To see the other types of publications on this topic, follow the link: The social role of theater.
Journal articles on the topic 'The social role of theater'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'The social role of theater.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Stănescu, Mirona, and Daniel Andronache. "The Importance of Theater Pedagogy from a Student's Perspective. An Empirical Study in a German-Speaking Elementary School in Romania." Educatia 21, no. 18 (May 21, 2020): 109–18. http://dx.doi.org/10.24193/ed21.2020.18.11.
Full textAbstract:
Could school and theater be seen as a symbiosis? The roots of the school theater go back to the 15th century. Early on, the educators recognized the importance of drama for the development of the students. But what do the students think about the theatrical education for their own development? This paper presents the results of a qualitative research designed to explore the role of education through theater for the personal, social skills and aesthetic development of the students. For this purpose, a semi-structured interview was used. In our qualitative study we examined the effects of theatre education from the perspective of the students. We interviewed 20 primary school students of the German-speaking school in Cluj-Napoca, who had theater pedagogy as optional courses for four years about their personal experience with theatre. Results demonstrate the development of personal, social and aesthetic skills. The data obtained show that students themselves recognize the significant and positive impact of the education through theatre regarding the emotional, social and aesthetic development (as components of personal development), and the relationship between them.
2
Forenza, Brad. "Sustained Community Theater Participation as Civil Society Involvement." Nonprofit and Voluntary Sector Quarterly 46, no. 3 (July 20, 2016): 549–66. http://dx.doi.org/10.1177/0899764016660385.
Full textAbstract:
Community theaters proliferate in every state in the nation, yet they are rarely considered in civil society research. Participation in civil society is capable of producing individual (psychological empowerment) and community-level outcomes, yet less is known about how community theaters might be capable of producing the same. Guided by the empirically tested dimensions of intra-organizational empowerment, this qualitative study interrogates four internal processes of voluntary membership in a community theater (shared beliefs, opportunity role structure, social support, and leadership). Directed content analysis of 14 in-depth interviews support and extend our understanding of existing theory for this less examined population. Implications for policy, practice, and future research are discussed.
3
Dennison, Susan T. "Interdisciplinary Role Play Between Social Work and Theater Students." Journal of Teaching in Social Work 31, no. 4 (September 2011): 415–30. http://dx.doi.org/10.1080/08841233.2011.597670.
Full text
4
Nellhaus, Tobin. "Online Role-playing Games and the Definition of Theatre." New Theatre Quarterly 33, no. 4 (October 11, 2017): 345–59. http://dx.doi.org/10.1017/s0266464x17000483.
Full textAbstract:
Online role-playing games are a form of entertainment in which players create characters and improvisationally perform scenes together within a digital virtual world. It has many theatre-like aspects, which raises the question of whether it is in fact a form of theatre. To answer that question, however, one must first have a definition of theatre – an issue with disciplinary consequences – and in this article Tobin Nellhaus develops a definition founded on social ontology, suggesting that theatrical performance, unlike other social practices, replicates society's ontology. From that perspective, online role-playing meets the definition of theatre. But its digital environment raises another set of problems, since embodiment, space, and presence in online role-playing are necessarily unlike what we experience in traditional theatre. Here, Nellhaus brings these three aspects of performance together through the concept of embodied social presence, showing how they operate in both customary theatre and online role-playing. Tobin Nellhaus is an independent scholar who was Librarian for Performing Arts, Media, and Philosophy at Yale University. He has published mainly on the relationship between theatre and communication practices, and on critical realist theory in theatre historiography. He is the General Editor of the third edition of Theatre Histories (London: Routledge, 2016), and the author of Theater, Communication, Critical Realism (New York: Palgrave Macmillan, 2010).
5
Shirley, Dennis. "Reproduction, Contestation, and Political Theater: Reflections on Three Productions." Journal of Education 168, no. 1 (January 1986): 93–104. http://dx.doi.org/10.1177/002205748616800106.
Full textAbstract:
This composition considers the potential of political theater to provide a medium for educational practitioners to challenge dominant ideological codes in school and society. Through an investigation of the role of three productions the author demonstrates the capacity of theater to disrupt traditional teacher and student roles through the construction of a common artistic product which is preeminently social in its origin, development, and realization. Political theater suggests a forum through which counter-hegemonic struggles can transcend verbal discussions to raise fundamental questions of social justice in a manner which is lively, accessible, and provocative to student populations.
6
Xiao, Xiao, and She-Ning Zhu. "Critical reflection on the role of theater nurses in a multidisciplinary team for perioperative care in China." Frontiers of Nursing 6, no. 1 (May 20, 2019): 27–33. http://dx.doi.org/10.2478/fon-2019-0006.
Full textAbstract:
Abstract Objective The aim of this article is to reflect on the role of theater nurses in a multidisciplinary team, understand the factors that have influenced theater nurses’ practice, and improve the authors’ clinical practice ultimately. Methods The author used Smyth’s model to guide the process of reflection on the practice issue. Critical reflection, critical emancipatory theory, reflexivity, and critical social theory were used to help the author analyze the factors that have affected theater nurses’ practice in the organization. Results There are gaps between the espoused and enacted theories. A theater nurse’s practice is determined by multiple factors, such as political, structural, social, historical, cultural issues, and so on. The hierarchy of the health context could hinder possible changes in theater nurses’ practice. To better understand our practice and implement transformation, we should shape a supportive environment, bear in mind the practice motto of “patient-centered” care, and improve our knowledge and reflection skills. Conclusions Reflection plays a significant role in the advancing of practice among theater nurses and needs to be combined with clinical practice. To provide the best service of care to perioperative patients, a theater nurse should have an insightful understanding of the factors that have influenced her/his behaviors historically, socially, and culturally. By improving their critical reflection skills, practitioners could gain knowledge from experience.
7
Sánchez Cabrera, Noemí Gabriela. "Voces y dramatizados de reivindicación: La experiencia en una comunidad rural de Ecuador." INDEX COMUNICACION 9, no. 2 (June 30, 2019): 163–82. http://dx.doi.org/10.33732/ixc/09/02vocesy.
Full textAbstract:
This paper describes how radio and theatre joint together in a rural community in Ecuador as instruments for women’s rights claiming, highlighting their roles in the public sphere. By means of a qualitative methodology with focus groups, women could show their reality, enclosed in a patriarchal culture that reflects the different faces of violence against women. This action research shows as results that woman´s role as a social subject is invisible and that inequality of roles at household chores affects the woman and that this practice is strongly reinforced in the discourse towards sons and daughters at these homes. Given these circumstances, in edu-communication framework, both radio and theatre stand out with a social and liberating approach in the fight for equal rights and opportunities in men and women relationships. Keywords: Radio; Theater; Patriarchal Culture; Edu-communication; Equality.
