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Relevant bibliographies by topics / Sumy theater

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Academic literature on the topic 'Sumy theater'

Author: Grafiati

Published: 28 May 2022

Last updated: 31 July 2025

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Journal articles on the topic "Sumy theater"

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Lobko, Nataliia. "Mykhailo Verkhatskyi: Materials for a Biography." Sums'ka Starovyna (Ancient Sumy Land), no. 62 (2023): 55–62. http://dx.doi.org/10.21272/starovyna.2023.62.5.

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The article is about the outstanding Ukrainian director, theater expert, patriarch of Ukrainian theater pedagogy, laboratory director, secretary of the director's staff of «Berezіl» Les Kurbas, professor of the Kyiv Theater Institute Mykhailo Polijektovych Verkhatskyi. He is also known as a student and employee of Kurbas, the author of reports on directing and acting, articles and memoirs about Les Kurbas. Based on the correspondence between his student V.S. Vasylko and the wife of L. Kurbas, it was established that it was thanks to the careful notes of Mykhailo Polievktovich that the priceles

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Lipisivitsky, M. "THE INFLUENCE OF SOVIET PROPAGANDA DURING THE "COLD WAR" ON THE UKRAINIAN TRANSLATION OF BERTOLT BRECHT'S THE THREEPENNY OPERA IN THE 1960s." Brecht-Magazine: Articles, Essays, Translations, no. 10 (December 23, 2024): 61–73. https://doi.org/10.35433/brecht.10.2024.61-73.

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The article examines the peculiarities of the Ukrainian translation of Bertolt Brecht's play The Threepenny Opera by the renowned Ukrainian translator Borys Ten, influenced by the so-called "Soviet propaganda" – the ideological discourse that existed in the Soviet Union during the Cold War. The author, drawing on their own translation experience – including the translation of dramatic works by the famous founder of epic theater, particularly The Threepenny Opera characterizes the specifics of Borys Ten's translation strategy. The nuances of domestication strategy in Borys Ten's translation are

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Annichev, О. Ye. "The interaction of theatrical journalism and theatrical criticism in the modern media." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 115–26. http://dx.doi.org/10.34064/khnum1-51.06.

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Background. Topicality of the theme. With the advent of the Internet, Internet journalism has appeared. In relating to theater, in essence, it is theatrical criticism, which has only undergone major changes. In recent years, there have been lively discussions in professional circles about the state and prospects of theater criticism as a profession, about the nature of theater criticism, its self-identification in the modern information space. Round tables with the participation of leading theater critics are devoted to the issues of the current state of theater criticism, a number of relevant

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Artyukh, Vyacheslav O., and Hennadiy M. Ivanushchenko. "Sources to the History of the Education Society ‘Prosvita’ in Sumy (1917-1918)." SUMY HISTORICAL AND ARCHIVAL JOURNAL, no. 33 (2019): 33–46. http://dx.doi.org/10.21272/shaj.2019.i33.p.33.

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This work is dedicated to the publication and analysis of 15 previously unknown documents from the history of ‘Prosvita’ society during the Ukrainian Revolution (1917-1918). Some of the documents are now stored in the funds of the State Archive of Sumy Oblast and the Central State Archive of Supreme Authorities and Governments of Ukraine, the another section are newspaper publications in rare editions and a memoir. The contents of the documents testify that in Sumy the ‘Prosvita’ Society was established on April 9, 1917, and already on May 21 strongly declared itself, becoming the organizer of

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Ivanchenko, Lesya. "FROM THE DUBOVICHI LIFE: REPRESSIONS AGAINST THE CHURCH IN THE 1920-1930'S." Journal of Ukrainian History, no. 40 (2019): 129–35. http://dx.doi.org/10.17721/2522-4611.2019.40.16.

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In the article, the author reveals fragments of the study about repressions of the 1920s and 1930s against the churches, as an institution of society, against the clergy, church services, active parishioners of one of the settlements in Sumy Region(Dubovichi village). Self-identification and peaceful living under the laws of honor in the socialist regime led to the destruction of employed citizens and clergy who lived by vocation and by traditional moral principles. After all, it was they - conscious citizens, intellectuals, who "threaten" the terrorist plot of the Bolshevik authorities on the

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Ponomariov, Olexandr. "Troops, society and intelligence during the Russian-Turkish war of 1768–1774 (based on archived data)." Studia Universitatis Moldaviae. Seria Ştiinţe Umanistice, no. 4(184) (October 2024): 47–58. http://dx.doi.org/10.59295/sum4(184)2024_06.

