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Journal articles on the topic 'Spring festivals in art'

Author: Grafiati

Published: 27 July 2024

Last updated: 31 July 2025

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1

Sheremet, Sergey Vladimirovich. "Student Spring Festival in Russia: an educational potential." Uchenyy Sovet (Academic Council), no. 3 (February 28, 2025): 174–80. https://doi.org/10.33920/nik-02-2503-06.

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The lives of people in creative professions sometimes take unexpected turns. There are biographies of many famous artists who did not intend to devote themselves to artistic creativity. But it happened. Often this occurred because in their student years they engaged in creativity in the student theater of miniatures, played in Club of the Merry and Inventive teams, performed in amateur concert parties... As a result, they were forced to reconsider their attitude to the profession they chose in their youth. The article shows that many of today's famous artists came to art through student festiv

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2

Yang, Ruobing. "Festival Marketing: Film Promotion Shaped by Traditional Chinese Culture Taking the Spring Festival Comedy Film as an Example." Advances in Economics, Management and Political Sciences 53, no. 1 (2023): 177–82. http://dx.doi.org/10.54254/2754-1169/53/20230826.

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In recent years, with the continuous growth of the Chinese film market and the improvement of the cultural level and consumption willingness of Chinese residents, the holiday film market has gradually developed in China. The Chinese holiday film market has sprouted since the Spring Festival, and then developed into Spring Festival movies, National Day movies, summer movies, etc. Under different schedules, it is the background of holiday culture that highlights this film market phenomenon. How to combine the cultural background of film festivals with the film industry is an important challenge

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3

Knowles, Ric. "The Edinburgh Festival and Fringe: Lessons for Canada?" Canadian Theatre Review 102 (March 2000): 88–96. http://dx.doi.org/10.3138/ctr.102.016.

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A visit to the last ten days of the formidable Edinburgh International Festival and its famous Fringe – the ur-festivals for English language international festivals and fringes in Canada as elsewhere – provides the opportunity for some comparative musings on the cultural role played by such events in both Scotland and Canada. In a consciously provocative opinion piece in the Spring 1992 issue of Theatre Forum, Ritsaert ten Cate asked, “Festivals: Who Needs ‘Em?” In attempting to answer the question – “travel agents, who can offer package deals” is the closest he seems to get, quoting a “deadl

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Zhang, Kai, and Rosjana Chandhasa. "Discovering Shandong Art and Culture China in the Dimension of Wisdom, Beliefs, Traditional Ways of Life and Festivals." Journal of Ecohumanism 3, no. 3 (2024): 1657–66. http://dx.doi.org/10.62754/joe.v3i3.3406.

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With the country's continued emphasis on industry, culture and creativity industry, the cultural and creative industries on the university campus have demonstrated a strong drive of development. Shandong is a famous cultural city with a rich history with a rich material cultural heritage that is constantly inspiring for the cultural and creative industries on the university campus. This study starts from the cultural dimension of wisdom, faith, traditional way of life, and festivals and uses qualitative research methods. With a descriptive and analytical method, to explore the cultural and art

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Rudakoff, Judith. "Cuba “AsiSomos” and the Fine Art of Survival." Canadian Theatre Review 78 (March 1994): 59–60. http://dx.doi.org/10.3138/ctr.78.010.

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From September 12-19, 1993, I co-ordinated a Theatre and Fine Arts Delegation which travelled in Cuba. The primary goal of this delegation was to begin to explore the Fine Arts in several regions of the country with particular emphasis on learning how the social, economic, political and religious conditions affect the contemporary creative work in terms of themes, imagery, form and structure and even, at times, venue. This was my second of five trips planned this year, facilitated by the Cuban Ministry of Culture and their Canadian representatives, Canada-Cuba Sports and Culture Festivals. The

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Bhasin, Aparajita. "Negotiating the tangible and the intangible:." Street Art & Urban Creativity 3, no. 1 (2017): 20–25. https://doi.org/10.25765/sauc.v3i1.59.