8
Vagapova, Natalia. "POLITICAL THEATER ON THE SCENES OF BELGRADE INTERNATIONAL THEATRE FESTIVAL." Urgent Problems of Europe, no. 2 (2021): 154–75. http://dx.doi.org/10.31249/ape/2021.02.07.
Full textAbstract:
The article presents a cultural and political analysis of the activities of the Belgrade International Theater Festival (BITEF) - a significant theatrical, general cultural and social phenomenon in Serbia, the Balkans / South-Eastern Europe, and throughout Europe as a whole. Before the collapse of the SFRY (1991-1992), being the official showcase of self-government socialism, the festival was at the same time one of the most representative shows of new theatrical trends in Europe. It was attended by troupes from the countries of the East and West - Western and Eastern Europe, the USSR, the USA, Latin America, China, Japan. Not being by definition a festival of political theater, thanks to the moral and civic position of its founders and leaders M. Trailovich and Y. Chirilov, BITEF has become a space of aesthetic and social free-thinking in the SFRY and in neighbouring socialist countries. The organizers of BITEF found an opportunity to provide a platform for theatrical «dissidents» with their performances dedicated to rethinking modernity and the recent past in any genre. During the existence of the FRY (1992-2003), BITEF became an annual cultural manifestation in opposition to the regimes in power in Serbia, Croatia, Bosnia and Herzegovina, with their ideology of chauvinism and isolation from the outside world. At this time, the compilers of the festival programs began to attach special importance to performances of a political and social orientation. Many theaters from Serbia, as well as from the former neighbours of the Yugoslavian federation, and now the newly independent states, in their productions offered not so much a political, as a moral and ideological alternative to ethnic nationalism, militarism and political intolerance. Since 2006, in the independent Republic of Serbia, BITEF has strived not only to revive the traditions of Serbian theater, but also to preserve the best traditions of the theatrical art of the peoples of the former Yugoslavia, placing them in the context of the common European and global development of theater and culture, ideology and philosophy, literature, aesthetics, ethics. In principle opposing nationalism and militarism from the standpoint of humanism, BITEF plays an outstanding role in shaping public attitudes in Serbia, in weakening and overcoming conflicts, in normalizing relations between the peoples of the disintegrated Yugoslavia, in creating an atmosphere of freedom and tolerance.
9
Pertea, Alina, and Valentin Grecu. "Using Theatric Pedagogy To Develop Social And Emotional Skills In Order To Improve Employability Of Engineering Students." ACTA Universitatis Cibiniensis 66, no. 1 (July 1, 2015): 143–46. http://dx.doi.org/10.1515/aucts-2015-0043.
Full textAbstract:
Abstract This research is the result of intense concerns about the role of theater in society beyond the theater show, from the creative process of analysis and introspective psychological insight, to the side effects of theater as a form of expression of the individual, and reception, assimilation and processing of theatrical codes and messages. The paper focuses therefore on theatric pedagogy, the forming tools and the size of the theater, and its value as a means and as a didactic factor for personality stimulation and development, both in terms of form and content. To this end, there are presented both theoretical perspectives and an exploratory study, which aims to verify the applicability, usefulness and effectiveness of theatric pedagogy means as an additional training method to facilitate the integration of graduates in employment and a successful professional collaboration, in an industry mainly in the field of real profile
10
Tylus, Jane. "Theater and its Social Uses: Machiavellis Mandragola and the Spectacle of Infamy*." Renaissance Quarterly 53, no. 3 (2000): 656–86. http://dx.doi.org/10.2307/2901493.
Full textAbstract:
Long seen as a play that celebrates the new-found freedom of its female protagonist, Mandragola may in fact question the very possibility of theatrical "liberation. "Drawing on the foundational myth central to Renaissance thinking about theater, the abduction of the Sabine women, this essay shows how Machiavelli endeavored to make his play a discomfitting experience for characters and audience alike. This conception of comedy as social trap both challenged humanistic notions of the ideal relationship between theater and the city, and accentuated the surveillant norms inherent in humanists'understanding of the role of the stage in society.
11
Zimnica-Kuzioła, Emilia. "Acting Career and its Determinants in the Social World of Professional Theater in Poland." Konteksty Społeczne 8, no. 1 (November 20, 2020): 48–69. http://dx.doi.org/10.17951/ks.2020.8.1.48-69.
Full textAbstract:
The article is an attempt to answer the question about factors affecting the trajectory of an acting career. The author confronts the objective dimensions of a career with a subjective concept of success, clarified by the participants of the social world of theater themselves. The empirical basis of the work are free interviews conducted by the author with actors of Polish public drama theaters (in 2015–2017) and journalistic interviews with theater artists published in books and popular monthly magazines in the last two decades of the 21st century. All sources were subjected to qualitative content analysis. It shows that in addition to talent, which is the basis of an acting career, hard work is also important. The actors pay attention to personality aspects – charismatic people with a natural ability to attract attention have a greater chance of success. The cultural capital of the stage artist and social capital (the relevant role of linking artistic careers) are not without significance for the course of the acting career. Actors also say a lot about coincidence of events, but it is worth remembering that “you have to be good to be lucky”, you have to be more motivated and determined. The author also tries to answer questions whether awards actuate the course of acting career and whether migrations are an opportunity for creative progression.
12
Popov, Maxim Evgenievich. "The Russian Theater in Berlin (1919-1923): the Experience of Cultural Exports." Samara Journal of Science 6, no. 4 (December 1, 2017): 156–60. http://dx.doi.org/10.17816/snv201764208.
Full textAbstract:
The paper is devoted to the consideration of Russian theatrical activity in Berlin during 1919-1923, when Berlin was the focus of Russian theater life abroad, and active creative exchange between German and Russian cultures took place in this connection. The problem of exporting Russian art culture to Western countries is of interest for both domestic and foreign researchers. Among the topical problems on this issue, the Russian theater plays an important role. The study of this issue gives an idea of the potential of Russian culture in a different social and cultural environment. In the center of the research is the process of formation and development of Russian theatrical life in the German cultural environment. The author made an attempt to identify and disclose the main artistic directions of the Russian theater in Berlin in 1919-1923 and determine their role in bringing Germany to the achievements of national culture. The work uses materials from the memoirs of contemporaries and periodicals. On the basis of these sources it is shown that the theater played one of the fundamental roles in preserving the Russian cultural community and their cultural appearance on the overseas. Russian theatrical seasons contributed to the Wests involvement in the achievements of Russian culture and the establishment of cultural and artistic ties between Germany and Soviet Russia. Thus, the activities of the Russian migr and touring Russian theater in Berlin in 1919-1923 reflected the high potential of Russian culture in the conditions of a foreign social environment.
