Journal articles: 'Stage realism'

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Anan, Nobuko. "Theatrical realism in manga: Performativity of gender in Minako Narita's Alien Street." Journal of Adaptation in Film & Performance 12, no. 3 (December 1, 2019): 133–41. http://dx.doi.org/10.1386/jafp_00002_1.

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Abstract This article examines different conceptions of realism in theatre and manga by focusing on gender performance in Minako Narita's manga, Alien Street (1980‐84). It depicts a male actor who plays female roles in realist theatre productions. I argue that the believability of this gender performance stems in part from the conventions of manga realism, where non-realistic signs are used to mark gender distinctions. However, in contrast to these conventions, this manga also highlights the performative nature of gender by revealing how a realist stage forces the performers to cite and repeat the conventional gendered practices. In doing so, Alien Street mixes manga and theatre realism and complicates our understanding of gender conventions.

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Stepanian, Karen. "Realism As the Concluding Stage of Postmodernism." Russian Studies in Literature 30, no. 2 (April 1994): 58–74. http://dx.doi.org/10.2753/rsl1061-1975300258.

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Romantsova, Inga. "Stanislavski versus Evreinov: on stage realism and theatricality." Stanislavski Studies 8, no. 1 (January 2, 2020): 59–69. http://dx.doi.org/10.1080/20567790.2020.1733221.

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Bottrell, Connor, Maan H. Hani, Hossen Teimoorinia, Sara L. Ellison, Jorge Moreno, Paul Torrey, Christopher C. Hayward, Mallory Thorp, Luc Simard, and Lars Hernquist. "Deep learning predictions of galaxy merger stage and the importance of observational realism." Monthly Notices of the Royal Astronomical Society 490, no. 4 (October 18, 2019): 5390–413. http://dx.doi.org/10.1093/mnras/stz2934.

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ABSTRACT Machine learning is becoming a popular tool to quantify galaxy morphologies and identify mergers. However, this technique relies on using an appropriate set of training data to be successful. By combining hydrodynamical simulations, synthetic observations, and convolutional neural networks (CNNs), we quantitatively assess how realistic simulated galaxy images must be in order to reliably classify mergers. Specifically, we compare the performance of CNNs trained with two types of galaxy images, stellar maps and dust-inclusive radiatively transferred images, each with three levels of observational realism: (1) no observational effects (idealized images), (2) realistic sky and point spread function (semirealistic images), and (3) insertion into a real sky image (fully realistic images). We find that networks trained on either idealized or semireal images have poor performance when applied to survey-realistic images. In contrast, networks trained on fully realistic images achieve 87.1 per cent classification performance. Importantly, the level of realism in the training images is much more important than whether the images included radiative transfer, or simply used the stellar maps ($87.1{{\ \rm per\ cent}}$ compared to $79.6{{\ \rm per\ cent}}$ accuracy, respectively). Therefore, one can avoid the large computational and storage cost of running radiative transfer with a relatively modest compromise in classification performance. Making photometry-based networks insensitive to colour incurs a very mild penalty to performance with survey-realistic data ($86.0{{\ \rm per\ cent}}$ with r-only compared to $87.1{{\ \rm per\ cent}}$ with gri). This result demonstrates that while colour can be exploited by colour-sensitive networks, it is not necessary to achieve high accuracy and so can be avoided if desired. We provide the public release of our statistical observational realism suite, RealSim, as a companion to this paper.

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Birdwell, Robert Z. "The Coherence of Mary Barton: Romance, Realism, and Utopia." Victoriographies 5, no. 3 (November 2015): 185–200. http://dx.doi.org/10.3366/vic.2015.0194.

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Critics have argued that Elizabeth Gaskell's first novel, Mary Barton (1848), is split by a conflict between the modes of realism and romance. But the conflict does not render the novel incoherent, because Gaskell surpasses both modes through a utopian narrative that breaks with the conflict of form and gives coherence to the whole novel. Gaskell not only depicts what Thomas Carlyle called the ‘Condition of England’ in her work but also develops, through three stages, the utopia that will redeem this condition. The first stage is romantic nostalgia, a backward glance at Eden from the countryside surrounding Manchester. The second stage occurs in Manchester, as Gaskell mixes romance with a realistic mode, tracing a utopian drive toward death. The third stage is the utopian break with romantic and realistic accounts of the Condition of England and with the inadequate preceding conceptions of utopia. This third stage transforms narrative modes and figures a new mode of production.

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Beasley, David. "McKee Rankin: The Actor as Playwright." Theatre Research in Canada 10, no. 2 (January 1989): 115–31. http://dx.doi.org/10.3138/tric.10.2.115.

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McKee Rankin (1844-1914), from Windsor, Ontario, became one of the greatest actors on the American stage for a half-century. He also earned a reputation as the best stage manager and the best teacher of acting. This article deals with his talent as a playwright within the context of the important plays of his day. His The Danites brought a new realism to the stage, and his Abraham Lincoln introduced historical realism as drama.

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Senelick, Laurence, and Nick Worrall. "Modernism to Realism on the Soviet Stage: Tairov-Vakhtangov-Okhlopkov." Russian Review 49, no. 3 (July 1990): 333. http://dx.doi.org/10.2307/130165.

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Hoover, Marjorie L., and Nick Worrall. "Modernism to Realism on the Soviet Stage: Tairov, Vakhtangov, Okhlopkov." World Literature Today 64, no. 2 (1990): 328. http://dx.doi.org/10.2307/40146528.

