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Journal articles on the topic 'Theater|Theater History'

Author: Grafiati

Published: 9 July 2021

Last updated: 12 February 2022

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1

Rogoff, Gordon. "Strange Eventful History." Theater 50, no. 1 (February 1, 2020): 13–29. http://dx.doi.org/10.1215/01610775-8123840.

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Theater magazine founding editor Gordon Rogoff puts the history of the American theater over the last five decades under a critical retrospective lens, examining how shifting political, social, and economic conditions have shaped theater as both industry and art form. Rogoff ’s essay mixes memory with polemic and humor with outrage while attempting to untangle the threads of high art and big business that have held up and ensnared the art of theater across the last half century.

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2

Buldakov, Vladimir. "Revolution and theater, revolution as theater." Rossiiskaia istoriia, no. 4 (2021): 214. http://dx.doi.org/10.31857/s086956870016235-9.

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3

Lutenbacher, Cindy. "THEATER IN Milwaukee: THEATER X's A HISTORY OF SEXUALITY." Theater 20, no. 2 (1989): 85–90. http://dx.doi.org/10.1215/01610775-20-2-85.

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4

Gomery, Douglas. "Theater Television: A History." SMPTE Journal 98, no. 2 (February 1989): 120–23. http://dx.doi.org/10.5594/j02826.

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5

Field, Thalia. "Experimental Theater Is History!" Theater 29, no. 2 (1999): 34–44. http://dx.doi.org/10.1215/01610775-29-2-34.

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6

G.M.D. "Spanish Theater." Americas 42, no. 4 (April 1986): 499. http://dx.doi.org/10.1017/s0003161500052287.

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7

Fokin, Aleksandr. "Ilya Surguchev's theater in the history of Russian foreign theater." KANT Social Sciences & Humanities, no. 3 (July 2020): 40–51. http://dx.doi.org/10.24923/2305-8757.2020-3.5.

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Drama is defined as the main phenomenon of Ilya Surguchev's creative biography. ON this basis, the main chronology of his life and work during the period of emigration is presented. Biographical and historical-functional methods of literary research are used. The plays of the 1910s and 1940s, their themes and problems are characterized. An overview of the main premiere performances based on Surguchev's plays in theaters in Russia and Europe is presented. Questions of I.D. Surguchev's poetics of drama are raised; the prevailing genres, plots, themes, and stylistic dominants are highlighted. The role of Surguchev in the history of the theater of the Russian abroad is determined.

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8

Collier, Susanne. "Operating Theater." Renaissance Quarterly 53, no. 2 (2000): 529–41. http://dx.doi.org/10.2307/2901878.

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9

K.J.G. "Latin American Theater." Americas 48, no. 3 (January 1992): 407–8. http://dx.doi.org/10.1017/s0003161500018010.

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10

Sibul, Karin. "Glimpses Into the History of Interlingual Simultaneous Theater Interpreting in Estonia." Journal of Audiovisual Translation 3, no. 2 (December 21, 2020): 170–85. http://dx.doi.org/10.47476/jat.v3i2.2020.121.

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This paper examines the practice of simultaneous interpretation of theater performances, in particular between Estonian and Russian, in Estonia over 70 years. This type of interpreting has not received much scholarly attention; rather, studies have mostly focused on the sign language interpretation of theater performances for the deaf community. I conducted interdisciplinary historical research relying on the oral history method to help preserve the fast-disappearing oral heritage of theater interpreting. This paper distinguishes between two periods in theater interpreting in Estonia, as determined by two drastically different sociopolitical periods in Estonia’s history. Drawing upon a total of 88 interviews with interpreters, people who recruited interpreters, and audience members, I identified and interviewed a total of 15 theater interpreters. I also analysed newspaper articles and performance schedules, which usually yielded single-word mentions of interpretation having taken place. This paper examines answers to the questions of who interpreted what, how, and when, and reaches the conclusion that theater interpreting can be a tool to bridge a gap between two communities as well as to facilitate integration in the same cultural space.

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11

ashton, nigel j. "Cold War Political Theater." Diplomatic History 33, no. 3 (June 2009): 535–38. http://dx.doi.org/10.1111/j.1467-7709.2009.00789.x.

