods adapted from social sciences, such as (auto)ethnography, participant observation, phenomenology and action research. PaR methodology in theatre and performance is composed of a bricolage of these openly embodied methods, which makes PaR, as an embodied resistance to sanitary boundaries, somewhat queer in academic terms already. It is unsurprising, then, that PaR is so attractive to queer practitioner–researchers bent on queering normative hierarchies of knowledge.
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Rajan, Doris, Roshanak Jaberi, and Shahrzad Mojab. "Confronting Sexual Violence Through Dance and Theatre Pedagogy." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 5, no. 2 (June 1, 2019): 255–61. http://dx.doi.org/10.15402/esj.v5i2.68349.
Full textAbstract:
The historically-shaped violence embedded in ongoing relations of colonization and imperialism for both refugee and Indigenous women across the globe are stories mostly told in reports and statistics. The performance-based art forms of theatre and dance can enhance knowledge sharing, build relationships and assist women in a deeper understanding of their realities. In pursuit of an effective use of these art forms; however, scripted stories need to ensure that women who experience oppression, formulate the storytelling. In addition, the enactment and representation should share women’s material histories in order to contextualize experiences in terms of specific relations to land, war, violence, displacement and dispossession. Using the two case studies of Doris Rajan’s play, A Tender Path and Roshanak Jaberi’s multidisciplinary dance project, No Woman’s Land, this article examines how community-engaged research and performance arts-based approaches can be used to challenge and provoke our ways of understanding and thinking about how to disrupt and alter oppressive relations.
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MONDINI, MARCO. "The Construction of a Masculine Warrior Ideal in the Italian Narratives of the First World War, 1915–68." Contemporary European History 23, no. 3 (June 26, 2014): 307–27. http://dx.doi.org/10.1017/s0960777314000162.
Full textAbstract:
AbstractIn Italy from the 1920s to the post-1945 period, soldiers’ autobiographical writings represented the ‘theatre of memory’ to the new generations: they handed down the meaning of intervention, mobilisation and sacrifice. They are characterised by two shared elements. The first one is the recurring theme of self-sacrifice. At the core of all war stories there is the experience of fighting and death; this is a liminal experience that fixes one's relation to war. The second one is the author's profile. The narrator of the ‘warrior phenomenon’ is almost invariably a young reserve officer, which means, in the majority of cases, a twenty-year old middle-class man, often a high-school graduate or a university student. The most powerful leitmotiv running through the mixed array of texts and genres that make up the ‘narrative field’ of the Great War is the metaphor of the military community as a ‘family’. Young officers, typically former students from a city background and interventionists at heart, consistently referred to their admission to the ‘family’ of soldiers at war as a life-changing transition: they had left behind their ordinary bourgeois existence, comfortable and safe (and therefore ‘unmanly’), to step into a new world, a dimension of death and suffering, but also comradeship and solidarity. Pure and unshakeable, genuine and disinterested, brotherhood in arms is so deeply felt that it borders on the intensity of a homoerotic relationship, although the latter is rarely made explicit.
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Lin, Geng, Hao Wu, Xiaoru Xie, Fiona Fan Yang, and Zuyi Lv. "Negotiation between modernity and local culture in moviegoing practice: A case study of a traditional movie theater in Guangzhou Metropolis." International Journal of Cultural Studies 24, no. 5 (March 10, 2021): 707–30. http://dx.doi.org/10.1177/1367877921993819.
Full textAbstract:
As a medium for delivering modernity, movie theaters have faithfully recorded the dialogue between modernity and local daily lives. In contrast to modern movie theaters, traditional cinemas are distinguished by their long history, through which they reflect the changing connotations and social construction of modernity over time. Based on detailed analysis of the historical and social characteristics of Nanguan cinema, a 100-year-old movie theater in Guangzhou, China, we reach the following two conclusions: first, shaped by local traditional culture, the practice of moviegoing localizes modernity with a distinctive grassroots feature that enlivens everyday lives; second, moviegoing at traditional theaters in modern metropolitan areas has further enriched the connotations of modernity by providing a nostalgic experience for audiences.