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Marsh, Cynthia, and Nick Worrall. "Modernism to Realism on the Soviet Stage: Tairov, Vakhtangov, Okhlopkov." Modern Language Review 86, no. 3 (July 1991): 815. http://dx.doi.org/10.2307/3731147.

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Hoover, Marjorie L., and Nick Worrall. "Modernism to Realism on the Soviet Stage: Tairov, Vakhtangov, Okhlopkov." Slavic and East European Journal 34, no. 1 (1990): 112. http://dx.doi.org/10.2307/309325.

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11

Schlueter, June. "Domestic Realism: Is It Still Possible on the American Stage?" South Atlantic Review 64, no. 1 (1999): 11. http://dx.doi.org/10.2307/3201742.

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Yahyanejad, Hani, and Ensieh Shabanirad. "Lukács and Reflection Theory." International Letters of Social and Humanistic Sciences 61 (October 2015): 145–54. http://dx.doi.org/10.18052/www.scipress.com/ilshs.61.145.

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This essay claims that the rejection of Lukács’s realism is quite problematic, in the sense that his opponents such as Adorno and Althusser symbolically used the name of Lukács and perpetuated the suspicion of Lukács’s compromise with Stalinism. The essay argues that Lukács’s model of reflection is not couched in Stalin’s socialist realism, a theory that assumes the transparency between aesthetic forms and reality, but rather raises the essential problems of the condition of writers in capitalist society. Lukács’s realism aims at providing a practical strategy to overcome cultural reification, focusing on the mediation between an author and his material condition. An investigation of Lukács’s realism reveals that Lukács’s way of understanding realism arises from his emphasis on objectivity rather than subjective reflection such as Kantian philosophy. The essay claims that this is the kernel of Lukácsean reflection theory signified by an aesthetic of realism definitively opposed to Stalin’s socialist realism. From this perspective, the essay takes Althusserian Marxism as the occasion to stage a wide consideration of anti-realism. It proposes to elucidate the implicit assumptions behind the decline of Lukács’s realism, and the reification of cultural fields that gradually came to dominate Western literary apparatuses.

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SUHANJOYO, SHIRLY NATHANIA. "KAJIAN RUANG DAN CAHAYA SEBAGAI TANDA PADA PERISTIWA TEATER REALIS." Serat Rupa Journal of Design 1, no. 2 (January 19, 2018): 306. http://dx.doi.org/10.28932/srjd.v1i2.455.

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Realism in theatre brings in reality of life through stage illusion accompanied with signs that can be applicated for event’s truth attainment. This make the aesthetics of art can be completely felt.Sign in space can be functioned as illustration that brings in act and atmosphere in theatre and it can be explained by arrangement of space and all of its elements. This arrangement is set as one unity such as forms, colors and materials, in order to make those elements support each other in its display. In a realist theatre show,lighting role important; lighting can show object and strengthen act, atmosphere, emotion in order to create act according to concept and further become symbol of script needs. Qualitative and interactive description is applied in order to analyzing space context connected to visual sign system. This system is used in stage, while for the lighting;intensity, color, distribution and movement apply it. Analysis result of space and light as sign explains that human do feel space and its affair into a representation of real life, therefore understanding of script is needed in order to better create the concepts and its imagination. Keywords: element; realist; semiotic; stage

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Sica, Anna. "Chekhov's Poetic and Social Realism on the Italian Stage, 1924–1964." New Theatre Quarterly 24, no. 4 (November 2008): 363–78. http://dx.doi.org/10.1017/s0266464x0800050x.

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This article explores the introduction of Chekhov's plays to Italy through émigré circles in the first decades of the twentieth century, and traces how they were appropriated to suit the ideological exigencies of the time during the fascist period. It concludes with observations about Luchino Visconti's celebrated productions of the 1950s, which stressed the idea that Chekhov was first and foremost a political writer, and suggests how this particular view of the dramatist evolved in the early 1960s as the theatre once again reflected social attitudes and values. Anna Sica is a lecturer at the University of Palermo. She has published monographs in Italy on the commedia dell'arte (1997), Arthur Penn (2000), and theatre in New York (2005), as well as articles on Pirandello and contemporary Italian drama in various journals.

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Blomqvist, C. "Realism on Stage: Reflections on Language in Theodor Fontane's Theatre Reviews." Monatshefte 104, no. 3 (September 1, 2012): 337–45. http://dx.doi.org/10.1353/mon.2012.0063.

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SHEPPARD, W. ANTHONY. "Cinematic realism, reflexivity and the American ‘Madame Butterfly’ narratives." Cambridge Opera Journal 17, no. 1 (March 2005): 59–93. http://dx.doi.org/10.1017/s0954586705001941.

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This article focuses on two cinematic versions of the ‘Madame Butterfly’ tale. Produced near the beginning of the sound era, the 1932 Madame Butterfly struggles to co-opt Puccini's opera and thereby create a fully cinematic Butterfly. My Geisha, created three decades later, aspires to subvert Orientalist representation by reflecting back upon Puccini's and Hollywood's Butterflies with hip sophistication. Both films work simultaneously with and against the Butterfly canon in intriguing ways and both are shaped by prevailing American perceptions of race and gender. In investigating the relationship between these films and Puccini's opera, I raise broader issues of comparative genre analysis, focusing particularly on exotic representation on stage and screen. Does film, in its bid to project exotic realism in both sound and image, succeed in surpassing the experience of staged Orientalist opera?

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Biers, Katherine. "Clock-Watching: Melodrama, Realism, and the Dialectics of Time." Theatre Survey 59, no. 3 (July 27, 2018): 318–39. http://dx.doi.org/10.1017/s0040557418000285.