13
Markovic-Bozovic, Ksenija. "Theatre audience development as a social function of contemporary theatres." Zbornik Matice srpske za drustvene nauke, no. 175 (2020): 437–51. http://dx.doi.org/10.2298/zmsdn2075437m.
Full textAbstract:
From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize its cultural-emancipatory, social-inclusive, social-cohesive, educational, and other similar potentials. Extensive research of the functional type, which combines the analysis of the process of theatre production, distribution and reception, and sheds light on the ways in which theatre functions in the community, has not been conducted in Serbia so far. However, for many years, there have been conducted researches that provide sufficiently relevant answers, analysing this topic from individual aspects of the audience, marketing activities, cultural policy and theatre management. Their overall conclusion is that theatres in Serbia must (re)orient themselves to the external environment - (re)define their social mission and actively approach the process of diversification of the audience. However, the practical implementation of such recommendations is still lacking, theatre organizations find it difficult to adopt the idea that changes must be initiated by themselves, which brings us to the question of the attitudes on which these organizations establish their work. In this regard, the paper maps of and analyzes the opinions of managers and employees of Belgrade theatres on the topic of the role of theatre in the audience development and generation of the ?additional? social value, contextualizing the opinions in relation to the current circumstances, i. e. specific practices of these institutions. In conclusion, an original theoretical model of ?two-way adaptation of public city theatres? is developed, recognizing the importance of strategic action in culture both ?bottom-up? and ?top-down?, and proposing exact activities and approaches to theatre and cultural policy in the field of theater audience development.
14
Cavallaro, Daniela. "Who Says You Can’t Be a Saint? Female Saints as Heroes on the Italian Catholic Stage." Journal of Humanistic Psychology 58, no. 4 (July 28, 2017): 444–59. http://dx.doi.org/10.1177/0022167817722272.
Full textAbstract:
This essay considers how one modern order of Catholic priests and nuns, the Salesians, presented the lives of female saints as heroic role models through theater to young women in Italy in the post-World War II years. My discussion touches on the Salesian use of theater in education; the most important Salesian woman author, Caterina Pesci; the heroic journey of the saints that Pesci chose as role models; the effect that the theatrical representation of these saints was meant to make on performers and audience, and the historical reasons for the importance of saints as heroic role models in postwar Italy.
15
Nusen, Rachod, and Kamron Gunatilaka. "Translated Plays as a Force for Social Justice." Manusya: Journal of Humanities 23, no. 1 (March 21, 2020): 86–115. http://dx.doi.org/10.1163/26659077-02301005.
Full textAbstract:
During the current political crisis in Thailand, people hold various political standpoints. Despite these different stances, the goal for many of these differences remains the same, namely, a just society. The research Translated Plays as a Force for Social Justice is an attempt to advocate the role of literature in creating social justice. The purpose of the research is to study issues of social justice in translated plays and to suggest ways in which the Thai academic community and Thai society can use plays to advocate social justice. This research studies translations of William Shakespeare’s The Merchant of Venice, Bertolt Brecht’s Der gute Mensch von Sezuan, Jean Anouilh’s Antigone and Arthur Miller’s The Crucible. The study finds that these plays pose challenging questions which help raise an awareness of the importance of social justice. Critics and theatre practitioners in the West have created a number of works on these plays that help advance social justice. Nonetheless, the issues of social justice in these plays are often ignored by Thai critics and theater practitioners and, because of this, some of them unintentionally offer an interpretation or a production, which is not in line with the concept of social justice.
16
Suyadi, Suyadi. "LAKON BANGSAWAN SUMATRA UTARA, TINJAUAN SINTAKTIKA." MEDAN MAKNA: Jurnal Ilmu Kebahasaan dan Kesastraan 17, no. 2 (December 3, 2019): 180. http://dx.doi.org/10.26499/mm.v17i2.2140.
Full textAbstract:
The performance of drama bangsawan not only carries social, economic, and political missions. The role of drama bangsawan is increasingly important and strategic in organizing the life of the nation, state, and society. In addition to playing a role to explore the cultural and artistic values that we have, royal drama can also play a role in encouraging the realization of complete human development, which also means not only teaching material/physical, but also very useful to order the mental and spiritual of every human being. This paper presents the syntactic aspects of the drama bangsawan in North Sumatra. The syntactic aspect which is part of Charles Morris's semiotic theory explores the nature and pattern of stories of aristocratic plays. This review succeeded in discovering the existence of the aristocratic theater in North Sumatra and its shape patterns. This folk theater originally took place among the aristocrats in the Serdang Sultanate and eventually became the property of most people. The aristocratic form or concept of the show was maintained even though it was no longer played at the Palace, as the palaces in the former North Sumatra Residency after the Social Revolution collapsed. This theater should be inherited as a non-fine cultural form belonging to North Sumatra.
17
Paris. "Moral Theater in the Streets: The Role of Suffering in the Quest for Social Justice." Princeton Seminary Bulletin 29 (2008): 39. http://dx.doi.org/10.3754/1937-8386.2008.29.1.5.
Full text
18
Tawadros, Tammy. "Developing the Theater of Leadership." Advances in Developing Human Resources 17, no. 3 (May 26, 2015): 337–47. http://dx.doi.org/10.1177/1523422315587898.
Full textAbstract:
The Problem Recent models of leadership emphasize the importance of adaptive, strategic, and socio-emotional capabilities for success. The development of leadership has transformed from teaching about the concept to an experiential learning of leadership, an approach that focuses on identity and problem solving. Over the past decade, improvisational theater and interactive drama based leadership development has received increasing attention; moreover, many advocate its use as a powerful and innovative experiential learning tool, to foster self-awareness and increase ability to deal with the unexpected and unpredictable. Through simulated, unscripted scenarios with actors, improvisation allows experimentation, discovery, and rehearsal of leadership behavior in a group context. It generates individual, relational learning that is immediate, emergent, and relevant to the emotional and cognitive complexities of real-world leadership. There is a paucity of literature on theater-based leadership. This makes it difficult for HRD professionals to justify giving theater-based leadership development (TBLD) techniques preference over other, less resource-intensive techniques. The Solution This article proposes a practical model for the systematic evaluation of TBLD techniques . A pathway mapping approach will be used. The model draws on recent social psychology research on social interaction and identity. Based on this, “micro” analytic techniques of discursive psychology and conversation analysis are proposed to examine patterns of leadership interaction behavior. The findings are to be used as a basis for building a “high fidelity,” evidence-based methodology for role-play and improvisation as development training for leaders. The approach offers a clear framework for HRD professionals. It will be used to analyze and inform the effective use of TBLD. This article is purely theoretical; it does not include empirical research. The Stakeholders Many can potentially benefit by using TBLD techniques, including human resource (HR) professionals and HRD practitioners, leadership development specialists and training providers, organization development practitioners, and professional actor trainers.