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Hornbrook, David. "Drama, Education, and the Politics of Change: Part One." New Theatre Quarterly 1, no. 4 (November 1985): 346–58. http://dx.doi.org/10.1017/s0266464x00001767.
Full textAbstract:
Drama-in-education is a subject – or a set of theories – which became an educational discipline almost by historical accident, and about which strong feelings can still be aroused. That the arguments are too often confined to educationalists is symptomatic of the way the problems raised have seldom been shared with or considered by people working in professional theatre – and this in turn reflects the way that the subject has tended to be taught, with the emphasis strongly on its ‘educational’ rather than its ‘theatrical’ potential. Back in 1973. David Clegg's article ‘The Dilemma of Drama in Education’, in TQ9, caused a briefly wider flurry of interest, and in the present article David Hornbrook also attempts to put the subject into a contemporary critical perspective, looking here at what children are supposed to ‘learn’ and ‘experience’ through drama, and in the second part of his article, to follow in NTQ 5, examining present and future prospects for the subject. A repertory actor in the 1960s. David Hornbrook has himself taught drama in a large comprehensive school, and is currently Head of Performing Arts at the City of Bath College of Further Education, and Special Lecturer in Drama in the University of Bristol.
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Roeva, Evgeniya. "THE TEACHER IN THE ROLE OF THE CLASSROOM STAGE." Education and Technologies Journal 11, no. 1 (August 1, 2020): 162–67. http://dx.doi.org/10.26883/2010.201.2251.
Full textAbstract:
The article offers an attempt to present school theatre as a method for innovative teaching in the parameters of the modern school. Presents the teacher’s approach in a role by preparing students for theatrical performances. The different epoch has its relation to the theatre and its purpose. Every educator engaged in the mission to lead a school theatre; it is good to know the basic normative aesthetics. The school theatre is not a space for professional actors, but a territory for students. Theories of theatre, public performance, roleplaying, theatre in education and stage interpretations will be presented. Theatre and speech techniques are very closely related, so a short oratory manual will be described. Methodological practices and positive experiences are shared.
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Pillai, Shanti. "Global Rasikas: Audience Reception for Akram Khan’s Desh." TDR/The Drama Review 61, no. 3 (September 2017): 12–35. http://dx.doi.org/10.1162/dram_a_00671.
Full textAbstract:
Spectatorship is shaped by structures of feeling that link individuals to the social both in and out of the theatre. The Indian concept of “rasika,” in which reception operates at the union of knowledge and feeling, illuminates the responses of audience members who share Khan’s experience of cultural hybridity and transnational mobility, even as Khan acknowledges spectators who do not share his cultural references.
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Balabuch, Allison. "The French Play: An Ethnodrama About Applied Theatre for Social Justice Education in Middle School." in education 26, no. 2 (June 8, 2021): 92–113. http://dx.doi.org/10.37119/ojs2021.v26i2.487.
Full textAbstract:
In this study, I investigate the use of applied theatre with French Immersion Grade 8 students to better understand social justice issues. Through unstructured interviews, four participants were asked to recall their past experiences participating in applied theatre projects as a learning experience and as a process to better understand social justice issues. Participants’ words and feedback were then used to create an ethnodrama script, performed by the participants and me via video conference. Findings are grouped under five categories; Doll’s (2013) 4Rs: Richness, Rigor, Recursion, and Relations and Freire’s (2000) concept of conscientization. Participants in applied theatre reported they had a space to tell authentic stories in their own words, became more self-confident, and work towards being catalysts for change. The purpose of this article is to inform educators of the possibilities in using applied theatre and problem-posing education for social justice education and to share the process of ethnodrama as a methodology in arts-based research.
Keywords: applied theatre; ethnodrama; problem-posing education; social justice education
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Huschka, Sabine. "Media-Bodies: Choreography as Intermedial Thinking Through in the Work of William Forsythe." Dance Research Journal 42, no. 1 (2010): 61–72. http://dx.doi.org/10.1017/s0149767700000838.