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12

Zaelani, Mohamad. "INDONESIAN THEATER 1985-1995: A PERSPECTIVE OF DESCRIPTION PROCESSES SOCIAL CHANGE AND VALUE." BAHTERA : Jurnal Pendidikan Bahasa dan Sastra 17, no. 1 (January 31, 2018): 123–36. http://dx.doi.org/10.21009/bahtera.171.10.

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AbstractThis research seeks to depict the history of Indonesian theater development from 1985 to 1995. This period is deliberately chosen because at that time it is seen that New Order power reached the top of its consolidation. Is there correlation between theater as a part of the reflection of society's expression and the repressive-authoritarian situation of the New Order government? With the approach of sociology of art, during that period, theater in Indonesia reflectedthe changes in society socially and in terms of values. One of these changes was the collapse of the conception of human wholeness (in terms of flesh and blood) in theater in Indonesia, because humans weremerely the object of the state power that tended to be authoritarian.Keywords: Indonesian theater 1985-1995, social changes and values, silent theater, theater ideas.

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13

Kudimova, Marina V. "The Reduce to Dostoevsky’s Artistic Mastery. The Brothers Karamazov and The Devils on the Stage of the Moscow Art Theater and in the Russian Press." Dostoevsky and world culture. Philological journal, no. 1 (2021): 193–231. http://dx.doi.org/10.22455/2541-7894-2021-1-193-231.

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The article is dedicated to the history of the Moscow Art Theater productions in 1913–1914 based on F.M. Dostoevsky’s novels The Brothers Karamazov and The Devils, and to the fierce controversy that surrounded them. It analyzes the problem of finding an adequate stage form for the two novels, and the story of the birth of the so-called “Dostoevsky theater” and the Director’s theater, now dominating the stage. Despite Dostoevsky’s great interest in theater and his brother’s witness that the future novelist’s literary activity began with three (unfortunately lost) dramatic works, the writer himself was far from being confident that theatrical productions of his novels could be a success. The founders of the Moscow Art Theater challenged this opinion and proved that Dostoevsky’s novels could write a new page in the history of Russian theater. The article analyzes in detail newspaper and magazine reviews of the performances directed by Vladimir Nemirovich-Danchenko.

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14

Poskakalova, T. A. "The history of the development of theatre practices in education: foreign and Russian experience." Современная зарубежная психология 10, no. 2 (2021): 96–104. http://dx.doi.org/10.17759/jmfp.2021100210.

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The article briefly describes the history of the development of theatrical practices in education in Russia and abroad. The main dimensions of theater and drama in contemporary pedagogy are considered. The article demonstrates that various forms of theater in education are more widespread and better developed in foreign pedagogy, where theater is not limited to the framework of school disciplines as it is used as a means for providing complex solutions of problems related to development, learning and socialization. It is substantiated that in the practice of Russian schools, theater is much less in use, since it is so far applied exclusively as a means of introduction to culture, its traditions and values.

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15

Botunova,, H. Ya. "Organizational-pedagogical, scientific-research and theatrical-critical activity of A. V. Pletniov through the prism of time." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 9–40. http://dx.doi.org/10.34064/khnum1-51.01.