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On the basis of archival documents, the situation in the Danube theater of military operations and front-line territories after the Russian-Turkish war of 1768–1774 is considered. Presented as deserters, Cossacks, Haidamaks destabilized the situation in the south of Ukraine. The role of scouts and spies sent by both sides of the conflict is considered separately. The preparations of the Porte to strengthen the garrisons of the border fortresses in Moldova, in connection with the proposed offensive, are shown. Suvorov’s report is published, which refers to the French doctor Villamin, who, befor

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Gubina, Nina, та Elena Tagil'tseva. "АКСИОЛОГИЧЕСКИЙ ПОДХОД В ПРАКТИКЕ ИНКЛЮЗИВНОГО ТЕАТРА". Proceedings of Altai State Academy of Culture and Arts, № 2 (2021): 79–84. http://dx.doi.org/10.32340/2414-9101-2021-2-79-84.

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The paper briefly describes specifics of an inclusive theatre, which is direction of amateur theatrical activities that gains popularity aimed at assistance in rehabilitation and socialization processes of spectators with disabilities. Authors consider the key principles of arrangement of educational and cultural space adapted to realities of the modern social theatre for persons with physical and mental disabilities. Also, the article sums results of inclusive theatrical playing fields of the last years run on educational platform “Parus” (Eng.: “Sail”) within the frames of International Yout

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Barba, Eugenio. "Grandfathers, Orphans, and the Family Saga of European Theatre." New Theatre Quarterly 19, no. 2 (2003): 108–17. http://dx.doi.org/10.1017/s0266464x03000034.

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In this essay Eugenio Barba, director of Odin Teatret, founder of the International School for Theatre Anthropology, and a Contributing Editor of NTQ, traces his own ‘orphanage’ from a professional family – and his discovery not only of an ‘elder brother’ in Grotowski, but of his two ‘grandfathers’, Stanislavsky and Meyerhold. He extends the metaphor to suggest how these two branches of a theatrical family tree, apparently of quite different impulses and temperaments, shared a working language, however differently this translated into their theatre practice. He sums this up as a common concern

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Sigurðardóttir, Gerður Halldóra. "Popular Participation: Why do People Participate in Amateur Theatre?" Nordic Theatre Studies 29, no. 2 (2018): 184. http://dx.doi.org/10.7146/nts.v29i2.104611.

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There are about sixty amateur theatre companies in Iceland. Hundreds of people every year participate in various theatrical activities, from staging large and intricate productions to smaller and more intimate readings and programs, attending workshops and seminars, writing plays both short and “full-length”, meeting in groups not only to rehearse but to practice and develop theatrical crafts. None get paid. Some are even ready to part with fairly large sums for aforementioned workshops and seminars. All of them put in untold work hours and a lot of effort – after they get done with their da

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Hussein, Marwa Sami, Ansam Riyadh Abdullah, and Alaa Hameed Jasim. "Man’s Continuous Search for Salvation in Beckett’s plays: From Arrival in Waiting For Godot to Departure in Endgame." Journal of Tikrit University for Humanities 28, no. 3, 1 (2021): 42–66. http://dx.doi.org/10.25130/jtuh.28.3.1.2021.22.

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Following an existential point of view, the absurd theatre depicts ideas that seem to have illogical explanation. As a case in point, Samuel Beckett is the most eminent of the absurdist playwrights, in a sense that he deals with the dullness of routine, the futility of human action, and humans' inability to communicate. Beckett who has experienced so much of life became a man with a prophetic vision, and the creator of new concepts of modern theatre. His journey continues after writing Waiting for Godot to write Endgame. Both plays share the same view that man is living in a world without a cl

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Dissertations / Theses on the topic "Sumy theater"

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Нестеренко, Вадим Анатолійович, Вадим Анатольевич Нестеренко та Vadym Anatoliiovych Nesterenko. "Театри на Сумщині в роки німецької окупації". Thesis, Видавництво СумДУ, 2008. http://essuir.sumdu.edu.ua/handle/123456789/14398.