19
Frimberger, Katja. "“Some People Are Born Strange”." Qualitative Inquiry 23, no. 3 (July 7, 2016): 228–39. http://dx.doi.org/10.1177/1077800416643995.
Full textAbstract:
The article explores the role of a Brechtian theater pedagogy as “philosophical ethnography” in four investigative drama-based workshops, which took international students’ intercultural “strangeness” experiences as the starting point for aesthetic experimentation. It is argued that a Brechtian theater pedagogy allows for a productive rather than representational orientation in research, which is underpinned by a love for the aesthetic “re-entanglement” of (dis-embodied) language and ethical concerns about mimetic representational acts. To show how a Brechtian research pedagogy functioned as philosophical ethnography, the article maps the aesthetic transformation of participant Jamal’s verbatim account in the drama workshops—from (a) its emergence in a post-creative-writing discussion in Workshop 2, to (b) its enactment as a body sculpture in Workshop 3, and (c) to its translation into a rehearsal piece in Workshop 4.
20
Roselli, David Kawalko. "Gender, Class and Ideology: The Social Function of Virgin Sacrifice in Euripides' Children of Herakles." Classical Antiquity 26, no. 1 (April 1, 2007): 81–169. http://dx.doi.org/10.1525/ca.2007.26.1.81.
Full textAbstract:
Abstract This paper explores how gender can operate as a disguise for class in an examination of the self-sacrifice of the Maiden in Euripides' Children of Herakles. In Part I, I discuss the role of human sacrifice in terms of its radical potential to transform society and the role of class struggle in Athens. In Part II, I argue that the representation of women was intimately connected with the social and political life of the polis. In a discussion of iconography, the theater industry and audience I argue that female characters became one of the means by which different groups promoted partisan interests based on class and social status. In Part III, I show how the Maiden solicits the competing interests of the theater audience. After discussing the centrality (as a heroine from an aristocratic family) and marginality (as a woman and associated with other marginal social groups) of the Maiden's character, I draw upon the funeral oration as a comparative model with which to understand the quite different role of self-sacrifice in tragedy. In addition to representing and mystifying the interests of elite, lower class and marginal groups, the play glorifies a subordinate character whose contradictory social status (both subordinate and elite) embodies the social position of other ““marginal”” members of Athenian society. The play stages a model for taking political action to transform the social system and for commemorating the tragic costs of such undertakings.
21
Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.
Full textAbstract:
Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
22
Pranowo, Yogie. "Karya Seni dalam Pandangan Jean-Paul Sartre." MELINTAS 34, no. 2 (August 1, 2019): 193–211. http://dx.doi.org/10.26593/mel.v34i2.3391.193-211.
Full textAbstract:
Jean-Paul Sartre offers a different way of looking at artworks. He offers psychological as well as phenomenological perspectives. The artworks referred to by Sartre include music, painting, literature, and theater. In his thoughts related to works of art, Sartre offers a notion of analogon, that has a key role to explain his concept of imagination. With this notion, he goes further to explain the concept of irreality in artworks, of which analogon is a medium or a material vehicle. When enjoying an artwork, one is enjoying the analogon. Music can be seen as an excess of reality, literature finds its role within its social environment, a painting provokes a viewer to rise certain images in his or her cosciousness, and an actor in theater not simply portrays the characters of a personage because he becomes ‘not real’ in playing his role on the stage. All this brings to the understanding of artwork as irreality.
23
Preston-Roedder, Erica. "What Can Philosophy Learn from Improvisational Theater?" Precollege Philosophy and Public Practice 2 (2020): 18–35. http://dx.doi.org/10.5840/p420204112.
Full textAbstract:
Can we learn about philosophical practice, and philosophical teaching, by examining an apparently very different discipline—improvisational theater? The short answer: yes! In particular, a consideration of improvisational theater reveals four values—play/playfulness, physicality, ensemble, and inclusivity—all of which have a role in philosophical practice and pedagogy. First, we can think of philosophy as a form of intellectual play, where theatrical techniques demonstrate that play can deepen the focus of our students. Second, philosophical teaching can be done in ways that productively utilize physicality in order to maintain focus or allow students to express their ideas through their bodies. Third, philosophical practice, and teaching, should aim to establish ensemble, which can be understood as a social configuration which establishes equality in terms of mutual dependence and responsiveness. Finally, inclusivity in the philosophical classroom can be heightened through the use of appropriately adapted improvisational techniques. In addition to laying the conceptual groundwork to understand the connection between improvisational theater and philosophy, this essay includes a number of specific exercises for instructors who wish to introduce these techniques to the classroom.
24
Subrata Saha, Asoke Howlader, Arindam Modak,. "THEATER AND HEALTH EDUCATION: REPRESENTATION IN SELECT PLAYS OF MAHESH DATTANI." Psychology and Education Journal 58, no. 2 (February 1, 2021): 3982–88. http://dx.doi.org/10.17762/pae.v58i2.2668.
Full textAbstract:
Theater plays a crucial role to represent the life and manners of a particular society. It acts as an informal tool for developing consciousness and promoting empowerment through education. Contemporary theater in India is no exception to this. It has the efficacy to build critical awareness among common people in general and women in particular. It critiques the social inequality and opens up the scope for bringing consciousness about gendered violence prevalent in contemporary Indian society. From 1970s onwards, the emergence of urbanization and industrialization had offered various opportunities for people irrespective of gender differences. Yet, it could not suppress the ‘other side’ of violence in Indian society. Mahesh Dattani, a pioneer in the world of modern Indian English Theater, is highly regarded as a social critic of contemporary urban life and manners. He sincerely presents dysfunctional families, individual dilemmas and societal problems, and gender issues including forbidden issues in his plays. As a conscious dramatist, Dattani reveals childhood maltreatment in his plays which focus on physical and mental illnesses among victims. He tries to sensitize the common people by representing the impact of discrimination on health as it is seen to be fatal in women. The present paper intends to analyze the impact of gender bias on women’s health as represented by Mahesh Dattani in his plays – “Tara” and “Thirty days in September.” In doing so, it embraces the educational implication of dramas through theater.
25
Prokopovych, L. V. "Socio-philosophical analysis of the visualization of cultural identity in the “theater” of everyday life." Науково-теоретичний альманах "Грані" 22, no. 1 (March 26, 2019): 57–67. http://dx.doi.org/10.15421/17198.