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The article deals with the main aspects of organizational-pedagogical, scientific- research and theatrical-critical activity of the candidate of art studies A. V. Pletniov. Little-known biographical data on the life of the theater scientist and the creative environment, in which his professional formation took place, are presented. It is noted that A. V. Pletniov was one of the first graduates of the State Institute of Theatrical Arts named after A. V. Lunacharsky (now – RUTM). He studied there in 1934–1938, surrounded by highly-qualified students, many of whom subsequently became the pride of Russian theater studies. A. V. Pletniov entered the history of the theatrical culture of Kharkiv as a talented scientist-researcher, a well-known theater critic and teacher. He stood at the origins of theater studies in Kharkiv and for almost 30 years he headed the department of the History of the Theater (now – the Department of Theater Studies) of the higher theater educational institution in the city. However, the value of his activity is much wider. The formation of the Kharkiv State Theater Institute is closely linked with the personality of A. V. Pletniov, since 1963 he wax also connected with the theater department of the Kharkiv Institute of Arts named after I. P. Kotliarevsky, and in general – with the theatrical culture of our city. However, until this time his organizational-pedagogical, scientific-research, and theatrical-critical heritage has not been properly investigated and objectively not covered. The purpose of the research is to analyze the organizational, pedagogical, scientific, research and theatrical-critical activity of A. V. Pletniov, writing it into the socio-political and artistic context of time and, at the same time, into the history of theater studies of Ukraine. A. V. Pletniov started his pedagogical activity in 1938 at the Kharkiv Theater School as a teacher of the history of the theater and the head of the educational department. With the beginning of the war, the school, which merged with the Kyiv State Theater Institute, was evacuated to the city Saratov, where A. Pletniov as a teacher worked until January 1942. From this time until the end of the war he was on the front in the field force. In 1945 he returned to the newly founded Kharkiv State Theater Institute and was immediately appointed Deputy Director of Educational and Scientific Work and a senior lecturer at the Department of History of the Theater. Together with the director of the institute Z. Smoktiy, A. Pletniov was making considerable efforts to organize the educational process in the time of economic trouble, lack of staff with the corresponding education, and provided basic conditions of work and education in the newly created higher education. Existing and new departments were supplemented and opened, the prominent artists from Kharkiv theaters and leading scientists from other universities were invited to work. Among them: D. Antonovych, O. Serdiuk, M. Krushelnytsky, O. Kramov, L. Dubovyk, V. Chystiakova and others. The peculiarity of the organization of research and methodological work was its focus on providing educational process. Several comprehensive topics on the methodology of actor education, stage language teaching, encyclopedic dictionary of theatrical terms, and a study on the history of theater development in Kharkiv were planned. It was at that time that several dissertations were planned, including A. Pletniov’s “Kharkiv Theater of the Second Quarter of the 19th Century”, which he successfully presented in 1952 in his alma mater – State Institute of Theater Art after A. V. Lunacharsky, and he was awarded a degree Doctor of Arts. In 1960, the completed dissertation study was published in the form of a monograph titled “At the Origins of the Kharkiv Theater”, which until now has not lost its relevance and is actively used in the educational process. In 1947, while being the Deputy Director of the Institute, A. Pletniov also headed the Department of Theater History. It was with him as the head of the department, the actual renewal of the department as a theatrical research center and methodological center began, it largely determined the main directions of its activities for the future. Under the direction of A. V. Pletniov, the department trained a lot of talented theatrical scholars who successfully worked and work as teachers of higher educational institutions, heads of literary units of creative groups, heads of leading theaters, heads of cultural management, members of mass media staff, well-known theatrical critics. A. Pletniov headed the department for almost 30 years – until 1976 (with a brief break in 1961–1962), giving a significant impetus to the development of theater studies in Kharkiv, in particular, theatrical criticism. He himself was actively involved in the illumination of the theatrical process in Kharkiv, leaving after himself dozens of highly professional reviews, articles, notes, sometimes controversial, bearing the imprint of time. The article emphasizes that A. Pletniov was one of the most skilled and highly educated teachers. He taught a whole range of theater studies disciplines: the history of Russian theater, the history of foreign theater, the theory of drama, theatrical criticism. Until the last years of his life, A. Pletniov conducted active scientific research, methodological, theatrical-critical and public activity. In 1968–1972, he was the Vice-Rector of the Kharkiv State Institute of Arts named after I. P. Kotliarevsky for the scientific work and theatrical department. In 1975, he finished a doctoral dissertation “From the History of the Establishment of the Soviet Theater in Ukraine”, in which he for the first time thoroughly recreated the extremely complex and multifaceted theatric life of Kharkov in the October decade (1917–1927) in the socio-cultural context, but he did not have time to defense this study. Nowadays this scientific work is striking by its multidimensional and enormous amount of material. Conclusions. As a result of the research was established that with A. Pletniov personality as a well-known teacher, a scientist and theater critic, one of the leaders of the Kharkiv Theater Institute (1945–1953), later the Kharkiv Institute of Arts named after I. P. Kotliarevsky, more than thirty years of theater education in Kharkiv were connected. Particularly remarcable the role of A. Pletniov was in the development of theater studies and theater education in such a significant theatrical center as Kharkiv, where he nearly thirty years was heading the specialized department of the history of theater (now the department of theater studies). It was under his leadership that a methodology for preparing theatrical scholars of a broad profile was formed, based on a high level of general culture and education of future specialists, on the possession of a wide spectrum of theatrical research tools. Despite some contradictions inherent in A. Pletniov’s scientific and theatrical- critical activity and reflected in his heritage, that was typical for most scholars of the humanitarian sphere of the 1930–1970s, he remains one of the decisive figures in the development of theater education and theater researches in Kharkiv. All the above motivates for a further, more profound study of the scientific-pedagogical and theatrical-critical activity of A. Pletniov and, more broadly, the development of theater studies in Kharkiv.