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As the conventions of theatre design would have it, a clock onstage is a distraction for the audience. This has not always been true. Late nineteenth-century popular plays were alive with the sights and sounds of working clocks, their pointing hands, swinging pendulums, and striking bells announcing the time of significant events and actions in the fictional stage world. Visible on the mantelpiece, or audible in the town square, stage clocks in this era lent verisimilitude while heightening suspense, mirroring the broader aesthetic conventions of popular fin-de-siècle productions, in which highly realistic and detailed settings coexisted with the suspenseful plots and broad character types familiar from older melodramas.

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Klosi, Iris. "Translation and Theatre Performance of Arthur Miller’s Plays in Albania." European Journal of Language and Literature 4, no. 4 (November 29, 2018): 10. http://dx.doi.org/10.26417/ejls.v4i4.p10-16.

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This paper explores the challenges and difficulties faced by theatrical translators and stage directors during the process of acculturating and adapting foreign written plays to the target audience. More specifically, the focus is on the translation and performance of some of Arthur Miller’s plays such as “Death of a Salesman”, “The Crucible”, “A View from the Bridge”, “Incident at Vichy” in Albania during the socialist realism and in the democracy era. The paper contains translation and stylistic analysis of the above-referred plays as well as performance analysis in the target culture supported by concrete examples in both SL and TL. Furthermore, the paper provides a depth insight of the differences noted in terms of collaboration between theatrical translators and stage directors in the socialist realism and in the democracy era supported by archival images, article stories, reviews, etc. In conclusion, the paper aims at praising the job of theatrical translators and stage directors because they are providers of quality, professionalism, aesthetic pleasure. They both intend to render the meaning of the ST with dynamic equivalence in attempt to achieve the most awaited success on stage. Keywords: Theatrical translation, translation devices, semiotic signs, stage performance, stage directing, etc.

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Tagareva, Albena. "Socialist realism in the Bulgarian National Theatre's Stage design: processes, influences, concepts." Theatralia, no. 2 (2018): 141–60. http://dx.doi.org/10.5817/ty2018-2-10.

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West, Shearer. "Virtual Reality Avant la Lettre: Loutherbourg and the Origins of Urban Spectacle." Nineteenth Century Theatre and Film 46, no. 2 (July 8, 2019): 119–35. http://dx.doi.org/10.1177/1748372719860374.

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Michael Booth's essays and books on Victorian theatre provided a formative and comprehensive set of scholarly works examining the origins of realism on the Victorian stage. Using Booth's arguments about the evolution of theatrical realism, this essay probes the notion of virtual reality and its impact on the spectator to examine the Eidophusikon – an invention of the artist, scene designer and engineer, Philippe Jacques de Loutherbourg. This essay examines this phenomenon in terms of how the urban spectacle plays out within it, the fundamental role of technology and science in its success, and the paradoxical play of realism and imagination in how his work was received by audiences experiencing its immersive effects in the age of panoramas and post-Newtonian ideas of light, sight and viewing.

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Lacey, Stephen. "Naturalism, Poetic Realism, Spectacle: Wesker's ‘The Kitchen’ in Performance." New Theatre Quarterly 12, no. 47 (August 1996): 237–48. http://dx.doi.org/10.1017/s0266464x0001023x.

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When Stephen Daldry took over the artistic directorship of the Royal Court in 1994, the first play he chose to direct was a revival of one of the great successes of the theatre's early occupancy by the English Stage Company, Arnold Wesker's The Kitchen. In the following article, Stephen Lacey sees this as in part a defining statement of Daldry's own relationship to the theatre and its traditions, and he offers a detailed comparison between Daldry's production and John Dexter's original in 1959, as revived in 1961. Exploring in particular the directors' – and the designers' – differing perceptions of the elements of naturalism and theatricality which co-exist in the play, he also contrasts Dexter's end-on use of the Court's picture-frame stage with Daidry's reconstruction of the theatre to provide an in-the-round ambience. This, he suggests, is emblematic of a new relationship not only between the play and its audience, but of changed perceptions between the 'fifties and the 'nineties concerning the nature and potential of social realism in the theatre.

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Ward-Griffin, Danielle. "Realism Redux: Staging ‘Billy Budd’ in the Age of Television." Music and Letters 100, no. 3 (August 1, 2019): 447–80. http://dx.doi.org/10.1093/ml/gcz064.

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Abstract Although the term ‘realism’ is frequently deployed in discussing opera productions, its meanings are far from self-evident. Examining four stage and screen productions of Benjamin Britten’s Billy Budd (1951–66), this article traces how this mode was reworked through television in the mid-twentieth century. Linking theatrical and televisual developments in the UK and the USA, I demonstrate how television’s concerns for intimacy and immediacy guided both the 1951 premiere and the condensed 1952 NBC television version. I then show how challenges to the status quo, particularly the ‘angry young men’ of British theatre and the backlash against naturalism on television, spurred the development of a revamped ‘realistic’ style in the 1964 stage and 1966 BBC productions of Billy Budd. Beyond Billy Budd, this article explores how the meanings of realism changed during the 1950s and 1960s, and how they continue to influence our study of opera performance history.

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Dudziński, Robert. "Jednostka, historia i kosmos. Obłok Magellana Stanisława Lema w kontekście przemian świadomości literackiej doby odwilży." Literatura i Kultura Popularna 25 (July 28, 2020): 283–304. http://dx.doi.org/10.19195/0867-7441.25.16.