Full textAbstract:
Since Ballet Frankfurt was reconstituted as the Forsythe Company in 2004, William Forsythe has increasingly explored formats of installation art practice. Works such as Human Writes (in collaboration with Kendall Thomas, 2005) and You made me a monster (2005) develop within an interactive and intermedial space and experiment with new ways to experience the production and perception of movement. “Performance installation” is the new term for this intertwined process of movement production and movement perception. The choreographic composition itself grows out of procedures of performative sensing by the dancers, which spreads to onlookers. This multiplex awareness of movement for which the dancer's body is the medium constitutes what I shall call the “media-body” as an essential moment of performance installation as choreographic event. Compared to earlier Forsythe installations—which he called “choreographic objects”—like White Bouncy Castle (1997), City of Abstracts (2000), or Scattered Crowd (2002), with their accessible spaces of movement (in White Bouncy Castle the spectator was a visitor moving about freely inside a white inflatable castle, and City of Abstracts featured choreographic projections of movement on large screens in open spaces) performance installations take place squarely in the theatrical context: in theater lobbies, exhibit halls, or accessible public performance spaces where dancers and the audience come together in a mutually shared yet operationally divided space that leads them into an interactive relationship.
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Meyer-Dinkgräfe, Daniel, and Anita S. Hammer. "Performance as Philosophy — the universal language of the theatre revisited." Nordic Theatre Studies 28, no. 2 (February 21, 2017): 97. http://dx.doi.org/10.7146/nts.v28i2.25520.
Full textAbstract:
The history of philosophy is widely considered as the history of exercises in speculation. However, it is also possible to understand philosophy not as the outcome of speculation, but at the attempt by philosophers to explain, make sense of, and ultimately share, their own experiences of a very subtle, powerful and spiritual nature. The growing field of performance philosophy begins to acknowledge the potential of considering philosophy as an expression of immediate experience rather than distant speculation. This acknowledgement can take the shape of employing performance to express philosophy — in more immediately experienced ways than verbal language is ever able to convey. Writing about this non-verbal dimension is difficult, and the result limited by its very nature, but in this article, we discuss the principle, and provide an example in the performance philosophy, captured under the term of body thinking, of German philosopher and dancer Aurelia Baumgartner.
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Meyer-Dinkgräfe, Daniel, and Anita S. Hammer. "Performance as Philosophy — the universal language of the theatre revisited." Nordic Theatre Studies 28, no. 2 (February 24, 2017): 97. http://dx.doi.org/10.7146/nts.v28i2.25604.
Full textAbstract:
The history of philosophy is widely considered as the history of exercises in speculation. However, it is also possible to understand philosophy not as the outcome of speculation, but at the attempt by philosophers to explain, make sense of, and ultimately share, their own experiences of a very subtle, powerful and spiritual nature. The growing field of performance philosophy begins to acknowledge the potential of considering philosophy as an expression of immediate experience rather than distant speculation. This acknowledgement can take the shape of employing performance to express philosophy — in more immediately experienced ways than verbal language is ever able to convey. Writing about this non-verbal dimension is difficult, and the result limited by its very nature, but in this article, we discuss the principle, and provide an example in the performance philosophy, captured under the term of body thinking, of German philosopher and dancer Aurelia Baumgartner.
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Kubiak, Anthony. "Virtual Faith." Theatre Survey 47, no. 2 (September 12, 2006): 271–76. http://dx.doi.org/10.1017/s0040557406000251.