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Rose, Hannelore [Verfasser]. "Sum figuli lusus ... - die römischen Terrakottamasken in den Nordwestprovinzen : Herkunft, Herstellung, Verbreitung, Funktion / Hannelore Rose." 2000. http://d-nb.info/975697870/34.

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Books on the topic "Sumy theater"

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Yaari, Nurit. Israeli Theatre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.003.0012.

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This chapter reviews the state of Israeli theatre today, seventy-two years since the production of Racine’s Phaedra at Habima Theatre, and sums up its notable achievements, and the myriad forms, styles, artists, and institutions that together provide fertile ground for Israeli theatre’s encounters with classical drama. An overview of the seventy-two years of reception of Greek tragedy in Israeli theatre (1945–2017) demonstrates clearly that the most important development appears to be that local theatre makers have relinquished previous preconceived ideas about classical Greek drama and perfor

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Cohen, Edward M. New Jewish Voices: Plays Produced by the Jewish Repertory Theatre (Suny Series in Political Theory). State University of New York Press, 1985.

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3

(Editor), Teresa Cajiao Salas, and Margarita Vargas (Editor), eds. Women Writing Women: An Anthology of Spanish-American Theater of the 1980s (Suny Series in Latin American and Iberian Thought and Culture). State University of New York Press, 1997.

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(Editor), Teresa Cajiao Salas, and Margarita Vargas (Editor), eds. Women Writing Women: An Anthology of Spanish-American Theater of the 1980s (Suny Series in Latin American and Iberian Thought and Culture). State University of New York Press, 1997.

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5

Watts-Cartwright, Peg. Chasing Venus. PublishAmerica, 2004.

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6

Richardson, John, Claudia Gorbman, and Carol Vernallis, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.

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This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century

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Publishers, Museum. Notebook: The Actors Otani Hiroji II As Kawazu Saburo and Nakamura Sukegoro I As Matano Goro in the Play Kashiwa Ga Toge Kichirei No Sumo, Performed at the Ichimura Theater in the Eleventh Month, 1755, 1755, Torii Kiyomitsu I, Japanese, 1735-1785, Japan. Independently Published, 2020.

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Book chapters on the topic "Sumy theater"

1

Rimas, Juozas, and Juozas Rimas Jr. "Interpretation (the Main Form of the Manifestation of Music)." In Etudes on the Philosophy of Music. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63965-4_16.

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AbstractBased on the author’s course at the Lithuanian Academy of Music and Theatre. 16.1. The Origin and Meaning of Interpretation. The work exists as a possibility of an undefined set of interpretations: so long as it exists like this, it exists not for us; we only make it our own through interpreting it (A. Maceina). Before something becomes interpretable, it first has to be understood. Performance vs. interpretation. Hermeneutics, exegesis and interpretation. Whoever wants to understand a text projects a meaning of the whole (H. Gadamer), as well as the sequence of musical events—the narra

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2

Kolenda, Christopher D. "The Surge Misunderstood." In Zero-Sum Victory. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813152769.003.0035.

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Why was the U.S. unsuccessful in turning successes achieved during the surge into a durable political outcome? This chapter offers three related arguments: the desire to withdraw reduced U.S. bargaining leverage; the reduction in violence led U.S. officials to overestimate Maliki’s inclusiveness; and U.S. leverage was further dissipated by civil-military tensions and strategic incoherence in theater. The surge had not been designed to alleviate either of those aspects.

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Slezak, Peter. "4. Cogito, Ergo Sum: The Diagonal Deduction." In Spectator in the Cartesian Theater. Lexington Books, 2023. http://dx.doi.org/10.5771/9781666923766-69.

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Palmer, Fiona M. "The King’s Theatre." In Domenico Dragonetti in England (1794-1846). Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198165910.003.0005.

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Abstract Though the parallel may appear rather ludicrous, yet we cannot avoid comparing this theatre to some fen-farms, which, if productive once in every four or five years, pay enough to enable the tenant to bear the losses he sustains during the unsuccessful intervals. Now and then we have a good season at the Opera House, but it comes about as often as a fine sum mer, once in an Olympiad, and helps us in our musical chronology, as the celebration of certain games assisted the Greeks in marking the periods of their history.