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The article is an attempt to read the novel of Stanisław Lem The Magellanic Cloud [Obłok Magellana] in the context of processes characteristic of the beginnings of the post-Stalinist thaw, associated with attempts to discuss with the dogmas of socialist realism. Three main aspects of the novel can be indicated in which there are traces of this discussion. Firstly, in placing the problems of the human individual in the center of the work’s interest — their psyche, feelings and reactions. Secondly, in the revision of Marxist philosophy. Thirdly, in reaching for the achievements of exis-tentialism. Such an interpretation of The Magellanic Cloud allows for its inclusion in the literature of the early thaw stage, in which socialist realist elements were combined with new, doctrine-disin-tegrating threads.

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Clover, Joshua, and Christopher Nealon. "Don't Ask, Don't Tell Me." Film Quarterly 60, no. 3 (2007): 62–67. http://dx.doi.org/10.1525/fq.2007.60.3.62.

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ABSTRACT Brokeback Mountain insists on tragic realism. But Internet parodies of the film rework it to stage other emotions. And a 2001 Madonna video develops similar materials into a cowboy loneliness born of the ecstasy Brokeback Mountain forbids itself.

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Misiri, Laureta. "Myth and Antimyth in the Fictions of Socialist Realism in Albania." European Journal of Language and Literature 2, no. 1 (August 30, 2015): 95. http://dx.doi.org/10.26417/ejls.v2i1.p95-98.

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The process of formation of socialist realism in literary creativity goes hand in hand with the crystallization of social awareness "down", within the psychology of the masses and "up", with the strengthening ideological party institutes of state. Endless discourses among the circles of artists on this plane, so competent is the new artistic unity as "the soc-realistic method" that obtained the status of state doctrine. In 1936 the Soviet government undertook measures to implement the undisputed total soc-realistic method all the arts in the USSR. Socialist realism becomes the dominant term in the science of Soviet literature and art sciences from the thirties to mark "basic approach" which "requires the artist to introduce the concrete historical truth of reality in its revolutionary development", so the literature had to be created with the task of educating the workers in the spirit of socialism. The notion aesthetic "realism" was related to defining "socialist", brought the practice of literature and arts submission to ideology. Demands of using the socialist realism techniques in fact became an obstacle, an anxiety to halt creativity that for years was avoid against the spiritual life of the people, so the writers created in the majority mediokre works of conformist who became propaganda trumpets. In the late ‘80s realism becomes literary and historical term, but in the embryonic stage of many characteristics, the soc-realism literature is determined as "heroic realism", "monumental", "social", "biased" and as if the category of “folk" is the basic principle of a work of art where the mythical watches in the mirror its other part of the medal.

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Golub, Spencer. "The Curtainless Stage and the Procrustean Bed: Socialist Realism and Stalinist Theatrical Eminence." Theatre Survey 32, no. 1 (May 1991): 64–84. http://dx.doi.org/10.1017/s0040557400009467.

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With the advent of the 1917 Revolution, “the whole of the Russian cultural world [became] an icon.” Soviet power retroactively encoded revolutionary imminence and immanence in history and fetishized the revolutionary historical moment as the pregnant body of past, present and future. Leon Trotsky wrote: “If the symbol is a concentrated image, then the revolution is the supreme maker of symbols, since it presents all phenomena and relations in concentrated form.” Lenin's belief that “a communist [proletarian] culture must embody the entire store of knowledge accumulated in the pre-revolutionary past” could not, however, fully predict the Soviets' gross and wholesale advertisement of self-made objects inscribed with ideological desire. This owed more to what Renato Poggioli called the “pronounced tendency of the Russian critical spirit to translate artistic and cultural facts into religious or political myths.” This tendency was exploited by Joseph Stalin, who recognized that “Totalitarianism is … its own Utopia.”

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Schuler, Catherine. "Modernism to Realism on the Soviet Stage by Nick Worrall (review)." Modern Drama 34, no. 4 (1991): 575–77. http://dx.doi.org/10.1353/mdr.1991.0057.

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Woodward, Ashley. "Dispositif, Matter, Affect, and the Real: Four Fundamental Concepts of Lyotard's Film-Philosophy." Film-Philosophy 23, no. 3 (October 2019): 303–23. http://dx.doi.org/10.3366/film.2019.0118.

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Jean-François Lyotard's work remains a largely untapped resource for film-philosophy. This article surveys four fundamental concepts which indicate the fecundity of this work for current studies and debates. While Lyotard was generally associated with the “theory” of the 1980s which privileged language, signs, and cultural representations, much of his work in fact resonates more strongly with the new materialisms and realisms currently taking centre stage. The concepts examined here indicate the relevance of Lyotard's work in four related contemporary contexts: the renewed interest in the dispositif, new materialism, the affective turn, and speculative realism. The concept of the dispositif (or apparatus) is being rehabilitated in the contemporary context because it shows a way beyond the limiting notion of mise en scène which has dominated approaches to film, and Lyotard's prevalent use of this concept feeds into this renewal. While matter is not an explicit theme in Lyotard's writings on film, it is nevertheless one at the heart of his aesthetics, and it may be extended for application to film. Affect was an important theme for Lyotard in many contexts, including his approaches to film, where it appears to subvert film's “seductive” (ideological) effects. Finally, the Real emerges as a central concept in Lyotard's last essay on cinema, where, perhaps surprisingly, it intimates something close to a speculative realist aesthetics. Each of the fundamental concepts of Lyotard's film-philosophy are introduced in the context of the current fields and debates to which they are relevant, and are discussed with filmic examples, including Michael Snow's La Région centrale (1971), Roberto Rossellini's Stromboli (Stromboli, terra di Dio, 1950), Francis Ford Coppola's Apocalypse Now (1979), and neo-realist cinema.

