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Journal articles on the topic 'Sumy theater'

Author: Grafiati

Published: 28 May 2022

Last updated: 31 July 2025

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1

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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2

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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3

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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4

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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5

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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7

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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8

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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9

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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10

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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11

Nesterenko, Vadym, and Tetiana Shut. "Social-Cultural Processes within Sumy Region during the Period of the German Occupation 1941-1943 (Based on the Materials of “Sumy Visnyk” Newspaper)." Sums'ka Starovyna (Ancient Sumy Land), no. 64 (2024): 21–30. http://dx.doi.org/10.21272/starovyna.2024.64.3.

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The objective of the article is to cover the social-cultural processes on the territory of Sumy region during the period of the German military occupation in 1941-1943. The majority of the research source base comprises publications in the local occupation newspaper “Sumy Visnyk” which was issued 1941 to 1943. Its articles give the opportunity to study thoroughly certain social-cultural processes in general and the development of the theatrical and educational spheres, functioning of a museum, a cinema, and libraries in particular. Also, it enables characterizing the everyday life of the popul

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12

Bacchi, Elisa. "Non sum Oedipus, sed Morus." Erasmus Studies 39, no. 1 (2019): 75–91. http://dx.doi.org/10.1163/18749275-03901002.

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Abstract This article aims to investigate the representative strategies of Moriae Encomium by taking into account the link between Erasmus’ Moria and Thomas More’s portrait as it emerges both from the Encomium Moriae and from the Utopia. Specifically, I will focus on the crucial role of Erasmus’ concept of omnium horarum homo as an ethical and aesthetic model applied to the definition of More’s nature. This approach, which explores the intertextual construction of Morus-Moria’s identity, shall allow me to stress the relevance of the metaphor of mundane masking in Erasmus’ Encomium and More’s U

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13

Sribnyak, Ihor, Milana Sribniak, and Viktor Schneider. "Ukrainian amateur theatre in Ukrainian POWs camp Wetzlar, Germany (Autumn 1915 – Winter 1917)." European Historical Studies, no. 17 (2020): 108–54. http://dx.doi.org/10.17721/2524-048x.2020.17.8.

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The article covers specifics of Ukrainian amateur theatre functioning in the camp Wetzlar (Germany) throughout autumn 1915 – winter 1917. Its activity became possible thanks to the creation of the Mykola Lysenko Music and Drama Society which maintained the technical side of theatre production, casted plays, appointed stage directors, and was responsible for stage property and necessary stage sets. Delegated council of the society ensured financial income of the camp theatre by accumulating earned money from each performance and allocating sums for assistance to actors and other society members

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14

Bharucha, Rustom. "Under the Sign of the Onion: Intracultural Negotiations in Theatre." New Theatre Quarterly 12, no. 46 (1996): 116–29. http://dx.doi.org/10.1017/s0266464x00009945.

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Rustom Bharucha's Theatre of the World (Routledge, 1993), sections of which first appeared in New Theatre Quarterly, was a major intervention in the debate about the nature and ethics of interculturalism – an unfortunate side-effect being that he has, by his own wry admission, now been ‘academicized as Peter Brook's Other’, a category he finds both offensive and redundant. The following article extends his explorations by developing a careful and pertinent distinction between interculturalism and intraculturalism – a distinction derived from practice rather than theory, specifically from his e

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15

Hamilton, Patricia. "Playing New Words." Canadian Theatre Review 69 (December 1991): 20–24. http://dx.doi.org/10.3138/ctr.69.003.

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I went to Drama School at Carnegie Mellon, then called Carnegie Tech, from 1956 to 1960. On entry we were handed a list of 400 plays from world literature that we were expected to have read by graduation. We were told that if we accomplished this, we would have a working knowledge of theatre history. As I recall, not a single one of these important plays in 3,000 years of world playwriting had been written by a woman. In addition, in four years in that school I never studied, saw or acted in a play by a woman. Playwriting was as firmly a masculine domain as sumo wrestling.

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16

Apea, J. K. O. Apea. "A systematic review of the effectiveness of ‘live’ participatory drama in changing HIV/AIDS related behaviours in developing countries." Pentvars Business Journal 5, no. 4 (2011): 34–65. http://dx.doi.org/10.62868/pbj.v5i4.89.