Full textAbstract:
The purpose of the study is to identify the specific features and socio-philosophical foundations of the visualization of cultural identity in the “theater” of everyday life. The research methodology is based on: 1) the theory of the image, which evolves from the perception of the image as a simple sign to the understanding that in some cases it can become a symbol (with broad interpretational possibilities); 2) method of sociocultural analysis in the framework of concept of theatricality of sociocommunicative manifestations of culture. The effectiveness of the concept of theatricality of sociocommunicative manifestations of culture is due to the fact that it allows you to “collect” at one point performative, medial, iconic, semiotic and other concepts of philosophical understanding of social processes and phenomena. This approach showed the need for a new look at the dramatization of life, where not only “the whole world is the theater, and the people in it are actors”, but also every person is a “theater”. A look at the modern world as a combination of individual, personal “theaters” (the scientific novelty of the research) made it possible to identify the special functions of costume and jewelry in the scenography of these “theaters”. These functions are manifested in situations that require a person to create a certain image. Then the costume and jewelry become: 1) an active component of the sociocommunicative space, as mediums of information of a certain nature; 2) a form of self-presentation; 3) a way to visualize cultural identity. It is shown that the causes of the emergence of cultural phenomena of fashion and theatricalization of life are the same: in both cases, the desire of people to “try on” different roles is realized. This correlates with the possibility of simultaneously determining several identities for one person, which means not a loss of identity or the replacement of one’s own identity (imposed), but the search for additional personal identities. Costume and jewelry provide ample opportunities for such personal creative experiments with identity/roles in the “theater” of everyday life. Characteristic features of the modern “theater” of everyday life, as well as the cultural situation in general, are dynamism, frequent changes of form and states. Therefore, the change of images (which is easily accomplished by changing jewelry and accessories) contributes to this sociocultural game.
26
Рогачев, Сергей Вячеславович. "The Heraldic “Theater” of Russian Cities." Городские исследования и практики 1, no. 4 (May 31, 2017): 47–57. http://dx.doi.org/10.17323/usp14201647-57.
Full textAbstract:
The usurpation of the right to unite the surrounding territories bestowed some exclusive rights upon Moscow. Which other coat of arms apart from that of Moscow could surround itself with such a suite, such an entourage, of serving shields of arms on its heraldic map? An almost ideal social and geographical model is drawn up around the capital by the coats of arms of Moscow’s retinue: all three principal forces of society are gathered in this national nucleus — those being craftsmen, parishioners and warriors — forming the trade, monastic and defense appendages to St. George’s robe.
27
Brick, Peggy. "Actions Teach Better than Words: Teen Life Theater and Role Play in Sex Education." Health Education 17, no. 1 (March 1986): 47–50. http://dx.doi.org/10.1080/00970050.1986.10615895.
Full text
28
Zavyalova, Olga Yu. "Tradition and Literature (Culture of Laughter of Mali and Guinea)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 4 (2021): 150. http://dx.doi.org/10.31857/s086919080016046-7.
Full textAbstract:
This article continues the topic of the previous one [Zavyalova, Kutsenkov, 2020]. It reveals how great is the role of humor in the cultures of West Africa, where it manifests itself in various spheres of life of its peoples. The Kɔ̀tɛba Folk Theater in Mali and Guinea is another traditional aspect of humor based on satire. The secret society of Kɔ̀rɛduga “jesters” is characteristic of the traditional cultures of Manden. The Dogon have guardians of brussa, alamonyou, who play the role of clowns during the release of masks, and female jesters yayeré, who are wives of the inhabitants of a given village, originating from other villages. The Manden and Dogon humor permeates all spheres of the traditional way of life, and it plays one of fundamental roles in the manner of communication, in the theater and in oral literature. Thus, satire is aimed either at resolving possible conflicts in the absence of mutual understanding between representatives of various social, age and other groups, at resolving conflicts associated with violation of etiquette. All satirical folklore genres function on this basis. Fairy tales and anecdotes ridicule violations of the norms of etiquette inherent in this particular culture. The folk theater touches on topical, actual violations of traditional norms of behavior. In conclusion, the authors note that humor is one of the foundations of the “virtual” reality of the culture created by these societies. When such regulators are violated and their semantic content changes, the whole reality and even the very existence of these peoples will change.
29
Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (April 19, 2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.
Full textAbstract:
Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and eventifying Afrikaans writing and performance, but also in communicating a particular vision of the Afrikaans-speaking and ‘Afrikaner’ cultural context. Using the Klein Karoo Nasionale Kunstefees in Oudtshoorn as a case study, in this article Temple Hauptfleisch discusses the nature, content, and impact of this particular festival as a theatrical event, and goes on to explore the polysystemic nature of the festival phenomenon in general. Temple Hauptfleisch is a former head of the Centre for South African Theatre Research (CESAT) and Chair of the University of Stellenbosch Drama Department. He is currently the director of the Centre for Theatre and Performance Studies at Stellenbosch and editor of the South African Theatre Journal. His recent publications include Theatre and Society in South Africa: Reflections in a Fractured Mirror (1997), a chapter in Theatrical Events: Borders, Dynamics, Frames (2003), and one on South African theatre in Kreatives Afrika: Schriftstellerlnnen über Literatur, Theater und Gesellschaft (2005).
30
Siry, Joseph M. "Chicago's Auditorium Building: Opera or Anarchism." Journal of the Society of Architectural Historians 57, no. 2 (June 1, 1998): 128–59. http://dx.doi.org/10.2307/991376.
Full textAbstract:
Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multiple tiers of boxes for privileged patrons. This tradition was represented by the Metropolitan Opera House in New York City (1881-1883). Turning away from works like the Paris Opéra, Peck and his architects perhaps sought to emulate ideas of other European theaters of the period, such as Bayreuth's Festspielhaus (1872-1876). Sullivan's interior had an ornamental and iconographic program that was innovative relative to traditional opera houses. His design of the building's exterior was in a Romanesque style that recalled ancient Roman monuments. It is here compared with other Chicago buildings of its era that represented high capital's reaction to workers' culture, such as Burnham and Root's First Regiment Armory (1889-1891), Peck's own house (1887), and the Chicago Athenaeum (1890-1891). The Auditorium's story invites a view of the Chicago School that emphasizes the role of patrons' ideological agenda rather than modern structural expression.
31
Sloane, Mona. "The Shelves that Won't Hold: Material Politics and Social Inequality in Spatial Design Practice." Design Issues 35, no. 4 (September 2019): 61–68. http://dx.doi.org/10.1162/desi_a_00565.