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Mwenda, Angela Nduta, Arnold K. Bregt, and Arend Ligtenberg. "How is Spatial Information Used in Environmental Impact Assessment in Kenya?" Journal of Environmental Assessment Policy and Management 17, no. 03 (September 2015): 1550031. http://dx.doi.org/10.1142/s1464333215500313.

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Spatial information is being increasingly used worldwide within environmental impact assessment (EIA), although the extent of its use has not been exhaustively investigated. Using Kenya as a case study, EIA study reports submitted to the Environment Authority from 2002 to 2013 were investigated for the presence/absence of spatial presentations, levels of visual realism exhibited and content presented. Findings demonstrated a high popularity of spatial information, and preference for the combined use of spatial presentations with low and high levels of visual realism, with no clear preference for spatial presentations with either low or high levels of visual realism. A combination of project location and activities/details was the most popular content in the spatial presentations. Despite the lack of information, this study establishes that indeed spatial information is popular in Kenya and by doing so it sets the stage for further research on its specific use and value to EIA.

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Zhang, De Fa. "The Internal Connection Study of Graphics, Image and Virtual Realism." Applied Mechanics and Materials 26-28 (June 2010): 728–31. http://dx.doi.org/10.4028/www.scientific.net/amm.26-28.728.

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With the development of times, industry has been making great progress, which varies from primitive manual labor to machines in the age of steam. Then, machines and factories have taken the place of more and more manual labors with the development of mechanical design and relative theory. However, it still fails to reach the stage of full automation. Owing to the birth of computer and development of artificial intelligence, the robot factory is no longer a fresh topic. Undoubtedly, those are linked with graphic and computer’s development. There must be a more advanced theory and technology coming into being as graphic & image reach a higher stage. Then, it was named as the virtual realism technology. This new technology has been widely applied to various fields, such as, automatic production line, air quality automatic detector, war-simulating in army, “simulating space environment” on the earth, virtual laboratories building in the education and etc. Now, here are two basic concepts involved in the long-term development: graphics and image.

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Sehat, David. "Gender and Theatrical Realism: The Problem of Clyde Fitch." Journal of the Gilded Age and Progressive Era 7, no. 3 (July 2008): 325–52. http://dx.doi.org/10.1017/s1537781400000748.

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Clyde Fitch was the most famous playwright of the early twentieth century, but today no one studies him. The disconnect between his fame in his lifetime and his obscurity after death points to a major historiographical problem, a problem that began in Fitch's own day. Fitch's numerous contemporary critics, many of whom were early proponents of theatrical realism, criticized his plays as effeminate, bound by the narrow conventions of the legitimate theater that relied on women as its predominant patrons. By contrast, realism, as the critics under-stood it, was masculine, bringing the gritty reality of what contemporary commentators regarded as the real world to the stage. Criticizing Fitch's feminine dramatic sensibilities became a way of prodding him toward a strained realism in his own plays. Fitch's story illustrates the close connection of realism to the gendered hierarchy that became an unconscious element in the determination of literary value. In dismissing Fitch as worthy of scholarly attention, current theatrical historians have followed Fitch's contemporary critics. Even as they have eviscerated the gendered standards of the early twentieth century, present-day scholars have retained the critical judgments and the generic categories that the gendered standards produced.

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Fedorov, Alexey A. "INNOVATIVE CODES OF THE LANGUAGE OF STAGE ART OF EUGENIY BAGRATIONOVICH VAKHTANGOV ON THE MATERIAL OF PERFORMANCES OF THE BEGINNING OF THE XX CENTURY." Interexpo GEO-Siberia 5 (July 8, 2020): 11–18. http://dx.doi.org/10.33764/2618-981x-2020-5-11-18.

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The creative work presented at the International intramural and extramural festival competition of youth theater companies - “Prometheus of a Rukh” - “Spirit of Prometheus” became a threshold of the present article, devoted to the Year of theater in Russia and to the 100 anniversary from the date of the birth of the National poet of Bashkortostan, the playwright Mustaya Karim, and gained the diploma of the Winner of the First degree. In the present work, as part of the creative path, the practice and theorist of the field of art of Eugeniy Bagrationovich Vakhtangov, the language of fantastic realism as the language of artistic theatre is studied. The starting point of the research is to establish the elements of the language of conditional theater based on scenographic, acting and directing decisions in Vakhtangov's performances. For this purpose, the author makes a retrospective appeal to the director's performances. In the analysis of the chosen performances, the artistic deals with innovative instrumentation of Vakhtangov’s theatre language, which formed the director 's own understanding of the artistic style of the theatre as fantastic realism. Elements of the theatrical language of the most significant performances are considered: “Peace Holiday”, “Cricket on an oven”, “Eric XIV”, “Gadibuk” and “Princess Turandot”. Based on the sources in which the performances are described, the Vakhtangov theatre language (style) is analyzed. As a result, descriptive definitions of the concepts of Vakhtangov style and fantastic realism are given. Interfacing analysis with the basic provisions of the concept of fantastic realism, elements of the language of conditional theatre are combined into a single table, which is one of the main results of the work. The work is written within the framework of the project XI.170.1.2. (0325-2017-0013), № АААА-А17-117022250128-5.

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Carlson, Marvin. "The Eighteenth Century Pioneers in French Costume Reform." Theatre Survey 28, no. 1 (May 1987): 37–47. http://dx.doi.org/10.1017/s0040557400008966.