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Although a huge sums of money and resources have been utilised in the fight against HIV/AIDS worldwide, the pandemic continues to pose a serious threat to the global population. The case is especially severe in developing countries that report a disproportionate burden of HIV incidence and prevalence. In recent years, Entertainment- Education (EE) strategies (the strategic placement of educational content within entertainment messages such as theatre or drama) have been used to promote HIV/AIDS prevention in many countries, including India, Philippines, Tanzania, Nepal, and Peru. This review i

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17

Davis, R. G. "Seven Anarchists I Have Known: American Approaches to Dario Fo." New Theatre Quarterly 2, no. 8 (1986): 313–19. http://dx.doi.org/10.1017/s0266464x00002323.

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In the final issue of the original series of Theatre Quarterly, TQ40 (1981), R. G. Davis described his experiences directing the plays of Dario Fo in Canada and the USA, focusing mainly on his work with We Won't Pay! We Won't Pay! Here, he looks not only at his own but at the half-dozen other productions of Fo's Accidental Death of an Anarchist which have so far been presented in North America – and finds himself, in retrospect, critical of his own work, as well as that of others. He concludes that it is impossible to attempt Fo's plays properly without at least an understanding of the politic

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18

Kuzmina, O. A. "Opera for children-performers in the work of contemporary choir conductors." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 281–98. http://dx.doi.org/10.34064/khnum1-56.18.

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Background. Operas for children-performers emerged almost two centuries ago. The first authors who began creative experiments in this field were amateur composers. In the second half of the 19th century opera for childrenperformers attracted the attention of music teachers who by education were often choir conductors. These authors created their works considering capabilities and needs of their students. The 20th century operas intended for children performance mainly were composed by professional composers, whose works have finally crystallized and sustained characteristic features of this ge

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19

Hellsing, My. "Hertiginnan, hovet och staden i det gustavianska Stockholm." Sjuttonhundratal 10 (August 31, 2013): 103. http://dx.doi.org/10.7557/4.2623.

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<p>The Duchess, the Court, and the City in Gustavian Stockholm</p><p><br />This article analyses the everyday urban sociability and the staging of politics of the Swedish duchess Hedwig Elizabeth Charlotte in the years around 1790. The cultural and social life of the Gustavian court has been the focus of much scholarly attention. However, the main aim of these studies has been to examine court life as a reflection of Gustavus III&rsquo;s personality and political ambitions. This article, however, integrates Gustavian court sociability in a broader European pattern b

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20

Artiukh, V. O. "THE “PROSVITA” FELLOWSHIP CENTRES OF THE LYPOVODOLYNA DISTRICT IN 1917-1922." Sums'ka Starovyna (Ancient Sumy Land), no. 55 (2019): 79–90. http://dx.doi.org/10.21272/starovyna.2019.55.6.

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The article covers the peculiarity of activities and the emergence of the “Prosvita” fellowship centres on the territory of the modern Lypovodolyna district of the Sumy region during the period of the Ukrainian revolution (1917-1921) and the first years of the Soviet state. Such forms of activities of the fellowship as organizing the primary education, conducting theatre performances, maintaining educational libraries, forming the historical consciousness and creating the image of the poet Taras Shevchenko as a “father” of the Ukrainian nation are examined within the article. The national char

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21

Amiraghyan, Hasmik. "100th anniversary of Anton Chekhov’s death in Barcelona." RUDN Journal of Studies in Literature and Journalism 28, no. 3 (2023): 509–18. http://dx.doi.org/10.22363/2312-9220-2023-28-3-509-518.

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The interest towards Anton Chekhov’s theatre entered a new phase in the end of the seventies of the 20th century in Barcelona. A quarter of century after Franco’s death the translations of Chekhov’s plays into Catalan and representations thereof recorded a new growth: translators and artists were trying to fill the gap resulting from the cultural crisis suffered under the dictatorship by introducing into the national cultural system some of the most recognized authors of the world, already considered classics in the western neighbour countries (France, Great Britain, Germany). The 100th annive

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Inst., Adnan Taher Rahma, and Salman Hayder Jasim Inst. "The Negative Aspects of Materialism and Capitalism inElmer Rice's The Adding Machine." International Journal of Arts, Humanities and Social Studies 4, no. 4 (2022): 65–69. https://doi.org/10.5281/zenodo.6976657.