Full textAbstract:
This article discusses how a material divide that leaves vulnerable communities with homes made of poor quality material is perpetuated in the system of spatial design. It examines a vignette about the development of the community theater in London to illustrate the unequal access to and participation in the design process as “intentional problem-solving” by different stakeholders. The discussion outlines how materiality can become the locus of public dispute and power struggle, as well as the key reference point for valuation frameworks and calculation practices. The article points out that material politics within spatial design practice play a central role in legitimizing unequal treatment within the material planning of space, and that individual designers can rarely challenge these structures themselves.
32
Buchmann, Sabeth. "MEDIUM PUT TO THE TEST. ON THE TOPOS OF REHEARSAL IN ART FILMS." ARTis ON, no. 4 (December 30, 2016): 18–25. http://dx.doi.org/10.37935/aion.v0i4.99.
Full textAbstract:
When examining the interrelations between art and cinema, theater must be taken into account: the modeof theatricality, long banished in fine art, made the rounds especially in those art films that dealt with theintersections of the social and medial staging of roles. In this context, one can find a special affinity to the toposof the rehearsal, since it appears suitable to reveal and press ahead with the dedifferentiation of “real” and“fictive” roles and actions. The rehearsal appears as an improvised and staged form of “making of” as well as abiopolitically charged model situation in which the practicing of socio-medial role identities under the prevailingpower and hierarchy relations is to be made visible.
33
Hausmann, Andrea, and Lorenz Poellmann. "eWOM in the performing arts: exploratory insights for the marketing of theaters." Arts and the Market 6, no. 1 (May 3, 2016): 111–23. http://dx.doi.org/10.1108/aam-08-2013-0013.
Full textAbstract:
Purpose – Word of mouth (WOM) plays an important role for the decision process of customers. This is especially interesting for service-dominant organizations like theaters where quality is more difficult to evaluate. In times of social media, third party recommendations can be given much more quickly, effectively and in greater detail. However, up to now not much has been researched on electronic word of mouth (eWOM) in a performing arts marketing context. The purpose of this paper is to provide some first exploratory insights into this research area. Design/methodology/approach – To do so, a literature review is conducted to clarify the concept of eWOM and the relevance of recommendations in the performing arts. Then, parts of the results of an online survey on Facebook with 16 German theaters and their fans will be presented. Finally, the implications of the study results for theater marketing are considered and ideas for future research are discussed. Findings – The study results confirm that recommendations have a high relevance for theatergoers and are very relevant in a social media context. They also show that the trustworthiness of eWOM on social media depends on the familiarity between the message sender and receiver. However, the results are limited with regard to the research design. Therefore, this paper concludes with ideas for further research. Originality/value – All in all, though the study’s focus is narrow, this paper fills a research gap in the performing arts. In doing so, the understanding of the phenomenon and its importance for arts marketing will be enhanced.
34
Houston, Donna, and Laura Pulido. "The Work of Performativity: Staging Social Justice at the University of Southern California." Environment and Planning D: Society and Space 20, no. 4 (August 2002): 401–24. http://dx.doi.org/10.1068/d344.
Full textAbstract:
In this paper we offer an alternative reading of the role of performativity and everyday forms of resistance in current geographic literature. We make a case for thinking about performativity as a form of embodied dialectical praxis via a discussion of the ways in which performativity has been recently understood in geography. Turning to the tradition of Marxist revolutionary theater, we argue for the continued importance of thinking about the power of performativity as a socially transformative, imaginative, and collective political engagement that works simultaneously as a space of social critique and as a space for creating social change. We illustrate our point by examining two different performative strategies employed by food service workers at the University of Southern California in their struggle for a fair work contract and justice on the job.
35
Uggerhøj, Lars. "Creativity, fantasy, role-play and theatre in social work." Social Work and Social Sciences Review 13, no. 3 (January 1, 2008): 48–62. http://dx.doi.org/10.1921/81148.
Full text
36
Caselli, Marco. "Integrati.. Dove? Egiziani e Peruviani a Milano tra appartenenza locale e identitŕ etnica." IKON, no. 56 (November 2009): 39–73. http://dx.doi.org/10.3280/ikr2008-056003.
Full textAbstract:
- The migrants' practices of cultural consumption are crucial for the definition of their relationships with the two cultures they are in between: the culture of their birthplace (or of their family) and the culture of the country that hosts them. Cinema, theater, sports and ethnic events they can find in their living area, in fact, are a set of symbolic resources for entertainment everyone can go through starting from his needs, his biography and his social networks. The so called "cultural diet" of migrants responds to the kind of placement everyone choose in respect to his social context (the culture of the country that hosts him, but also its social networks) and to the two cultures hČs in between. This essay describes, starting from research results, differences among first and second generation migrants. The first ones constantly hang in the balance between two different cultures and habits, the second ones that perceive themselves as belonging to the country and culture they are birth in, but conserve, through familiar relationships, a tie with another culture. Starting from the analysis of the role that every entertainment occasion (cinema, theater, sports events and so on) has in the global "cultural diet" of the migrants the essay describes trends and differences between Egyptians and Peruvians characterizing this landscape.
37
Capelle-Pogăcean, Antonela, and Nadège Ragaru. "Inhabiting Culture on the Frontiers of Socialism (Gorna Džumaja, 1944-1948)." Annales (English ed.) 68, no. 02 (June 2013): 289–326. http://dx.doi.org/10.1017/s2398568200000248.
Full textAbstract:
This article examines the cultural shaping (through film and theater) of urban identities in Gorna Džhumaja, a border city located in Pirin Macedonia, at the dawn of Socialism. In a region that was at the center of Bulgarian, Macedonian, and Greek national conflict, thus rendering its future unpredictable, the establishment of Socialism between 1944-1948 coincided with intense social and national engineering. Developments in the domains of cinema and theater offer a heuristic lens through which to view these processes, notably because of the educational and political role they were attributed. Exploring changes in the cultural environment, designated toponyms, and everyday life of cultural institutions offers new insight into the complex interplay between the pre-Socialist and Socialist periods. It also provides an oblique view of how the Socialist city was fashioned through theatrical tours and ambulant cinema. Socialism thus emerges, beyond sovietization, as a product of transnational circulation.
38
Hammock, Amy C. "Identity Construction through Theatrical Community Practice." Qualitative Social Work 10, no. 3 (August 9, 2011): 364–80. http://dx.doi.org/10.1177/1473325011408481.
Full textAbstract:
Despite the longstanding use of theatrical techniques in community social work practice, the role of theater in the construction of identity is understudied in the social work literature. Drawing on over 100 hours of observation and 22 in-depth interviews with members of a theatrical community education troupe for youth, I describe how participation as performers in a play to prevent dating violence constructed youths’ identities as survivors of violence. Findings reveal that the process of identity construction through theatrical community practice occurred in three overlapping phases: first, learning the language to name the identity; next, embodying a character experiencing dating violence; and third, publicly claiming the identity in group interaction with audience members. Based on these findings, I draw implications for community social work practice with youth.