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In the middle years of the eighteenth century a major shift took place in France concerning the idea of appropriate stage costume. The traditional dress of high classicism, with its helmets and high plumes for the men, large hoop skirts for the women, and elegant, symmetrical, and highly artificial dress for both began to be challenged by leading critics and artists, who sought—for greater realism, greater historical accuracy, or greater ease and beauty of movement on stage—a more relaxed and informal approach to stage dress.

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ALPAY, Orçun. "THE IRONY OF SOCIAL REALISM: SOTS-ART AS AN EARLY STAGE OF RUSSIAN POSTMODERNISM." Journal of International Social Research 10, no. 52 (October 25, 2017): 14–18. http://dx.doi.org/10.17719/jisr.2017.1868.

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Lucas, Terry. "Exploring the effect of realism at the cognitive stage of complex motor skill learning." E-Learning and Digital Media 16, no. 4 (March 12, 2019): 242–66. http://dx.doi.org/10.1177/2042753019835893.

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Lepschy, Anna Laura. "Realism, identity, and reality on stage: Italian drama from unification to the present day." Italianist 21, no. 1 (June 2001): 319–47. http://dx.doi.org/10.1179/ita.2001.21.1.319.

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Lacey, Stephen. "‘Blood Red Roses’: John McGrath and Lukácsian Realism." New Theatre Quarterly 18, no. 4 (November 2002): 325–33. http://dx.doi.org/10.1017/s0266464x0200043x.

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John McGrath spurned the easy road to television fame that seemed open to him early in his career, but remained concerned throughout his life to develop the creative potential of the medium, and to exploit what made it distinctive from the forms of film and theatre in which he was also engaged. Unlike many of his contemporaries, McGrath's work was thus underpinned by a strong sense of the differing qualities of the performing media, and nowhere is this more evident than in Blood Red Roses, which began its life as a stage play for 7:84 Scotland in 1980, was adapted into a three-part television serial for Channel 4 in 1985, and re-edited for the version directed by McGrath for Freeway Films. In exploring the differing sensibilities and structures of the different versions, Stephen Lacey draws on ideas – notably the concept of realism – as formulated by George Lukács largely in relation to yet another genre, that of the novel, in which he often found himself in conflict with the ideas of Bertolt Brecht. Stephen Lacey is Principal Lecturer in the Department of Contemporary Arts at Manchester Metropolitan University, and co-director of a major AHRB-funded research project, ‘Cultures of British TV Drama: 1960–82’.

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Guynup, Steve. "The Design of Virtual Space." International Journal of Gaming and Computer-Mediated Simulations 2, no. 2 (April 2010): 57–76. http://dx.doi.org/10.4018/jgcms.2010040104.

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Videogames are the starting point for the general understanding of virtual space. (Grove & Williams, 1998). Academics use videogames to describe virtual space (Murray, 1997; Nitsche, 2009). Others argue that there is no understanding of virtual space, only a loose collection of articles connected by the issue of realism in rendering or behavior (Manovich, 2001). These statements point to a lack of understanding of virtual space on its own terms and set the stage for this document. This is a design document, written by a designer of virtual spaces. Its purpose is to provocatively explore user experience and task completion as forces that influence the design of virtual space. This is not a conventional research paper. The complex relationships of narrative, realism, motivation, usability, and human computer interaction (HCI) are unpacked in the videogame World of Warcraft through a detailed examination of travel. It is proposed that the exploration of travel in a videogame can provide a toolkit of ideas for the application of narrative, realism, motivation, and usability in virtual space. Travel can inform designers on issues of user experience and task completion in virtual spaces

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Leiter, Brian. "LEGAL FORMALISM AND LEGAL REALISM: WHAT IS THE ISSUE?" Legal Theory 16, no. 2 (June 2010): 111–33. http://dx.doi.org/10.1017/s1352325210000121.

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In teaching jurisprudence, I typically distinguish between two different families of theories of adjudication—theories of how judges do or should decide cases. “Formalist” theories claim that (1) the law is “rationally” determinate, that is, the class of legitimate legal reasons available for a judge to offer in support of his or her decision justifies one and only one outcome either in all cases or in some significant and contested range of cases (e.g., cases that reach the stage of appellate review); and (2) adjudication is thus “autonomous” from other kinds of reasoning, that is, the judge can reach the required decision without recourse to nonlegal normative considerations of morality or political philosophy. I also note that “formalism” is sometimes associated with the idea that judicial decision-making involves nothing more than mechanical deduction on the model of the syllogism—Beccaria, for example, expresses such a view. I call the latter “Vulgar Formalism” to emphasize that it is not a view to which anyone today cares to subscribe.

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Tan, Wei-en. "State-Centric Realism Eclipsed: TNCs as the Rising Powerful Actors in the Age of Trade Liberalization." Journal of Politics and Law 8, no. 4 (November 29, 2015): 223. http://dx.doi.org/10.5539/jpl.v8n4p223.

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<p>This essay argues that the global trade liberalization, particularly since 1995, strengthens some transnational corporations (TNCs) to become more powerful. In this sense, some statements argued by state-centric realism have to be revised; however, doing that does not mean that realism is fully out-of-date. The case studies suggest that mother country, such as the U.S., is a critical agent for TNCs to project their power and/or to protect their vital interest in the global market. In other word, sovereign state, especially the stronger one, is still important under some specific conditions. Ironically, most countries in the global south are increasingly retreating from the stage of international trade while TNCs from the North are detaining many efficient means of control over technology, capital and even political access.</p>

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Fotheringham, Richard. "The Doubling of Roles on the Jacobean Stage." Theatre Research International 10, no. 1 (1985): 18–32. http://dx.doi.org/10.1017/s0307883300010464.