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Street art in the past decade or so has witnessed development in the form of the street art festivals that have sprung up across the globe. These festivals bring artists, street art enthusiasts, art historians, and the public together in the celebration and creation of street art. Practicing art in this format can arguably be seen as replacing the art institutions that often attempt to represent and commercially engage with this art, thus proving to be antithetical to its systems. Street art is characterised by an inherent contradiction that lies within it – while on one hand it is tangible du

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Bronner, Shaw. "Here’s To Our Community." Medical Problems of Performing Artists 35, no. 4 (2020): 233–34. http://dx.doi.org/10.21091/mppa.2020.4034.

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Memorialized in former Secretary of State Hillary Clinton’s children’s book entitled It Takes a Village, “it takes a village to raise a child” is an African proverb that means an entire community of people must interact with children for those children to experience and grow in a safe and healthy environment. The need of the artist to create is undeniable and their villages continue to support them. During these dark days of the COVID-10 pandemic, performing and fine artists have been denied their traditional communication with their public as theaters and museums closed down throughout the wo

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8

N.V., Zaimenko, Shumik M.I., Smilyanets N.M., Gaponenko M.B., and Rakhmetov D.B. ""Landscape spring-2017" festival in M.M. Gryshko National Botanical Garden of the NAS of Ukraine." Plant Introduction 76 (December 1, 2017): 73–78. https://doi.org/10.5281/zenodo.2331724.

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“Landscape Spring-2017” festival took place from April 28 to May 2, 2017 in M.M. Gryshko National Botanical Garden. The festival events included the gardening contest “Japanese motifs in the Botanical Garden”, “Dialogue with nature” and “Mini garden” contests, as well as the children contest “Fairy-tale” and the children drawing contest. 12 projects of Japanese gardens, 16 projects of mini-gardens and 12 projects of art objects from natural materials were implemented.

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Wallace, Robert. "Festival Follies." Canadian Theatre Review 49 (December 1986): 111–16. http://dx.doi.org/10.3138/ctr.49.013.

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In the midst of the trials and triumphs of the winter theatre season, the reminder that theatre in Canada has become a year-round activity can be both irksome and welcome. While some artistic directors are just beginning to see the light at the end of this season’s tunnel, others are quickly organizing their summer schedules, hedging bets on late-season hold-overs, and brushing up their spring brochure copy. For organizers of theatre festivals such as Le Festival de théâtre des Amériques that opens in Montreal next 26 May, this time is even more fraught; travel and accommodation arrangements f

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10

Samuel, Flora. "Le Corbusier and the Art of Architecture." Architectural Research Quarterly 13, no. 1 (2009): 16–19. http://dx.doi.org/10.1017/s1359135509990066.

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Le Corbusier – The Art of Architecture is the vague and loaded title given to a marvellous but somewhat random collection of Le Corbusier material that has been touring Europe, until recently housed in Lutyens' crypt in Liverpool Cathedral before landing in London this spring at the Barbican, where it feels at home in Brutalist surroundings. The exhibition has provided the inspiration for a festival of Le Corbusier events and talks, competitions and workshops across the country. The question, however, is why?

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huang, shan. "Oriental Charm and artistic language in Chinese folk art "Spring Festival Pictures." Korean Society for Science of Eastern Art 48 (August 30, 2020): 337–59. http://dx.doi.org/10.19078/ea.2020.48.14.

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12

Qi, Zhaoyu, and Ziyan Yu. "An analysis of the audiovisual language characteristics of "Auspicious As You Like It." International Journal of Educational Research and Development 1, no. 1 (2022): 29. http://dx.doi.org/10.56028/ijerd.1.1.29.

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In the Spring Festival of 2020, a literary film "Auspicious As You Like It" came into people's attention. The director of this film, Dapeng, was known to the audience for his comedies "Pancake Man" and "Sewing Machine Band". At the same time, this film provides valuable experience for the creation of film art in China nowadays, both in terms of style structure and audiovisual language.

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Olishevska, Yulia A. "Murals as the newest tourist resources: the case of Kyiv." Journal of Geology, Geography and Geoecology 29, no. 2 (2020): 364–76. http://dx.doi.org/10.15421/112032.