39
Jansson, Jan, and Maija Aksela. "Science theatre in teaching and popularizing the history of chemistry: The case of a theatrical play on Nobel-laureate A.I. Virtanen." Lumat: International Journal of Math, Science and Technology Education 1, no. 4 (December 30, 2013): 457–75. http://dx.doi.org/10.31129/lumat.v1i4.1102.
Full textAbstract:
The article discusses the significance of science theatre and the role of nature of science in it, as well as the significance of history of chemistry, and different methods for popularizing it and using it in teaching. The study includes two surveys (N=45 and N=126) conducted among the audiences of “Virtanen!” play, performed in 2011. The data was analyzed using content analysis. Based on the results, the history of science was mainly portrayed through the life of the protagonist of the play, and the play showed the human side of science to the audience. In addition, from the viewpoint of nature of science, the play emphasized the role of social interaction in science as well as the interaction between science and the society. According to the audiences, national expertise in chemistry should be emphasized more in order to increase interest towards the subject and also to promote national self-esteem. It was suggested that history of chemistry should be presented through different methods, such as science theater, school teaching, exhibitions, and documentary films, in future. Also, it was hoped that history would be included in chemistry teaching together with other chemistry contents, through historical portraits of scientists, in collaboration with other school subjects or as a separate lesson on history of science. Science theatre was found to be a good method to teach history of chemistry and nature of science, and to popularize chemistry.
40
Ivory, Kimberley D., Paul Dwyer, and Georgina Luscombe. "Reactions to Diversity: Using Theater to Teach Medical Students about Cultural Diversity." Journal of Medical Education and Curricular Development 3 (January 2016): JMECD.S37986. http://dx.doi.org/10.4137/jmecd.s37986.
Full textAbstract:
Training medical students to understand the effects of culture and marginalization on health outcomes is important to the future health of increasingly diverse populations. We devised and evaluated a short training module on working with diversity to challenge students’ thinking about the role of both patient and practitioner culture in health outcomes. The workshop combined didactic teaching about culture as a social determinant of health using the cultural humility model, interactive exercises, and applied theater techniques. We evaluated changes in the students’ perceptions and attitudes over time using the Reaction to Diversity Inventory. There was initial significant improvement. Women and students with no past diversity training responded best. However, scores largely reverted to baseline over 12 months.
41
Dragoş, Răzvan. "Theater, Between Technology and Visual Arts." Theatrical Colloquia 10, no. 2 (December 1, 2020): 85–92. http://dx.doi.org/10.2478/tco-2020-0022.
Full textAbstract:
AbstractSince Antiquity, there have been biunivocal links between theater, technology and visual arts, each of these branches being, if not decisively influenced by the others, at least stimulated. Technology was put at the service of theater either as a logistical part or in “main” roles, sometimes in competition with the actor, in other words with the man. In the first case we are dealing with elevators, cranes, light or sound devices and so on. In the second, with automatic machines, largely autonomous. Applied arts, costumes, scenery, stage props and everything related to scenography are largely synonymous with the performing arts. On the other hand, the technicalartistic commands and requirements coming from the theater have always been a step forward for those directions. Technology and art have also influenced each other, if we take into account, for example, Leonardo da Vinci’s utopian sketches, endowed rather with artistic qualities, but at the same time often functional as stage props. This article points out the idea written above through several representative case studies for the subject approached in a historically evolutionary perspective, relating them to the philosophical concepts or social phenomena behind them.
42
Flach, Leonardo, and Claudia Simone Antonello. "Improvisation and learning processes in organizations: a metaphor applying the Brazilian rhythm choro." Organizações & Sociedade 18, no. 59 (December 2011): 681–99. http://dx.doi.org/10.1590/s1984-92302011000400007.
Full textAbstract:
Whereas improvisation has been discussed in international literature mainly from the metaphor of jazz and theater, this essay discusses how the phenomenon of improvisation can contribute to new interpretations of Organizational Learning. We use the metaphor of improvisation in the Brazilian rhythm ‘Choro’ in order to understand the process of improvisation in organizations. Thus, the main objective of the study is to discuss and analyze the role of improvisation in the Organizational Learning process. In the final considerations, we conclude that improvisation plays a significant role in the processes of Organizational Learning. Thus, we argue that the socio-cultural approach in Organizational Learning can help to understand the process of improvisation, with the role of communities of practice, culture, social practices and sensemaking in this phenomenon.
43
Chang, Wenbo. "Performing the Role of Playwright: Jia Zhongming's Sanqu Songs in the Supplement to The Register of Ghosts." Journal of Chinese Literature and Culture 8, no. 1 (April 1, 2021): 59–88. http://dx.doi.org/10.1215/23290048-8898622.
Full textAbstract:
Abstract This article investigates how sanqu composition modifies the social contract of poetic composition in how a text is mediated between authorship and social identity, through a close analysis of Jia Zhongming's sanqu songs written in the supplement to The Register of Ghosts. It challenges the conventional reading of Jia's songs as reliable sources of biographical information on individual playwrights to whom those songs are dedicated and argues instead that, if read together as a whole, they represent a catalog of various personas Jia constructs for the social role of playwright. The authorial figure that plays a central role in more polite poetic genres is reduced to a faceless and easily replaceable mannequin with a name tag on it—be it Guan Hanqing, Wang Shifu, or any other name—in Jia's sanqu songs, only to foreground the fashioning of the playwright's social role from his particular perspective. The role Jia Zhongming constructs for the playwright displays the imprint of urban commercial theater as well as the influence of the state and elite values. Therefore, the true value of Jia's songs lies in how they help us better understand the condition of playwrights in Jia's time. Moreover, a proper interpretation of Jia's songs also helps us better understand the performativeness of sanqu as a genre.
44
Norris, Joe. "Improvisational Drama as Inquiry: The Role of the Simulated-Actual in Meaning Making." Cultural Studies ↔ Critical Methodologies 20, no. 1 (December 14, 2019): 63–74. http://dx.doi.org/10.1177/1532708619884961.
Full textAbstract:
Based upon more than 25 years as a director of ensembles of performative research, I provide example of improvisational approaches that I have taken to explore a range of social interactions including the teacher/student relationship, subtle differences among need/want/desire, practicum politics, trust, reading power in gender, judging strangers, locus of control, homelessness, and aging parents. Techniques have included image theater, hot-seating, manipulation of objects, trust falls, music, and metaphorical roles. Theoretical discussions include an unpacking of truth claims in imaginative endeavors that explore the plausible, the false separation of truth and fiction, re-examining what makes research empirical, ways of generating information other than the traditional questionnaire, and/or interview and dialogic audience participation. In addition to justifying this approach for performative research practitioners, it provides a variety of possibilities for those who seek other means to critically and imaginatively examine the human condition.