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A decade ago the analysis of the structure of the plays performed by the Elizabethan, Jacobean, and Caroline professional theatre companies, in order to discover patterns of doubling of the roles, seemed to hold considerable promise for further inquiry. D. M. Bevington's pioneering From ‘Mankind’ to Marlowe and W. A. Ringler's article ‘The Number of Actors in Shakespeare's Early Plays’ offered direct evidence and tools for structural analysis, and were followed by important studies by Scott McMillin, Irwin Smith, and others. Nevertheless, since then interest in this area – and particularly in doubling on the seventeenth-century stage – seems to have declined. The assumption made explicitly by Bevington and implied by most other commentators has been that as the professional acting companies expanded their resources, found patrons, and increased the number of their liveried personnel, the frenetic doubling of the Tudor era became unnecessary. Apart from some unhurried doubling of very minor characters and extras, they believe this practice virtually disappeared from the Jacobean stage, rendering further investigation unnecessary. The small amount of direct evidence to the contrary, first noted by W. J. Lawrence in 1927, has been analysed as an interesting but aberrant phenomenon; occasional atavistic survivals in a more opulent and refined age whose taste was turning towards ‘realism’ in acting and production methods.

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Fabiszak, Jacek. "Sex-speare vs. Shake-speare: On Nudity and Sexuality in Some Screen and Stage Versions of Shakespeare’s Plays." Text Matters, no. 3 (November 1, 2013): 203–18. http://dx.doi.org/10.2478/texmat-2013-0035.

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The article attempts to address the issue of nudity and eroticism in stage and screen versions of Shakespeare’s plays. Elizabethan theatrical conventions and moral and political censorship of the English Renaissance did not allow for an explicit presentation of naked bodies and sexual interactions on stage; rather, these were relegated to the verbal plane, hence the bawdy language Shakespeare employed on many occasions. Conventions play a significant role also in the present-day, post-1960s and post-sexual revolution era, whereby human sexuality in Western culture is not just alluded to, but discussed and presented in an open manner. Consequently, nudity on stage and screen in versions of Shakespeare’s plays has become more marked and outspoken. Indeed, in both filmic and TV productions as well as stage performances directors and actors more and more willingly have exposed human body and sexuality to the viewer/spectator. My aim is to look at such instances from the perspective of realism and realistic conventions that the three media deploy and the effect nudity/sex can have on the recipient. The conclusion is that theatre is most conventional and stark realism and directness of the message need to be carefully dosed. Similarly to the theatre, television, more specifically television theatre, is, too, a most direct genre, as television is inherently a live medium, the broadcasts of which occur here and now, in the present tense (ideally). Film is markedly different from the two previous forms of art: it is narrated in the past tense, thus creating a distance between what is shown and the viewer, and allowing for more literalness. Naturally, particular cases discussed in the article go beyond these rather simple divisions.

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Raik, Kristi. "Renaissance of realism, a new stage of Europeanization, or both? Estonia, Finland and EU foreign policy." Cooperation and Conflict 50, no. 4 (December 3, 2014): 440–56. http://dx.doi.org/10.1177/0010836714560033.

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Snell, Darryn, David Schmitt, Audra Glavas, and Larissa Bamberry. "Worker stress and the prospect of job loss in a fragmented organisation." Qualitative Research in Organizations and Management: An International Journal 10, no. 1 (March 9, 2015): 61–81. http://dx.doi.org/10.1108/qrom-03-2014-1210.

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Purpose – The purpose of this paper is to advance research on job loss-related stress through a critical realism framework which considers the interplay between organisational context and personal agency and its implications for worker stress in the pre-lay-off stage. Design/methodology/approach – The paper adopts a qualitative case study approach and considers two groups of workers confronted with the prospects of job loss in Australia’s power generation industry – permanent employees working for power stations and workers employed by associated contractors. Field research and semi-structured face-to-face interviews were conducted with 35 power industry workers including power station employees and contract workers. Findings – The research shows permanent employees expressing higher levels of stress than contract workers. The different emotional responses expressed by the two groups are accounted for by differences in organisational circumstances and the conditioning of personal agency within these organisational contexts. Research limitations/implications – One of the implications is that “vulnerable” workers are better prepared for plant closure and less prone to stress. Additional research involving different types of industries, organisational forms, and workforces and involving different stages of the job loss experience, however, is needed to more full advance the understanding of the complexities between organisational structure, worker agency, and the stress implications. Practical implications – This study assists the authors in better understanding worker emotional experience in the pre-lay-off stage. These findings have important implications for workers, unions and social support agencies and how they can appropriately approach, prepare and assist different categories of workers confronted with job redundancy situations. Social implications – This study assists the authors in better understanding worker emotional experience in the pre-lay-off stage. The study has implications for the design and implementation of assistance packages for displaced workers. Originality/value – Unlike other studies which focus on the lay-off, unemployment or re-employment stage of job loss, this study focuses on the pre-lay-off stage. Conceptually, the study departs from the positivist paradigm which dominates much of the stress literature and adopts a nuanced approach inspired by critical realist understandings of the structure-agency relationship.

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Zharikova, Vera V. "Representation of Youth in Soviet Cinema of the 1950s." Journal of Flm Arts and Film Studies 7, no. 3 (September 15, 2015): 40–49. http://dx.doi.org/10.17816/vgik7340-49.

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The 1950s in the history of our cinema became a transitory stage from the grand style aesthetics to humanistic realism of the Thaw period. One of the most significant traits of this transition was the appearance of young characters on screen (school pupils, students) who were striving to fulfill themselves and find their own way in life. The article analyzes the images of the young people as they were represented in films of that period.