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Elmer Rice (1892-1967), one of the foremost American playwrights, was born in New York city. He was the son of a cigar salesman. He grew up among slums and tenement houses, which to some extent left a stamp on his writings. He attended the New York University Law School at night and graduated in 1912 with distinction. Having passed his bar examination, he was qualified to be a lawyer. However he had more interest in the theatre than in the legal profession, which made him give up law and be entirely devoted to playwriting. He wrote more than fifty plays which show versatility and a wide variet

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Abbas Hilal Farhood Al-Janaby. "Bertolt Brecht's Main Concerns in Mother Courage and Her Children." Journal of the College of Basic Education, no. 52 (January 20, 2023): 1–14. http://dx.doi.org/10.35950/cbej.vi52.9520.

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Mother Courage and her Children is one of the great theatrical productions during the Second World War . It represents Bertolt Brecht’s serious attempt to criticize war and capitalism at a time when cruel dictators such as Hitler were shedding blood mercilessly . This study concentrates on Brecht’s major issues and his moral concerns that he tackles in Mother Courage and her Children. We’ll try to show how and why Brecht attacks war and its consequences . The study consists of three sections. Section I is an introduction in which some light is shed on Brecht’s contribution to the epic theatre.

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Poznin, Vitaly F. "Documentaries, 21st Century: Time to Sum Up." Journal of Flm Arts and Film Studies 8, no. 3 (2016): 36–46. http://dx.doi.org/10.17816/vgik8336-46.

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During the last fifteen years in the Russian documentaries dominated creative trend characterized by passionless, objectivist fixing of reality, mainly the negative sides of it. Today, the so-called actual cinema is under crisis, and that determines the relevance of the study summing up some of the processes that have taken place in the Russian documentary cinema in the late 20th-early 21st century. The author examines the causes of uprise and development of the objectivist, naturalistic approach to the fixing of reality and showing the negative aspects of it in Russian documentaries. The prim

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Jiménez Gómez, Cristina Alejandra. "Ciudad-Política-Teatro: Flaubert y el teatro espontáneo." CALLE14: revista de investigación en el campo del arte 10, no. 17 (2016): 128. http://dx.doi.org/10.14483/udistrital.jour.c14.2015.3.a10.

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RESUMENA partir de la investigación-creación “Flaubert 20 rutas” (el registro en video de diferentes intervenciones en el transporte público de Bogotá) se pone de manifiesto cómo los buses se pueden convertir en un escenario móvil para el teatro espontáneo. Este contexto da lugar a las reflexiones de una actriz, adaptadas de textos de Gustave Flaubert que tratan de la urbanidad y convivencia social en lo que él llama la buena sociedad. Se establece la identificación de un espacio escénico habitado cotidianamente por pasajeros que al mismo tiempo son personajes reconocibles del entorno urbano.

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Divnogortsev, Aleksandr L. "On Publication of N.S. Zelov’s Book on Russian Archivists, Scientists, and Local History Experts." Herald of an archivist, no. 2 (2019): 631–39. http://dx.doi.org/10.28995/2073-0101-2019-2-631-639.

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The review sums up and assesses articles in N. S. Zelov’s “Champions of Archiving” devoted to life and activities of V. V. Adoratsky, V. V. Maksakov, M. N. Pokrovsky, N. P. Prokopenko, and others. Author’s 55-year-long services at the head of the personal provenance fonds department in the State Archive of the Russian Federation (GARF) bring to mind the words “preserver of the memory of archivists and science communicator who made known documents of national scientists, artists, writers, bibliographers, and local historians.” His publications - books, articles, documents, reviews, reports, mem

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Zainab Abdullah Hussein. "Shaping the Identity through Dramatizing the Memories - A Study of August Wilson’s The Piano Lesson." مجلة آداب الفراهيدي 14, no. 50 (2022): 549–59. http://dx.doi.org/10.51990/jaa.14.50.3.28.