Full textAbstract:
The recent rubs and resistances within the various flows of religious thought and practice in American culture and politics have become near clichés. The impact of right-wing religions on government and cultural policies has been well noted, as have the concomitant attempts to keep religion of all kinds out of politics entirely. Meanwhile, the problematic status of Islam both locally and globally has become a continuous topic of debate, as have the debates over creationism and so-called intelligent design in American schools. These high-profile debates have in turn eclipsed the suspicions of academic leftist thought regarding religious questions of any sort, and this has in turn resulted in an entrenchment of theory—especially political theory—into a kind of religiosity of its own, while various forms of revivalism have signaled the mutation of faith into dogma, most recently the dogma of moderation. Each of these issues, apart from its intrinsic importance and currency, speaks to the practice of religion as a fundamentally philosophical problem of appearances that continues to emerge as a first cause of politics and of culture. The status of religion as a uniquely performative issue will, I think, occupy theorists over the coming years. Indeed, I suggest here that the thinking through of religion and spirituality will necessarily take place along the ontologic fault lines not just of performance but of theatre itself, and will come to delineate the important differences between performance and theatre. Finally, the reappraisal of religion as an ontologically charged theatricality will move into areas far afield from normative spirituality: cyberreligions and technoshamanism, chaos magic and the new alchemies, rave culture and other varieties of hyperinduced trance states.1 Although the focus in these newer forms of performance is almost exclusively on music, sound, and movement, the ultimate goal is the created intensity of a shared performative experience framed by theatrical perception: Artaud is the genius cited by nearly all of the authors of these phenomena. One larger suggestion here, in fact, is the moribund state of current theory, which sees dance culture (techno, hip-hop, electronica, rave), when it sees it at all, almost exclusively in cultural and political terms, ignoring the ecstatic, trance, and transformative aspects of DJ culture at large.2
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Hogan, Jake, and Matt Omasta. "Performing the Lived Experiences of LGBTQIA+ Individuals From Religious Backgrounds." Cultural Studies ↔ Critical Methodologies 21, no. 3 (January 19, 2021): 276–86. http://dx.doi.org/10.1177/1532708620987258.
Full textAbstract:
This article shares the playscript of an ethnodrama by and about people from religious backgrounds who identify as LGBTQIA+ (Lesbian, Gay, Bisexual, Transgender, Queer/Questioning, Intersex, and Asexual/Aromantic; “+” refers to the multitude of other identities included within Queerness and/or Transness) that was devised and performed at Utah State University. The applied theater project sought to understand, value, and share these peoples’ experiences, including the myriad roles religion played in their lives. Applied theater works to inspire social change through the performance of live productions. This project strove to help amplify the participants’ voices as they explored topics and issues that they uniquely face. The central research question for this project was “How do people from religious backgrounds who identify as LGBTQIA+ understand, process, and interact with individuals and institutions they encounter on a regular basis?” Specific themes and topics included familial responses to participants’ queer and religious identities, how participants sought to find and create community, how they experienced acceptance and rejection, and ways religious belief intersected with their queer identities.
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Mundy, Amrit, and Judy Chan. "8. Visualizing Boundaries and Embodying Conflicts: Lessons Learned From a Theatrical Professional Development Program." Collected Essays on Learning and Teaching 6 (June 17, 2013): 41. http://dx.doi.org/10.22329/celt.v6i0.3764.
Full textAbstract:
In the 2011-2012 academic year, the Organizational Development and Learning unit and the Centre for Teaching, Learning and Technology at the University of British Columbia co-developed an interactive theatre project, Conflict Theatre, to engage in discussion around conflict with our audience and to allow us to explore, engage with, and build resilience around workplace conflict in a University staff development context. The objectives of this essay are to narrate our thinking and experiences in developing and performing the interactive theatre sketches, and to share personal reflections from a range of Conflict Theatre participants.
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Robson, Mark. "Performing Democracy." Anglia 136, no. 1 (March 8, 2018): 154–70. http://dx.doi.org/10.1515/ang-2018-0014.
Full textAbstract:
AbstractThe debate about the relationship between theatre and democracy rests on a presumption that both the artform and the political form share an intertwined history, based in their co-appearance in Greece. Equally well-known is the antagonism towards both theatre and democracy that emerges at the same moment, most clearly found in Plato. This essay revisits this history in order to set up an examination of two contemporary theatre performances that explicitly raise the relationship of democracy and theatre, the British company Punchdrunk’s The Drowned Man and the Belgian company Ontroerend Goed’s Fight Night. Both, in very different ways, approach democracy through a focus on audience experience. How, then, might these productions be read in terms of a democracy-to-come and a theatre-to-come?