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The relevance of studying the murals is that the murals allow to diversify the tourist offer of the capital. The purpose of this publication is to analize the development of the murals and the opportunity of using them as a new type of tourism resource. One of the subjects of the study is to carry out a retrospective analysis of the existing collection of Kyiv’s murals and to substantiate their use in the organization of excursion routes in order to inform tourists. During the study of the murals, the creation of the route allows to track the change in the image of the urban environment under

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Mokrohuz, Inna. "Modern instrumental and orchestral art of the Bukovyna region." Aspects of Historical Musicology 31, no. 31 (2023): 49–64. http://dx.doi.org/10.34064/khnum2-31.03.

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Statement of the problem. The modern instrumental and orchestral art of Bukovyna, which has deep historical roots dating back to Proto-Slavic times, stands out for its bright originality. The creation of a musical-instrumental collective involves the search for a creative personality with the appropriate professional level, musical and organizational and communication skills, and the ability to communicate tolerantly with all members of the ensemble. That is why there is a need to highlight the artistic activities of both the instrumental groups themselves and their leaders. Because it is than

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Qian, Yixuan. "Research on Current Situation and Development of Publicity and Popularization of Modern Stage Drama Based on Social Media Perspective." Communications in Humanities Research 63, no. 1 (2024): 22–30. http://dx.doi.org/10.54254/2753-7064/63/20242601.

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In the CMG 2022 Spring Festival Gala, the stage poem "Only This Green" left a deep impression on all audiences at home and abroad. The dancers interpreted "Thousands of Miles of Rivers and Mountains" through beautiful postures and movements, which is the only work of Wang Ximeng, a famous painter in the late Northern Song Dynasty. This stage play perfectly combines traditional Chinese art forms and modern stage performing arts culture, which has caused a great response. Therefore, this study discusses how contemporary modern stage plays or musicals can increase traffic under the influence of m

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Lukava, Daryna. "TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE." EUREKA: Social and Humanities, no. 1 (January 30, 2021): 3–7. http://dx.doi.org/10.21303/2504-5571.2020.001564.

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The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, includin

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Lukava, Daryna. "TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE." EUREKA: Social and Humanities, no. 1 (December 28, 2020): 3–7. https://doi.org/10.21303/2504-5571.2020.001564.

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The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, includin

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18

Geng, Qingchen. "Analysis of Mock Impoliteness and Its Pragmatic Functions: Taking Crosstalks in CCTV’s Spring Festival Gala from 1983 to 2023 as an Example." Journal of Education, Humanities and Social Sciences 14 (May 30, 2023): 539–47. http://dx.doi.org/10.54097/ehss.v14i.8925.

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Politeness is the basic social etiquette people follow in their daily interactions. The current scholars pay less attention to the study of mock impoliteness. Mock impolite discourse acts account for a large part of crosstalk which is a folk rap art. This paper takes all the crosstalks in CCTV’s Spring Festival Gala (from 1983 to 2023) as the corpus and analyzes the implementation strategies of mock impoliteness, which are joking, teasing, and humor. And summarizes their corresponding three pragmatic functions: solidarity reinforcement, cloaked coercion, and exploitative entertainment. This pa

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19

He, Jie. "Exploring the Influence of Digital Technology on Art Works Based on the Cross-media Theory — Taking the Banquet at Tang Palace as an Example." Arts Studies and Criticism 5, no. 2 (2024): 78. http://dx.doi.org/10.32629/asc.v5i2.2204.

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After the breakthrough of digital technology integration in 2021, the "Lotus Cup"-winning work "Tang Servant" was renamed "Tang Palace Banquet." It was performed at the Spring Festival Gala of Henan Satellite TV, effectively generating the year's national IP. Few academics have conducted empirical research on the impact of digital technology, despite its prominence in the present discourse regarding the Banquet at the Tang Palace. On the basis of Ellerstrom's multimodal art theory and Ryan's story world theory, this study will use empirical research methodologies to investigate the impact of d

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Srivastava, Kinshuk, and Rashmi p. Dyondi. "THE REFLECTION OF SOCIETY REFLECTED IN FOLK MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3470.