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There is no doubt with the claim that the African-American people have been suffering from a traumatic past of slavery and injustice long time ago. Similarly, they still suffer, but presently with another form of discrimination which is racism. The study argues that August Wilson, in particular, and the African-Americans, in general, are tremendously keen on maintaining their memories because memories do have an irreplaceable part in one’s identity. The study explores Wilson’s The Piano Lesson as a case in point. The present study aims at exploring Wilson as a prolific dramatist whose style wa

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28

Артюх, В’ячеслав. "THE “PROSVITA” FELLOWSHIP CENTRES OF THE KONOTOP COUNTY IN 1917-1923." КОНСЕНСУС, no. 1 (2021): 7–18. http://dx.doi.org/10.31110/consensus/2021-01/007-018.

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The article covers the peculiarity of activities and the emergence of the “Prosvita” fellowship centres on the territory of the modern Konotop district of the Sumy region during the period of the Ukrainian revolution (1917–1921) and the first years of the Soviet state. Such forms of activities of the fellowship as organizing the primary education, conducting theatre performances, maintaining educational libraries, forming the historical consciousness and creating the image of the poet Taras Shevchenko as a “father” of the Ukrainian nation are examined within the article. The national character

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Dr.S.Muniyasamy. "Mu.Ramasuwamiyin ThoRpaavai NizhaRkuuththu: Parvaium Pazhagalum." PULAM : INTERNATIONAL JOURNAL OF TAMILOLOGY STUDIES 4, no. 3 (2024): 11–17. https://doi.org/10.5281/zenodo.12788891.

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AbstractIn the emerging world of science, one of the endangered folk arts is dholakutu. Theaters with modern facilities with technological development, producers who spend crores of rupees, safe facilities while acting, photography equipment with sophisticated equipment, musical instruments that emit music delicately, devices that bring light and sound precisely to the audience, dupe many times and choose one in a hundred and finally choose the favorite. Cinema is currently flying the flag in the world and in India with its various genres. Even if there is no talent or acting, if there is mone

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Júnior, José de Oliveira. "Iluminação e Espacialidade em Adolphe Appia." Arte da Cena (Art on Stage) 2, no. 3 (2016): 188. http://dx.doi.org/10.5216/ac.v2i3.43586.

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RESUMOO presente trabalho intitulado: Iluminação e Espacialidade em Adolphe Appia se propõe fazer uma abordagem histórica e bibliográfica sobre as contribuições do referido teórico para a transformação do espaço cênico teatral a partir de uma reformulação cenográfica que tem como elementos formadores a iluminação e a espacialidade cênica. Contribuições estas inspiradas na encenação do drama Wagneriano e na Ginástica Rítmica. A pesquisa faz uma breve exposição histórica sobre as práticas teóricas de Richard Wagner e Jaques-Dalcroze, visto serem estas duas personagens de suma importância para o

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31

Drummond, Claire C., Brian W. Connolly, Jimin Lee, Donna Parsons, Steve Patch, and Robert DeWitt Yearout. "Impacts of Leisure Activity Noise Levels A Revised Case Study." Industrial and Systems Engineering Review 2, no. 1 (2014): 36–41. http://dx.doi.org/10.37266/iser.2014v2i1.pp36-41.

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An article originally published in the International Journal of Industrial Ergonomics in 1991 discussed the effects of damaging noise levels exposed during the leisure time of industrial workers. With a noise level change preferences, this study was designed to work in collaboration with a 2013 study (Claire Drummond, 2013) which began the groundwork of measuring and examining the consistency of the data collected in 1990. Attributed to an increase in popularity of electronic music and improved digital sound equipment, indoor leisure environment sound levels have increased since the original s

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32

Krylova, Snezhana V. "Man and time in Tatiana Moskvina’s epistolary play Proklyataya Lyubov’ (on the author’s strategies)." Tekst. Kniga. Knigoizdanie, no. 34 (2024): 38–49. http://dx.doi.org/10.17223/23062061/34/4.