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Watson, Ian. "Letter to an Editor: the Yesterday and Today of Poland's Teatr Ósmego Dnia." New Theatre Quarterly 21, no. 1 (January 26, 2005): 52–60. http://dx.doi.org/10.1017/s0266464x04000338.
Full textAbstract:
Teatro Ósmego Dnia, the Theatre of the Eighth Day, has for forty years flourished in Poland, never as part of the established theatre, but as one of what Eugenio Barba calls the ‘floating islands’ – those companies which live as much as make theatre, and form part of an informal international circuit of like-minded though distinct and individual groups. Ian Watson here shapes his own memories of the group in the form of a letter to one of NTQ's co-editors, with whom he has shared experiences of Polish theatre, and in particular the work of Eighth Day, relating their history to the changing political and economic environment in Poland, and the company's relationship with the outside world. Ian Watson, who is a Contributing Editor of New Theatre Quarterly, teaches at Rutgers University, Newark, where he is the Acting Chair of the Department of Visual and Performing Arts. He is author of Towards a Third Theatre: Eugenio Barba and the Odin Teatret (Routledge, 1993) and of Negotiating Cultures: Eugenio Barba and the Intercultural Debate (Manchester University Press, 2002). He edited Performer Training across Cultures (Routledge, 2001), and has published numerous articles on theatre in scholarly journals.
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Toporišič, Tomaž. "Collectives, Communities and Non-Hierarchical Modes of Creation from the 1970s till the 1990s." Theatre and Community 9, no. 2021-1 (June 23, 2021): 18–51. http://dx.doi.org/10.51937/amfiteater-2021-1/18-51.
Full textAbstract:
Within the twenty-year period that coincides with the first twenty years of the Glej Theatre, the essay concentrates on the formation and transformations of non-hierarchical theatre communities, or, in the words of one of its founders, Dušan Jovanović, theatrical tribes. Using historical and present-day examples, the author will try to map the specific devised theatrical procedures producing what Badiou names “a generic vacillation”: “Theatre turns every representation, every actor’s gesture, into a generic vacillation so as to put differences to the test without any supporting base. The spectator must decide whether to expose himself to this void, whether to share in the infinite procedure. He is summoned, not to experience pleasure (which arrives perhaps ‘on top of everything’, as Aristotle says) but to think” (Rhapsody, 124).The essay strives to answer the following questions: How did the Slovenian experimental and non-institutional performing arts scene (as a reaction to the hierarchical structure of repertory theatres) create different non-hierarchical modes in relation to creating the performances, the theatre’s artistic direction and forming temporary communities with emancipated audiences? To which models did this scene turn – then and today – to develop its own logic of devised and collaborative theatrical tactics? And lately: To what extent have those different artistic collaborative tribes changed the theatrical landscape in Slovenia, Yugoslavia and elsewhere?
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Weitz, Shoshana. "Theatre and Society in Israel." Theatre Research International 13, no. 2 (1988): 105–22. http://dx.doi.org/10.1017/s0307883300014413.
Full textAbstract:
In Why We Need Broadway, the American scholar and critic Stanley Kaufmann depicts the theatre auditorium as the last remaining public meeting place for the lonely souls who together constitute Western society, a place where the concept of a public still exists, a place which attracts individuals who have paid out of their own pockets for a ticket which entitles them to share a personal experience with the strangers seated beside them in the dark, and with whom, for one evening, they become a community – or at least the closest thing to a community possible in the Western city of today.
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Furlong, Anne. "Shared communicative acts in theatre texts in performance." International Journal of Literary Linguistics 9, no. 3 (July 12, 2020): 1–23. http://dx.doi.org/10.15462/ijll.v9i3.121.