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CHATTERJEE, PARTHA. "Theatre and the Publics of Democracy: Between Melodrama and Rational Realism." Theatre Research International 41, no. 3 (October 2016): 202–17. http://dx.doi.org/10.1017/s0307883316000419.

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The theatre that developed in late nineteenth-century India, especially in the Bengal and Maharashtra regions, catered to an audience that was much wider than the new educated middle-class males who introduced the European stage form in Kolkata, Mumbai and Pune. Driven by private capital, the new Indian theatre adopted the melodrama as its main dramatic form. When performance capital shifted to the more lucrative field of cinema in the middle of the twentieth century, the melodramatic form again became the chief narrative mode. Such is its power that it has become the principal rhetorical form of popular democracy in India. In the decades after independence, theatre was rescued from imminent death by the support provided by state agencies which sponsored the production of a national theatre canon and style, as opposed to the prevailing regional ones. However, with bureaucratization and political interference, theatre in India today must revert to its one inherent superiority over the cinema – the immediacy of its encounter with small audiences.

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SUGIERA, MAŁGORZATA. "Contemporary drama as a challenge for Polish theatre." European Review 9, no. 3 (July 2001): 339–45. http://dx.doi.org/10.1017/s106279870100031x.

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The aim of the paper is to show the impact contemporary drama has had on Polish theatre during the last 50 years. In this period, there were two innovative phases in Polish drama, both having a different impact on the theatre. After 1956, political changes allowed for noticeable transformations in the dramatic and stage conventions, which up to then were dominated by socialist realism. After 1989, political changes brought a few promising debuts, as well as new topics and means of expression, which had been almost completely absent from the Polish stage. At the same time, this paper tries to show in which respect Polish dramaturgy maintained its national uniqueness, while being influenced by world drama.

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Bird, Graham. "McDowell's Kant: Mind and World." Philosophy 71, no. 276 (April 1996): 219–43. http://dx.doi.org/10.1017/s0031819100041450.

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McDowell's Mind and World is a commentary on a traditional, dualist, epistemology which puzzles over, and offers accounts of, a fundamental division between mental, subjective items, and nonmental, objective items in experience. The principal responses to that tradition which McDowell considers are those of Davidson's coherentism, Evans's form of realism, and Kant; but it is Kant's famous B75 text which occupies centre stage:‘Gedanken ohne Inhalt sind leer; Anschauungen ohne Begriffe sind blind’. (Thoughts without content are empty; intuitions without concepts are blind).

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Staniskyte, Jurgita. "Treading the Borderline." Nordic Theatre Studies 26, no. 1 (October 1, 2018): 32–43. http://dx.doi.org/10.7146/nts.v26i1.109732.

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Duringthesecond decadeof theIndependence, i.e. at thebeginningof thetwenty-first centurythe increasing number of performances trying to escape the tradition of anti-mimeticrepresentation and to re-engage with reality appeared on the Lithuanian theatre stage.Fragments of everyday reality, ?real?personalities onstage, autobiographic narratives, historicdocuments, authentic spaces were becoming increasingly popular, allowing some critics toproclaim theeagerly awaited ?return to realism?. However, acloser analysisof thistendency ofcontemporary Lithuanian theatre can lead one to believe that such performances do notdemonstratetheurgeto return to thetraditional notion of realist representation, but rather toplayfully flirt with reality and its reception in the fictional world of theatre. In the light oftheoretical and practical revisions of the concepts of reality and its representation, youngLithuanian theatrecreatorsarenot somuch interested in truthful representation of reality, butrather in a performative investigation of processes of representation and their effects onaudience perception. One might add that while engaging with the codes of reality or ?real?material onstage, contemporary Lithuanian artists try to dismantle the binary oppositionbetween realistic representation and anti-realistic playfulness, which dominated the symbolicmentality of modern Lithuanian theatre. Various forms of playing with reality and fiction onthe Lithuanian theatre stage, their underlying principles and wider cultural implications ofsuch games are the object of investigation of this article. A comparative analysis ofperformances from Lithuania and Estonia will help to highlight the specific character ofLithuanian theatre as well as to define the patterns of playing with reality present on thepost-Soviet Lithuanian stage.

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Xian, Rachel. "Conditioning Constructs: A Psychological Theory of International Negotiated Cooperation." International Negotiation 26, no. 2 (April 5, 2021): 319–56. http://dx.doi.org/10.1163/15718069-bja10025.

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Abstract Political psychology and social constructivism exist in an “ideational alliance” against realism; however, both have overlooked behavioral conditioning, the basis of animal learning. Through six stages situated in international negotiation behaviors, the theory of Conditioning Constructs shows how behavioral conditioning can take parties from specific to diffuse reciprocity, rationalist to constructivist cooperation, and crisis to durable peace. In stages 1, 2 and 3, parties use negotiated agreements to exit prisoner’s dilemmas, continuously reinforce cooperation during agreement implementation, and satiate to rewards as initial implementation finalizes. In stages 4, 5 and 6, parties receive fresh rewards with new negotiations, undergo intermittent reinforcement with periodic agreements thereafter, and finally attribute cooperative behavior to actor constructs. Conditioning Constructs demonstrates that agency is possible in socially constructed structures through willful participation in conditioning through negotiation; and that, while Anatol Rapoport’s tit-for-tat strategy is suited to initial cooperation, intermittent reinforcement better preserves late-stage cooperation.

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Journal articles on the topic 'Stage realism'

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