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The article justifies that, using well-known dramatic techniques, Tatyana Moskvina was able to create an original type of an “epistolary play” on documentary material. The material for her was the correspondence of the actress Angelina Stepanova and the playwright Nikolai Erdman, Stepanova's memories, and Erdman's texts. All this was carefully selected. Moskvina saw and highlighted in these documents symbolic details that were enlarged in the play due to repetitions, leitmotifs, and comments of the Human Note (a character introduced into the composition to explain historical and biographical r

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Risum, Janne. "Minutes of "Evening to Sum Up the Conclusions from the Stay of the Theatre of Mei Lanfang in the Soviet Union" at The All-Union Society for Cultural Relations with Foreign Countries (VOKS) on Sunday, 14 April 1935." Asian Theatre Journal 37, no. 2 (2020): 328–75. http://dx.doi.org/10.1353/atj.2020.0032.

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Budianskyi, D. V. "Ivan Kavaleridze`s dramaturgy on the Sumy stage." SUMY HISTORICAL AND ARCHIVAL JOURNAL, no. 36 (2021). http://dx.doi.org/10.21272/shaj.2021.i36.p.37.

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The characteristic features of I. Kavaleridze’s drama is considered in the article. It is noted that there are signs of the artist’s individuality, attraction to expressionist forms, artistic techniques characteristic for the art of sculpture: symbolism, monumentality, hyperbole. I. Kavaleridze was well versed in the drama laws, understood the specifics of the stage events construction, had a large arsenal of literary means, thanks to which the characters’ monologues and dialogues were extremely expressive and colorful. In his work, he implemented original solutions that were ahead of time. Th

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Tam, Thomas. "Bresson and Mimesis." Kinema: A Journal for Film and Audiovisual Media, April 10, 2004. http://dx.doi.org/10.15353/kinema.vi.1070.

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BRESSON AND THE PROBLEM OF MIMESIS Is there a problem of mimesis in Bresson's conception of cinematography? How does Bresson situate his art in relation to this concept? Is the Bressonian system of cinematography not mimetic in nature after all? Everything in Notes on Cinematography seems to suggest the opposite. As we know, Bresson contrasts his art of cinematography to the art of the theatre. To him, the theatre is a conventionalized practice whose essence consists in the simulation of reality, whereas cinematography presents us with persons and objects such as they are in the real world. Th

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Rapoport, Anatoli. "Teacher Education Reform as Political Theater: Russian Policy Dramas. ElenaAydarova. New York: SUNY Press, 2019, 336 pp." Anthropology & Education Quarterly, July 21, 2021. http://dx.doi.org/10.1111/aeq.12401.

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Hayward, Romilly K., W. James B. Smellie, Natalia Sanchez-Thompson, and Oliver J. Warren. "BHSeP6 Cumulative sum analysis of the robotic inguinal hernia repair learning curve." British Journal of Surgery 112, Supplement_3 (2025). https://doi.org/10.1093/bjs/znae323.010.

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Abstract Background The use of robotics in hernia surgery is increasing and is associated with a significant learning curve. Continuous, real-time outcome analysis is vital to inform and protect patients, and enable cost-benefit decisions. Methods Prospective data capture of patients undergoing robotic hernia repair during one surgeon’s introduction of robotics into their high-volume practice. Learning curve analysis was conducted using the cumulative sum (CUSUM) method. Results 31 unilateral inguinal repairs were performed between February 2023 and May 2024. Median age was 68 years. 78% had a

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Kianaian, Hamid. "Terapia de teatro moderna: un nuevo enfoque basado en la experiencia de Hamid Kianian para aumentar la autoestima de las personas con discapacidades físicas y motoras." Dilemas contemporáneos: Educación, Política y Valores, February 1, 2020. http://dx.doi.org/10.46377/dilemas.v33i1.2199.

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Teniendo en cuenta que la discapacidad física y motora afecta no solo la salud física sino también la salud mental, es de suma importancia prestar atención a promover la autoestima; por lo tanto, Hamid Kianian, con un nuevo enfoque integrado con el teatro ideó "Terapia de teatro". Para evaluar el rendimiento de este método, se utilizó la prueba de autoestima de Rosenberg en una población aleatoria de personas con discapacidades físicas y motoras en el Instituto de Rehabilitación de Baran en dos intervalos de tiempo diferentes; el primero fue al momento de ingresar al instituto antes de Theatre

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"III. Rhetoric: The Authority of Self-Presentation." New Surveys in the Classics 32 (2002): 46–79. http://dx.doi.org/10.1017/s0533245100031011.