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16

Starina, Evgeniia Valentinovna. "Puppet theater. History and modern times." Human and Society, no. 1 (6) (March 27, 2018): 18–20. http://dx.doi.org/10.21661/r-467694.

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17

McConachie, B. "American Theater History Coming of Age." American Literary History 14, no. 1 (March 1, 2002): 141–48. http://dx.doi.org/10.1093/alh/14.1.141.

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18

Emerson, Caryl. "The Soviet Theater: A Documentary History." Common Knowledge 23, no. 2 (April 2017): 351–52. http://dx.doi.org/10.1215/0961754x-3815942.

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19

Pajaron, Ding, and Doreen G. Fernandez. "Palabas: Essays on Philippine Theater History." Asian Theatre Journal 15, no. 2 (1998): 305. http://dx.doi.org/10.2307/1124143.

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20

Berns, Ute. "Introduction: Theater and History – Cultural Transformations." Journal of Contemporary Drama in English 3, no. 1 (January 1, 2015): 1–11. http://dx.doi.org/10.1515/jcde-2015-0001.

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21

Warden, Claire. "The Soviet theater: a documentary history." Studies in Theatre and Performance 35, no. 3 (September 2, 2015): 282–83. http://dx.doi.org/10.1080/14682761.2015.1078074.

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22

Kim Namseok. "History and Meaning of Suwon-theater." Korea Spatial Planning Review 94, no. ll (September 2017): 83–105. http://dx.doi.org/10.15793/kspr.2017.94..006.

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23

Makaryk, Irena R. "The Soviet theater: a documentary history." Canadian Slavonic Papers 57, no. 1-2 (April 3, 2015): 163–65. http://dx.doi.org/10.1080/00085006.2015.1035028.

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24

Filippini, Bianca Maria. "The History of Theater in Iran." Middle Eastern Literatures 18, no. 2 (April 14, 2015): 202–7. http://dx.doi.org/10.1080/1475262x.2014.928044.

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25

Miller, J. G. "HISTORY, PRACTICE, PERFORMANCE: AFRICAN POPULAR THEATER." Theater 28, no. 2 (December 1, 1998): 102–4. http://dx.doi.org/10.1215/01610775-28-2-102.

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26

Zaatov, Ismet A. "Crym Girey I – the founder of the classical theater in the Crimea (on the issue of 257 years experience of the Crimean Tatar`s first theatrical productions of the European type theater)." Crimean Historical Review, no. 1 (2020): 100–135. http://dx.doi.org/10.22378/kio.2020.1.100-135.

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The formation process of the Crimean Tatar theater can be divided into the following periods: medieval – folk theater (the initial round dance and toy puppet theater of shadows “Karagoz”, the theater of one actor “meddah”, the arena theater “orta oyuny”); Khan`s theater in the middle of the XVIII century (penetration into the Crimea of European theater traditions in the era of the Crimean Khan Crym Girey I); the revival of traditions of the Crimean Tatar theater late XIX–XX centuries (the activities of a theater-goers group of the Jadidist Crimean Tatar youth–followers of I. Gasprinsky, under the leadership of J. Meinov – the efforts of the Crimean Tatar noblewoman-myrzachkas under the leadership of A. Taiganskaya; organization of a professional Simferopol Tatar theater troupe under the People’s Commissar of Education of the Crimean ASSR in 1921 and creation and activities of the Crimean Tatar Drama Theater, headed by A. Taigan, and the Crimean Tatar amateur movement in the Crimea, and among the Crimean Tatar foreign diaspora of 1923–1944 (Soviet pre-deportation period); recreation and current activities of the Crimean Tatar theater in the Crimea,1989 (post deportation period). In this article, for the first time in the art history, is revealed the so-called Khan`s period in the formation of the Crimean Tatar theater, discussed the revolutionary activity in the field of Crimean Tatar art, the ascetic activity of the Crimean Khan Crym Girey I to promote the ideas of European theater traditions and create a classical theater in the Crimea. The picture of the actions undertaken by the Crimean ruler in the construction of theater business in the Crimea, as well as his thoughts and statements about the theater, was recreated according to the text published in the XVIII century, memories of personal meetings and conversations with Crym Girey I of European authors: German – von der Goltz, Polish – Pilshtynova, Russian – Nikiforov, Frenchman – de Tott, Austrian – Kleeman. Based on these recollections is built a clear and explicit picture of a role of Crym Girey I as a pioneer in bringing European theater traditions and creation of a classical theater in the culture of the Crimea, the Turkic and Muslim worlds.