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Culture is found in human society. This culture is transferred from one generation to another. That is why the culture of every society survives. The culture of each society is rooted in language, custom, knowledge, traditions, religion, law, music, folk art, folk music, folk tales, literature etc. Human interactions in society affect each other and it is on the basis of these actions that a cultural society is formed. Therefore, the mirror of the society lies in the folk culture itself. "Music is the most popular in the tradition of culture." Folk music is a huge variety of culture. The langu

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GOODLANDER, JENNIFER. "Sbeik Thom at the Season of Cambodia Festival: Performing Memory after the Killing Fields in a Post-9/11 New York City." Theatre Research International 41, no. 1 (2016): 40–52. http://dx.doi.org/10.1017/s0307883315000607.

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During the period of the Khmer Rouge (1975–9) culture was turned back to ‘Year Zero’ through the murder and destruction of about 90 per cent of the country's artists and intellectuals. These art forms are now being remembered, revised and reinvented in order to articulate a contemporary Cambodian identity. In the spring of 2013, New York City hosted a month-long festival of Cambodian arts called the Season of Cambodia. The festival, which sought to celebrate and reaffirm Cambodian identity through the arts, set the stage for other post-conflict nations seeking renewal through artistic expressi

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Bechervaise, Jason. "The Busan International Film Festival." Film Quarterly 77, no. 3 (2024): 86–92. http://dx.doi.org/10.1525/fq.2024.77.3.86.

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Jason Bechervaise examines the latest edition of the Busan International Film Festival (BIFF) in the context of the external and internal problems that have plagued the festival over the past ten years, with a leadership crisis this spring once again putting the festival in the spotlight for the wrong reasons. This report explores BIFF’s curation of Korean cinema, with an emphasis on the festival’s importance as launch pad for young Korean filmmakers as well as how the festival’s programming, which now includes productions financed by streaming platforms, reflects the rapidly changing Korean f

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Šakelaitė, Ieva. "Emancipuojanti poezija: skaitymai prie Žemaitės kaip feministinis artivizmas." Colloquia 52 (January 24, 2024): 114–30. http://dx.doi.org/10.51554/coll.23.52.07.

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Although contemporary Lithuanian poets and readers often claim to be apolitical, politically charged poetry or literary behavior are not always apparent and can take various forms. The article examines the annual women’s poetry readings in the Žemaitė Square during the Poetry Spring Festival as a political event. Based on Pierre Bourdieu’s literary field theory, the event can be interpreted as a collective response of feminist artivism to the established power structures. The readings provide a space for the exchange of social, symbolic, and cultural capital among the poetesses, enabling them

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Smith, Brian. "The Dream in High Park." Canadian Theatre Review 47 (June 1986): 29–37. http://dx.doi.org/10.3138/ctr.47.003.

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A few evenings before the closing of Toronto Free Theatre’s 1985 Romeo and Juliet in Toronto’s High Park, a pre-show spectator was heard to remark without the least disgruntlement: “Would you believe, Brenda, I’m sitting here in the midst of two thousand people and a bird splats on my shoulder? Now what are the chances of that?” In Toronto, and elsewhere in Canada, the chances are good that such an invasion of art by nature can occur with unsolicited frequency. Following in the tradition of other outdoor Shakespeare festivals such as Regent’s Park Theatre in London and Joseph Papp’s Shakespear

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Воробьёв, Дмитрий Николаевич. "THE HISTORY OF THE FESTIVAL OF AMATEUR ARTISTIC CREATIVITY «STUDENT SPRING» OF THE KALININ STATE UNIVERSITY IN THE 1980S." Вестник Тверского государственного университета. Серия: История, no. 4(60) (December 29, 2021): 128–35. http://dx.doi.org/10.26456/vthistory/2021.4.128-135.

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В статье показано влияние городского межвузовского фестиваля на проведение в КГУ конкурса «Студенческая весна», которое привело в первой половине 1980-х гг. к более строгому административному контролю и активному привлечению профессиональных специалистов. Благодаря этим мерам в университете увеличилось количество постоянно действующих творческих коллективов. Несмотря на достигнутые успехи в культурно-массовой работе вуза, на факультетах росло недовольство новыми порядками и становилось всё больше сторонников «студенчества» в художественной самодеятельности. Серьёзное влияние на фестиваль «Студ

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Dai, Mengge, Yuhao Feng, Runqi Wang, and Jungho Jung. "Enhancing the Digital Inheritance and Development of Chinese Intangible Cultural Heritage Paper-Cutting Through Stable Diffusion LoRA Models." Applied Sciences 14, no. 23 (2024): 11032. http://dx.doi.org/10.3390/app142311032.