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‘Democracy is a constitution of speech-making’, wrote Demosthenes, the great orator of the fourth century. The Assembly is the arena where policy decisions of the state were publicly debated and decided – and where political careers were made and lost. The law courts were a forum not just for conflict resolution but for competition in status between elite males. The theatre staged debate for an audience’s reflection. Even in the more private sphere of the symposium amid the wine, women and song we see the party game of speeches on a particular topic. In the agora, the market place, and, more f

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Rămneanţu, Vasile. "Activitatea Primăriei Timişoara în anul 1934 / Activity of the Mayoralty of Timișoara in 1934." Analele Banatului XIX 2011, January 1, 2011. http://dx.doi.org/10.55201/vylp2202.

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The present study provides an analysis of the activity of the mayoralty of Timişoara in 1934. For this scientificapproach, I have studied the archive material related to the meetings of the Temporary Committee of the town.During the year of 1934, the Mayoralty of the town of Timişoara allotted important sums of money formaintenance and development of the health institutions subordinated to it. Thus, it stipulated enlargementof Children Hospital “Principele Mircea”, development of Obstetrical Institute, construction of TuberculosisHospital, transferring of the Anti-rabies Institute “Dr. Victor

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Cintra, Rosana Carla, Elaine Cristina Veiga, and Allyne Nunes Oliveira. "As contribuições do lúdico no processo de desenvolvimento das crianças com Síndrome de Down na educação infantil." Horizontes 33, no. 2 (2015). http://dx.doi.org/10.24933/horizontes.v33i2.73.

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ResumoO presente estudo tem por objetivo analisar os subsídios da ludicidade no processo de ensino e aprendizagem de crianças com Síndrome de Down, com enfoque principal nas contribuições da dança. Uma das melhores formas de estimulação para as crianças com síndrome de Down é através das atividades e brincadeiras lúdicas que envolvam as diversas linguagens artísticas como a dança, a música, o teatro e o movimento. A inclusão na rede de ensino é um direito da pessoa com deficiência, sendo assegurado por meio da Lei nº 7.853/89, que decreta a obrigatoriedade do fornecimento de vagas na rede regu

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Brien, Donna Lee. "Disclosure in Biographically-Based Fiction: The Challenges of Writing Narratives Based on True Life Stories." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.186.

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As the distinction between disclosure-fuelled celebrity and lasting fame becomes difficult to discern, the “based on a true story” label has gained a particular traction among readers and viewers. This is despite much public approbation and private angst sometimes resulting from such disclosure as “little in the law or in society protects people from the consequences of others’ revelations about them” (Smith 537). Even fiction writers can stray into difficult ethical and artistic territory when they disclose the private facts of real lives—that is, recognisably biographical information—in thei

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Adams, Jillian Elaine. "Marketing Tea against a Turning Tide: Coffee and the Tea Council of Australia 1963–1974." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.472.

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The Coming of Coffee Before World War II, Australians followed British tradition and largely drank tea. When coffee challenged the tea drinking habit in post-war Australia, the tea industry fought back using the most up-to-date marketing techniques imported from America. The shift to coffee drinking in post-war Australia is, therefore, explored through a focus on both the challenges faced by the tea industry and how that industry tackled the trend towards coffee. By focusing on the Australian Tea Council’s marketing campaign promoting tea as a fashionable drink and preferable to coffee, this a

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Hackett, Lisa J., and Jo Coghlan. "Conjuring Up a King." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2986.

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Introduction The coronation of King Charles III was steeped in the tradition of magic and ritual that has characterised English, and later British, coronations. The very idea of a coronation leverages belief in divinity; however, the coronation of Charles III occurred in a very different social environment than those of monarchs a millennium ago. Today, belief in the divine right of Kings is dramatically reduced. In this context, magic can also be thought of as a stage performance that relies on a tacit understanding between audience and actor, where disbelief is suspended in order to achieve

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