Full textAbstract:
This paper adopts a relevance theoretic approach to meaning making in theatrical texts and performances. Text-based theatrical performances are collaborative creative events, many of whose participants may never engage directly with an audience member, but all of whom are engaged in making and conveying meaning. Such texts communicate immediately to multiple audiences: readers, actors, directors, producers, and designers. They communicate less directly to the writer’s ultimate audience – the playgoer or spectator – through the medium of performance. But playgoers are not passive receptacles for interpretations distilled in rehearsal, enacted through performance, or developed in study and reflection. Rather, in the framework of communication postulated by relevance theory, the audience is an active participant in making meaning. I will briefly review a range of approaches to meaning making in theatre, and then outline my view of a relevance theoretic account of theatre texts and performances as related but distinct communicative acts. For Weimann (1992), discussing the German playwright, Heiner Müller, “language is first and foremost material with which the audience is expected to work so as to make and explore their own ‘experiences’” (p. 958). By contrast, T. S. Eliot characterised performances as ‘interruptions’ of the relationship between writer and audience; in ‘a true acting play’, he asserted, the actor added nothing (Eliot, 1924, p. 96). Campbell (1981) argues that “the theatre cannot gear its production to actual audiences”, as only the “finest and most appreciative of abstract audiences for that play” (p. 152) can properly grasp its meaning. For him, the disparate capacities, views, and expectations of a given audience present a profound challenge to theatre as communication. Connor (1999) addresses the same issue, pointing out that if readers can disagree about the meaning of a text, then spectators are even less likely to agree on what a given performance means (p. 417). Unlike Campbell, however, she regards this diversity as enriching, concluding that meanings “develop from co-production with spectators as subjects” (p. 426). Relevance theory provides a framework in which to begin to disentangle the overlapping and interacting, but equally vital, contributions of writer, company, and audience in making meanings.
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Furlong, Anne. "Shared communicative acts in theatre texts in performance." International Journal of Literary Linguistics 9, no. 3 (July 12, 2020): 1–23. http://dx.doi.org/10.15462/ijll.v9i3.121.
Full textAbstract:
This paper adopts a relevance theoretic approach to meaning making in theatrical texts and performances. Text-based theatrical performances are collaborative creative events, many of whose participants may never engage directly with an audience member, but all of whom are engaged in making and conveying meaning. Such texts communicate immediately to multiple audiences: readers, actors, directors, producers, and designers. They communicate less directly to the writer’s ultimate audience – the playgoer or spectator – through the medium of performance. But playgoers are not passive receptacles for interpretations distilled in rehearsal, enacted through performance, or developed in study and reflection. Rather, in the framework of communication postulated by relevance theory, the audience is an active participant in making meaning. I will briefly review a range of approaches to meaning making in theatre, and then outline my view of a relevance theoretic account of theatre texts and performances as related but distinct communicative acts. For Weimann (1992), discussing the German playwright, Heiner Müller, “language is first and foremost material with which the audience is expected to work so as to make and explore their own ‘experiences’” (p. 958). By contrast, T. S. Eliot characterised performances as ‘interruptions’ of the relationship between writer and audience; in ‘a true acting play’, he asserted, the actor added nothing (Eliot, 1924, p. 96). Campbell (1981) argues that “the theatre cannot gear its production to actual audiences”, as only the “finest and most appreciative of abstract audiences for that play” (p. 152) can properly grasp its meaning. For him, the disparate capacities, views, and expectations of a given audience present a profound challenge to theatre as communication. Connor (1999) addresses the same issue, pointing out that if readers can disagree about the meaning of a text, then spectators are even less likely to agree on what a given performance means (p. 417). Unlike Campbell, however, she regards this diversity as enriching, concluding that meanings “develop from co-production with spectators as subjects” (p. 426). Relevance theory provides a framework in which to begin to disentangle the overlapping and interacting, but equally vital, contributions of writer, company, and audience in making meanings.