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With the advent of artificial intelligence digitization, intangible cultural heritage faces challenges in preservation and transmission. Utilizing modern technology to achieve digital protection and dissemination has become a crucial issue today. This study enhances the digital inheritance and development of Chinese intangible cultural heritage paper-cutting art through generative AI technologies, specifically Diffusion and LoRA models. The Analytic Hierarchy Process (AHP) was employed to categorize the cultural value of paper-cutting, selecting four core elements: “Spring Festival”, “Chinese

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Byrn, Whitney. "The Grand Tour of Europe." Nordic Theatre Studies 32, no. 2 (2021): 71–88. http://dx.doi.org/10.7146/nts.v32i2.124349.

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This article investigates the artistic Grand Tour of the nineteenth-century Danish theatre painter C.F. Christensen made between the spring of 1838 and the fall of 1839, and how it influenced his later scenographic work at the Royal Danish Theatre. Using a variety of archival sources, his Grand Tour is reconstructed. His travels through Germany, Bohemia, Moravia, Switzerland, France, Italy, and the Tyrol exposed him to some of the greatest art and most innovative theatre Europe had to offer. Through the sketches done on his trip, it is possible to see the seeds of inspiration that took root in

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Буттитта, Иньяцио Эмануэле. "Food of our ancestors: The agrarian-chthonic roots of “Saint Joseph’s Tables” in Sicily and their postmodern reinvention." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 2 (November 11, 2019): 150–64. http://dx.doi.org/10.26158/tk.2019.20.3.013.

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Многие традиционные религиозные праздники на Сицилии несут в себе символизм, связанный с идеей плодородия растительности и человека, возвращения жизни и изобилия, и демонстрируют временную связь с производственными циклами основных сельскохозяйственных культур. Такие символические и временные связи особенно очевидны в случае трапез, устраиваемых по обету в праздник святого Иосифа (19 марта). Виды и форма блюд, приготовляемых по этому случаю, театрализованные элементы обрядов, сопровождающих «священную» трапезу, реальные и виртуальные участники этих обрядов (Святое Семейство, апостолы, так назы

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Knowles, Ric. "Dance and Space at the New World Stage." Canadian Theatre Review 133 (March 2008): 122–27. http://dx.doi.org/10.3138/ctr.133.017.

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New World Stage, International Performance. Harbourfront Centre, Toronto. January-June 2007 New World Stage is the latest reincarnation of what used to be the DuMaurier World Stage festival held at Harbourfront every other spring, alternating with the Theatre Festival of the Americas in Montreal. Ever since the withdrawal of tobacco funding, Harbourfront has been struggling to reinvent the festival. Two years ago, as the World Stage Festival: Flying Solo, it economized while maintaining thematic focus by featuring solo work. Now it returns as a kind of serial festival, featuring seventeen show

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Zhong, Yurou. "Musica Practica: The Sound of the Beijing New Worker Band." positions 31, no. 2 (2023): 281–301. http://dx.doi.org/10.1215/10679847-10300201.

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Abstract Since its inception in 2002, the Beijing New Worker Band has become a representative art group formed by and dedicated to migrant workers. Changing its name three times in twenty years, the band has demonstrated a strong capacity to adapt to uncertain political tides, subsisting in the exploration and expression of art and culture with a new working-class consciousness in postsocialist China. The status of the group has been bolstered by an array of artistic output, such as theater productions, literary writings, and Spring Festival galas. Although overshadowed by some of the better p

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Cripps, Jody, Ely Lyonblum, and Anita Small. "Signed Music in the Deaf Community." Journal of Festive Studies 4, no. 1 (2023): 191–215. http://dx.doi.org/10.33823/jfs.2022.4.1.144.