45
Alcock, John. "Theatre-in-Education and Sensitive Social Issues: A Developing Role." Pastoral Care in Education 7, no. 1 (March 1989): 18–22. http://dx.doi.org/10.1080/02643948909470649.
Full text
46
Yuliatin, Riyana Rizki, Puspita Dewi, Hary Murcahyanto, Sandy Ramdhani, and Hilda Hastuti. "Pengenalan Playback Theater sebagai Metode Berteater untuk Melepaskan Ketegangan." ADMA : Jurnal Pengabdian dan Pemberdayaan Masyarakat 1, no. 2 (January 30, 2021): 71–78. http://dx.doi.org/10.30812/adma.v1i2.1018.
Full textAbstract:
Various ways used to express ideas, feelings, and opinions. Art is one of the most effective modes to convey emotions. Playback theatre by combining artistic relation and social relation becomes a method applied. Playback theatre concerns with the telling process. Pre-test and post-test were conducted to identify the previous knowledge of the participants before providing materials and to recognize the knowledge after the activity. The empowerment activity results show that playback theatre has a positive impact on the participants to reduce nervously and it establishes chemistry between actors and music players so that the performance could be satisfied and better. It is expected that other lecturers or researchers implement and develop the playback theatre method to decrease tension and nervousness in playing roles as actors.
47
Akimbek, A., and Z. Islambayeva. "NEW READING OF THE PLAY “ABAY” (on the example of the state academic Kazakh music and drama theater named after K.Kuanyshbayev)." BULLETIN Series of Philological Sciences 75, no. 1 (April 12, 2021): 200–205. http://dx.doi.org/10.51889/2021-1.1728-7804.33.
Full textAbstract:
In the article was analyzed by the authors the staged performance of the tragedy of M.Auezov “Abay” from the repertoire of the state Academic Kazakh Music and Drama Theater named after K.Kuanyshbayev. It pays great attention to the value of Abai in the kazakh society and the importance of his work for each generation. The researchers, analyzing the stage and artistic solutions of the experienced director Alimbek Orazbekov, emphasize the search in acting games with convincing evidence. The article will focus on the most striking manifestations of the skills of Nurken Oteulov and Tlektes Meiramov in the role of Abai and the elder Abai. They comprehensively analyze the social realities of the time in which the poet lived, and contribute to the idea of a classic writer like Mukhtar Auezov. The authors did not ignore the fact that the theater team opened a new facet of the image of Abai, sought to prove his life position. Similarly, the games and statements of the creative ensemble are differentiated on the way to the artistic integrity of the performance.
48
Muñoz-Bellerín, Manuel, and Nuria Cordero-Ramos. "The Role of Applied Theatre in Social Work: Creative Interventions with Homeless Individuals." British Journal of Social Work 50, no. 5 (May 1, 2020): 1611–29. http://dx.doi.org/10.1093/bjsw/bcaa033.
Full textAbstract:
Abstract This article explores how creative theatre is used in the area of social work with homeless individuals in Seville (Spain). We look at how applied theatre can be used as a tool for encouraging the development of capacities amongst this group, which is largely excluded from mainstream society. To do this, we focus on our experiences in this area, with the aim of showing how social work and theatre can combine to form a powerful tool for fostering the development of agency and empowerment at an individual and group level. We also explain how theatrical performances are able to create spaces where homeless individuals and mainstream society are able to interact with one another beyond strictly institutional settings.
49
Astakhova, E. V. "The fiesta as a key concept of Spanish linguistic culture." Cuadernos Iberoamericanos, no. 1 (March 28, 2015): 49–68. http://dx.doi.org/10.46272/2409-3416-2015-1-49-68.
Full textAbstract:
The author examines the image of Spain through the megaconcept of fiesta, which determines many aspects of the national and cultural mentality. This concept reflects various vectors of quotidian life, religious and popular holidays with their complicated details and special dramaturgy, penetrates to every day communication and behavior. The research determines such Spanish extralinguistic realities as corrida, tertulia, movida, botellon, indignados, analyses the role of the theater, of “coffee culture”, of football and other phenomenons in social life and cognitive space of Spaniards. The knowledge of different aspects of fiesta helps to understand the word potential of Spanish language, its metafores, stylistic images.
50
Лурье, Зинаида Андреевна. "THEATER OF THE EARLY MODERN PERIOD: BETWEEN “SCHOOL” AND “CITY”." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 4(26) (November 22, 2020): 98–111. http://dx.doi.org/10.23951/2312-7899-2020-4-98-111.
Full textAbstract:
В статье на материале позднесредневековой Германии рассматривается место театра как коммуникативного канала в городском пространстве. Автор исходит из представления о том, что в диалоге между властью и городской общиной важнейшую роль играли паратеатральные практики (процессии, различные игры и пр.), тогда как собственно спектакли начиная с первых десятилетий XV в. были каналом внутригородской коммуникации. К производству спектаклей имели доступ разные сословия, что обуславливало в целом нейтральный характер театральных текстов, выполняющих главным образом консервативную и развлекательную функции. Изменилась ли роль театра в связи с развитием гуманизма и с институциализацией театра внутри школьной системы в раннее Новое время? В статье предпринята попытка ответить на этот вопрос на материале творчества раннего протестантского литератора Сикста Бирка. В историографии его творчество рассматривается через призму политического измерения, а сам он – как весьма рафинированный, интеллектуальный литератор. Однако, как считает автор статьи, тексты Бирка мало отличаются от позднесредневековой традиции. Анализ показывает, что Бирк утверждает все те же ценности стабильности и транслируют прежние топосы. Однако «Школа» явно подталкивает «Город» к осмыслению социального опыта. The article, based on the material of late medieval Germany, examines the place of the theater as a communicative channel in urban space. The author proceeds from the idea that paratheatre (processions, various games, etc.) played an important role in the dialogue between the authorities and the city community, whereas performances themselves, starting from the first decades of the 15th century, were a channel of intercity communication. Different classes had access to the production of performances, which led to the generally neutral nature of theatrical texts that performed mainly conservative and entertaining functions. Has the role of the theater changed in connection with the development of humanism and institutionalization of the theater within the school system in the Early Modern Period? The article attempts to answer this question on the material of the works of the early Protestant writer Sixt Birck. In historiography, his works are viewed through the prism of the political dimension, and he is classified as a very refined, intellectual writer. However, according to the author of the article, Birck’s texts differ little from the late medieval tradition. The analysis shows that Birck maintains the same values of stability and medieval topoi. However, the "School" clearly pushes the "City" to comprehend social experience.