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REINELT, JANELLE. "‘What I Came to Say’: Raymond Williams, the Sociology of Culture and the Politics of (Performance) Scholarship." Theatre Research International 40, no. 3 (September 9, 2015): 235–49. http://dx.doi.org/10.1017/s0307883315000334.
Full textAbstract:
This essay seeks to reconsider and appropriate the cultural politics of Raymond Williams for the project of formulating a critique of current ideas about politics and theatre. The residual values of cultural materialism as theorized by Williams, based on a concept of culture as productive, processual and egalitarian, have become less influential under the pressures of post-structuralism and neo-liberalism. The current attraction to Rancière, for example, emphasizes dissensus over consensus and singularity over collectivity. Post-dramatic theatre rejects direct engagement with political discourse altogether. While recognizing that these emerging theoretical ideas continue the historical romance of avant-garde theatre with rupture and dissent, Williams can remind us of still-powerful strategies that are rooted in identifying shared experiences, relating cultural production to its sociopolitical context, and the value of collective struggles.
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Cook, Christopher, and George Belliveau. "Community Stories and Growth Through Research-Based Theatre." LEARNing Landscapes 11, no. 2 (July 4, 2018): 109–26. http://dx.doi.org/10.36510/learnland.v11i2.950.
Full textAbstract:
Community members and staff at the University of British Columbia (UBC) Learning Exchange collectively created a theatre piece, based on stories from Vancouver’s Downtown Eastside (DTES), entitled Voices UP! This article examines the impact this project had on four DTES community members who took part in the collective creation process. The results are presented as both a thematic analysis and a short play script, entitled Give Me Your Hands. Give Me Your Hands is a play about making a play, illustrating the shared and individual learning experiences of those who took part in a community-based collaborative theatre process.
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Harari, Dror. "Artificial, Animal, Machinal: Body, Desire, and Intimacy in Modernist and Postmodernist Theatre." New Theatre Quarterly 29, no. 4 (November 2013): 311–20. http://dx.doi.org/10.1017/s0266464x1300064x.
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Exactly one hundred years separate two notorious dramatic aristocrats: Alfred Jarry's wild Ubu and Sarah Kane's apathetic Hippolytus. Ubu is iconic of Jarry's surreal reaction to nineteenth-century positivism and, at the same time, a criticism of modernism's abstract poetics and will-less aesthetic experience. Kane's Hippolytus is a witty and macabre response to the late twentieth-century ‘logic’ of capitalism. Nevertheless, these seemingly diametrically opposed characters share one trait that binds them – spending desire. In this article Dror Harari considers these figures as conspicuous waypoints along a broader spectrum of indispensable relations between body and desire in modern theatre. He tracks certain dramaturgies of desire, as theorized and/or realized by theatre practitioners and philosophers. Starting with modernist attempts to overcome desire by likening the performer's body to a machine, he closes with the indifferent Hippolytus becoming a desiring machine. Dror Harari is senior lecturer in the Department of Theatre Arts, Tel Aviv University. His recent articles have appeared in The Drama Review, Samuel Beckett Today/Aujourd'hui, Theatre Research International, and Theatre Annual. His study Self-Performance: Performance Art and the Representation of Self is forthcoming in Hebrew from Resling Publications, an Israeli academic publishing house.
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MÜLLER-SCHÖLL, NIKOLAS. "Theatre of Potentiality. Communicability and the Political in Contemporary Performance Practice." Theatre Research International 29, no. 1 (March 2004): 42–56. http://dx.doi.org/10.1017/s030788330300124x.
Full textAbstract:
Much contemporary experimental theatre and many performance practitioners in Germany and Austria share an interest in what one might call the material conditions or the medium of their performances. The article discusses different examples where the sharing of space, language and time in performance and thereby the ‘communicability’ (W. Benjamin) of communication is explored. Directors and writers discussed include H.J. Kapp, W. Golonka, L. Chetouane, R. Pollesch, C. Bosse, J. Szeiler. It is argued that in these cases theatre is done in a political way, because it allows the experience of alterity and opens up a space of potentiality.