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In the spring of 2019, the first signed musical stage production was performed at Festival Clin d’Oeil—the world’s largest deaf arts festival that brings thousands to Reims, France, biennially. Surrounded by visual and performing arts, an invited delegation from Canada debuted the musical The Black Drum internationally, incorporating physical theater, signed music, projection, and dance. Signed music is an inter-performance art that demonstrates musical elements by culturally deaf individuals who have explored creating musical performances with their hands and bodies. These performances operat

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Chun, Tarryn Li-Min. "Surface Classicism." Prism 20, no. 2 (2023): 462–86. http://dx.doi.org/10.1215/25783491-10992800.

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Abstract This article examines digital classicism in contemporary Chinese performance through the case study of an excerpt of the dance-drama Zhici qinglü 只此青綠 (Journey of a Legendary Landscape Painting) performed at the 2022 CCTV Spring Festival Gala. It argues that the mobilization of digital performance technologies in Zhici qinglü and other contemporary large-scale performance in the PRC generates what might be termed “surface classicism”—an engagement with the past that sublimates elements of classical art and literature into the realm of digitally enhanced visuality. Surface classicism l

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Parnell, Sharon. "Spring festivals." Practical Pre-School 2012, no. 134 (2012): 15–16. http://dx.doi.org/10.12968/prps.2012.1.134.15.

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Javed, Zeeshan, Yuhang Wang, Mingjie Xie, et al. "Investigating the Impacts of the COVID-19 Lockdown on Trace Gases Using Ground-Based MAX-DOAS Observations in Nanjing, China." Remote Sensing 12, no. 23 (2020): 3939. http://dx.doi.org/10.3390/rs12233939.

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The spread of the COVID-19 pandemic and consequent lockdowns all over the world have had various impacts on atmospheric quality. This study aimed to investigate the impact of the lockdown on the air quality of Nanjing, China. The off-axis measurements from state-of-the-art remote-sensing Multi-Axis Differential Optical Absorption Spectroscope (MAX-DOAS) were used to observe the trace gases, i.e., Formaldehyde (HCHO), Nitrogen Dioxide (NO2), and Sulfur Dioxide (SO2), along with the in-situ time series of NO2, SO2 and Ozone (O3). The total dataset covers the span of five months, from 1 December

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Tyszka, Juliusz. "The School of Being Together: Festivals as National Therapy during the Polish ‘Period of Transition’." New Theatre Quarterly 13, no. 50 (1997): 171–82. http://dx.doi.org/10.1017/s0266464x00011039.

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For most western theatre people, accustomed to the festival as an institutionalized annual ritual, the notion of a theatre festival as a celebration of true, holiday festivity – as signifying freedom from institutionalized ritual – comes alive more often in the pages of Bakhtin than on the stages of Edinburgh or other ‘festive’ cities. Yet Juliusz Tyszka, surveying no fewer than a hundred and fifty festivals that have sprung up or renewed themselves in his native Poland during the post-Cold War ‘period of transition’, finds that, while their economic success has been surprising in a straitened

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Tuzova, Olga Vladimirovna, and Karina Sergeevna Erokhina. "Potential of regional periodicals for the history of Russian musical culture in the second half of the 1960s." Genesis: исторические исследования, no. 6 (June 2023): 109–21. http://dx.doi.org/10.25136/2409-868x.2023.6.38338.

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The object of the study is the national musical culture, the subject is the information potential of the newspaper "Volga Commune" in the perspective of the reconstruction of musical culture in the second half of the 1960s. The relevance of the topic is related to the need to recreate cultural processes during the reign of L. I. Brezhnev, including in the years of the eighth five–year plan that go beyond the concept of "stagnation", the search, formation and analysis of a comprehensive source base on musical and historical issues in national and local versions. Such aspects as quantitative, sp

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Neville, Sarah. "Spring festivals mean cooking." Child Care 10, no. 2 (2013): 10–11. http://dx.doi.org/10.12968/chca.2013.10.2.10.

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N., Mikhailova. "Sergiy Prokopov: phenomenon of the creative personality." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 6–21. http://dx.doi.org/10.34064/khnum1-52.01.