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Rothman, William. "“I Never Thought I Should Sink So Low as to Become an Actor”: John Barrymore in Twentieth Century." In Hamlet Lives in Hollywood. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474411394.003.0015.

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In Twentieth Century (1934), John Barrymore as Oscar Jaffe gives a performance so stupendous in its theatricality and wit that it ranks as one of the most brilliant – and most profound – in the history of cinema. This chapter argues that in its utterly ironic yet utterly honest way, Barrymore’s performance (to phrase Oscar himself) sums up everything this great actor knew about talent, about the theater, and about genius.

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Sousa, José Pedro, and Andresa Fresta Marques. "The Nutcrackers: Iberian Variations on a Short Farce." In Iberian and Translation Studies. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800856905.003.0015.

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During the seventeenth and eighteenth centuries, alongside original plays, Iberian playwrights produced translations, adaptations, and other forms of textual appropriation. Within this corpus, the sub-genre of short farces (‘entremezes’) is still largely unknown, but it presents a fruitful field for the intersection of Iberian studies and theatre translation studies. By demonstrating the complex nature of the (inter)relations between the Spanish Entremés del valiente (1691) and the Portuguese Entremez do soldado valentão (1773)/‘Entremez do Pinalvo’ (undated manuscript), this chapter revisits

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"‘Cut my heart in sums’: community-making and -breaking in the prodigal drama of Thomas Middleton." In Community-Making in Early Stuart Theatres. Routledge, 2016. http://dx.doi.org/10.4324/9781315573014-26.

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Milhous, Judith, Gabridla Dideriksen, and Robert D. Hume. "Finances." In Italian Opera in Late Eighteenth-Century London. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198167167.003.0012.

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Abstract The Pantheon was manifestly a financial disaster within two months of its opening. By mid-April 1791 its backers were frantically trying to arrange an immediate amalgamation with the opposition at the new King’s Theatre, Haymarket-for very good reasons, as we shall discover. After the fire of January 1792 newspaper reports of fabulous losses contribute to the impression of disaster: sums like £76,000 were bandied about. Such journalistic sensationalism, however, does little to establish a solid basis for comprehension of what happened at the Pantheon. In so far as possible, we want to

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Wade, Leslie A. "Exceptional Performance, Exceptional Place." In Downtown Mardi Gras. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496823786.003.0008.

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This chapter assesses New Orleans’ situation in 2018. One can see Downtown Mardi Gras as a vast piece of egalitarian street theatre, whose process may witness ego-rivalries and identity contestations, but whose final performance achieves something greater than the sum of its parts—the physical manifestation of an aspirant desire, for a reanimated city, of tolerance, equity, and mutual respect. Downtown Mardi Gras may portend a new future for Carnival practices, the opening of the door to further, yet-to-be-realized ludic expressions and energies; it may also point to new civic constellations,

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Ceusters Werner. "Common Sense as a Key Requirement for Promoting the Electronic Healthcare Record: Two Years of Experience in the Belgian National PROREC Centre." In Studies in Health Technology and Informatics. IOS Press, 1998. https://doi.org/10.3233/978-1-60750-900-4-155.

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PROREC-BE vzw is the first national PROREC centre that has been created to promote the use of high quality electronic healthcare records in line with European standards and insights. The mission of the centre is to satisfy the needs of all actors playing in the electronic healthcare record theatre. This is realised by setting up discussion fora and technical groups, and by adhering to common sense principles such as acceptance of each other&apos;s competence, looking at responsibilities instead of rights, and preferring win-win over zero-sum games. After two year of working, the Belgian PR

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Conference papers on the topic "Sumy theater"

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Montalvo Gallego, Blanca. "El arte invisible. En los límites de la percepción." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.8940.

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En esta ponencia propongo analizar un tipo de obra que se crea a partir del juego con los límites de la percepción. Piezas que podemos ubicar en el espectro entre lo visible y lo invisible. Así, el estudio lo he dividido en los tres campos más habituales en los que trabajan estas prácticas artísticas: Desde los juegos con la luz que nos hacen visibles o invisibles parte o la totalidad de la obra, como en Proyectante de sombra (1993) de Laboratorio de Luz, o Glimpse (2007) de Jim Campbell; a aquellas fundamentadas en el tiempo de visión que fuerzan las capacidades de humanos o máquinas, como la

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