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Formulation of the problem. The modern choral art as never requires a theoretical understanding of the artistic experience accumulated over the years of its existence and enriched with the latest advances in this field. The bloom of the high professional choral performance in Ukraine shows, first of all, the active development of choral culture in practical terms, but unfortunately, in many theoretical aspects of the choral art there are significant gaps. Since in Ukraine a galaxy of dedicated experts in the field of the choral work function fruitfully, among whom the territory of the Slobozha

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Wilke, Sabine. "Performing States-Of-In-Between: Dogs, Parrots, and Other Humans in Recent Austrian Performances." Literatur für Leser 40, no. 3 (2017): 295–310. http://dx.doi.org/10.3726/lfl032017k_295.

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Every late spring since 1951, the Wiener Festwochen bring performers from around the world to Vienna for an opportunity to share recent developments in performance styles and present them to a Viennese public that seems to be increasingly open to experimentation. These festival weeks solidify a specific form of Viennese self-understanding and self-representation as a culture that is rooted in performance. This essay seeks to link two recent Austrian performances—one of them was part of the Wiener Festwochen in 2016, the other was staged in downtown Linz during the past few years—to this Austri

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Ajzenstadt, Michael. "Jerusalem and Tel Aviv A Canadian Spring in Israel." Canadian Theatre Review 77 (December 1993): 77–79. http://dx.doi.org/10.3138/ctr.77.012.

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Four years ago a new theatrical festival, titled Theatrenetto, opened in Israel. It was devoted to one-actor plays and within a couple of years reached immense popularity with the audience. And while actors are still complaining that they are not being paid enough for their performances in this festival, the fact remains that they get enormous exposure out of it, exposure which money cannot buy. In fact plays that won first prize in the festival competition were soon grabbed by leading theatre companies here and added to their ongoing bills.

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jarrett, loran, and Vjollca Hysenlika. "GLAZER CHILDREN’S MUSEUM Dream it. Be it." Muma Case Review 4 (2019): 001–19. http://dx.doi.org/10.28945/4384.

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In May 2016, Jennifer Stancil, the new president and chief executive officer (CEO) of Glazer Children’s Museum in Tampa, Florida was considering further steps to take toward her goal of making the downtown museum an educational and entertainment destination for children and their families. The CEO had been hired on November 23, 2015 with a mandate to rebrand the museum as a world-class learning environment for children and families. A winner of Tampa Bay Business Journal’s 2012 Nonprofit Organization of the Year, the museum was well respected, yet it faced challenges in attempting to increase

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Czarnecki, Mark. "To Serve the Art." Canadian Theatre Review 45 (December 1985): 6–11. http://dx.doi.org/10.3138/ctr.45.001.

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1 / What is the “quintessential” theatre festival? To find the answer we must first eliminate operations that call themselves “festivals” but which clearly are not. In Canada, the three largest “festivals” – Stratford, Shaw, and Charlottetown – are not festivals but summer theatres operating on a repertory basis. Their self-imposed programming mandates, high ticket prices, and locations define them as tourist industries. Nor is the Blyth Festival a true festival; although its mandate Is populist and its roots are communal, it mounts a summer season using resources from a national talent pool a

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Ohiienko, Iryna. "Ethnic Festivals of the Mid to Late 20th – Early 21st Century as a Component of the Folklore Culture of Bulgaria." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 139–50. http://dx.doi.org/10.15407/mue2021.20.139.

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The article is dedicated to the study of folklore festival culture in Bulgaria in the mid to late 20th – early 21st century. The characteristic features of the folklore festival culture of Bulgaria are considered, the main functions of the folklore festivals are determined, a number of well-known international, national and local ethnic folklore festivals taking place in different cities and villages of Bulgaria are classified. The first ethnofestivals in Bulgaria are described, such as the Festival of Folk Art and Animal Husbandry in Rozhen, the Festival of Folk Art in Koprivshtitsa, the Inte

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Tuzovskii, Ivan Dmitrievich. "Global holiday as a cultural phenomenon of the Digital Age." Человек и культура, no. 4 (April 2020): 33–48. http://dx.doi.org/10.25136/2409-8744.2020.4.31767.

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The subject of this research is modern celebratory culture in the context of impact of globalization processes upon festivities. The author explores a new phenomenon that emerged in the early XXI century &ndash; a &ldquo;global holiday&rdquo; within the framework of sociocultural transformations related to transition of humanity towards the Digital Age, and formation of the global information space. Special attention is given to the following aspects: creation of media and post-mythological global holidays of the Digital Age, and transformation of the traditional holiday into new m

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Yang, Ruilong, Qi Rui, Ling Kong, et al. "Metallothioneins act downstream of insulin signaling to regulate toxicity of outdoor fine particulate matter (PM2.5) during Spring Festival in Beijing in nematode Caenorhabditis elegans." Toxicology Research 5, no. 4 (2016): 1097–105. http://dx.doi.org/10.1039/c6tx00022c.

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Shevtsova, Maria. "The Golden Mask Festival 2010." New Theatre Quarterly 26, no. 3 (2010): 287–90. http://dx.doi.org/10.1017/s0266464x10000473.

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The Golden Mask Performing Arts Festival, established in 1994, held each spring in venues throughout Moscow, features the best productions of the previous season from all performing arts. Maria Shevtsova reports on the edition of 2010.

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Zhuk, Anatolii. "STATE AND FEATURES OF THE PLEIN AIR PAINTING MOVEMENT DEVELOPMENT IN UKRAINE AT THE CURRENT STAGE." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 175–82. http://dx.doi.org/10.25128/2411-3271.19.2.24.

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The aim of the article is to discuss the current stage and features of the development of the plein-air movement in Ukraine. Open air is an integral part of contemporary fine arts. Their role lies in the very nature of artistic creativity. Formation of spatial representations, construction of the scheme of the compositional structure of the work of art, understanding of its logic are closely connected with the ability of artistic modeling of the world, the presence of advanced artistic imagination in combination with holistic perception of nature. From this point of view, plein air is widely u

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Thompson, Judith. "Epilepsy & the Snake Fear in the Creative Process." Canadian Theatre Review 89 (December 1996): 4–7. http://dx.doi.org/10.3138/ctr.89.001.

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The text of a talk delivered by Judith Thompson at the Stratford Festival, 30 June 1996, as part of the Festival’s Celebrated Writers Series. Today I am going to talk for a while about pure fear and the loss of the self in the act of creation. Where are the eleven other Judiths? About ten years ago I woke up early one spring morning in a sta te of pure fear. For at least a minute, which seemed like foreve r, I was in a panic, trembling from head to toe, as I couldn’t remember where the eleven other Judit hs might be. Without them, I had no self. I was disappearing. Although psychologically I c

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Joanna Ostrowska, Joanna Ostrowska. "Festiwale – święta sztuki czy projekty intelektualne." Człowiek i Społeczeństwo 33 (June 15, 2012): 179–87. http://dx.doi.org/10.14746/cis.2012.33.11.

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The article tries to analyze the phenomenon of the growing numbers of artistic festivals with an intellectual agenda. In the author's opinion the very appearance of artistic festivals in the beginning of the 20th Century was already an intellectual project of healing war wounds through art, which later created the background for the political project of a common union of European countries. Contemporary artistic festivals are as much presentations of different kinds of art as they are intellectual projects that try to introduce various issues: urban studies, ethnical diversity or results of sc

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Koch, Sophie. "SUZAN-LORI PARKS AND NAOMI WALLACE IN RELATION: PLAYING THE AMERICAN GAME FOR REAL AND BEYOND." Revista de Estudios Norteamericanos, no. 27 (2023): 63–81. http://dx.doi.org/10.12795/ren.2023.i27.11.

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wo American women whose writings for the theatre have been both nationally and internationally recognized, Suzan-Lori Parks and Naomi Wallace have drawn on the notion of game-playing to explore and undermine the inextricability of the power relations that govern their vision of America. Because theatre is about playing, games occupy a central position around which meaning revolves and multiplies on stage, infinitely magnified by Parks’s and Wallace’s poetic imagination. As far apart and unique as they are, their voices deeply resonate with the American landscape and beyond, echoing each other

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