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27

Fernandez, Doreen G., and Resil B. Mojares. "Theater in Society, Society in Theater: Social History of a Cebuano Village, 1840-1940." World Literature Today 61, no. 1 (1987): 159. http://dx.doi.org/10.2307/40142695.

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28

Laslavíková, Jana. "Between province and metropolis. The opera repertoire of the Pressburger Stadttheater in the late nineteenth century." Studia Musicologica 58, no. 3-4 (December 2017): 363–77. http://dx.doi.org/10.1556/6.2017.58.3-4.5.

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The establishment and development of the Municipal Theater in Pressburg in the period 1886–1920 was closely linked with the cultural and social development of the city in the period following the Austrian-Hungarian Compromise in 1867. The theater was built by the rising stratum of Pressburg townsmen, based on a requirement of the Hungarian government. The theater was in the possession of the town that rented it to theater directors and their German and Hungarian companies. The theater had a primacy among provincial theaters in Hungary. This was mainly due to the vicinity of Vienna and the efforts to resemble the metropolis, notably by the local patriotism of Pressburg inhabitants who wanted their locality to be regarded as a leading Hungarian town. The opera performances and their reception in the newspapers demonstrate the history of culture of the town, mentalities and collective identifications of its citizens, and last but not least the history of culture of Central Europe.

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29

Lee, Haekyoung. "Creating an Interdisciplinary History and Theater Class: A Case Study on Conducting Oral History for Verbatim Theater." Journal of Korean Theatre Education 35 (December 31, 2019): 165–204. http://dx.doi.org/10.46262/kte.35.2.4.

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30

Climenhaga, Lily. "A Theater of Documentation." Theater 51, no. 2 (May 1, 2021): 4–13. http://dx.doi.org/10.1215/01610775-8920440.

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In this critical introduction, Lily Climenhaga offers an overview of the work and career of director Milo Rau. Climenhaga looks at Rau’s work across his career, beginning with early projects as a playwright working with director Simone Eisenring, through the creation of his company, the International Institute of Political Murder (iipm), and on to his work at ntgent where Rau has served as artistic director since 2018. Climenhaga identifies many of Rau’s collaborators and artistic inspirations, as well as the criticism of his practices. While all of Rau’s work is political, Climenhaga places the pieces into four distinct categories—reenactment, recollection, reactment, and reclassification—each of which allows for a kind of questioning of and engagement with history and the present.

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31

Poliakova, Yu Yu. "Researches of Kharkiv’s Theater Culture of the 19th and the first half of the 20th cc.: Problems of Historiography." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 142–63. http://dx.doi.org/10.34064/khnum1-51.08.

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Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources, which contain the data on the history of theater in Kharkiv; to characterize their authors; to define the degree of their mastering of accessible information while writing books and articles on various periods in the development of theater culture in this city in the 19th c.; to establish the main challenges to researchers they have to face under modern conditions. In this study, the author has chosen to apply the traditional cultural-historic method of research. It generally consists of collecting primary information on a certain phenomenon or a prominent figure, working it out, finding its correlation with appropriate historic events, and then making an attempt to substantiate the meaning and importance of the phenomenon / figure studied, in the context of the development of arts in the region. The article based on memoirs, archive materials, periodic publications (containing articles on the activities of theater companies, theatrical managers, actors etc.) and literature on the history of drama as well as general publications, which include items on the theater life in the city. Due to the lack of an entire elaborated bibliographic system, researchers have to engage themselves in painstaking browsing through the entire corpus of periodicals. In Kharkiv, the main sources of relevant information are such periodicals as the “Ukrainskiy vestnik” magazine (1816–1819) and some newspapers: “Kharkovskie gubernskie vedomosti” (1838–1915), “Yuzhnyy kray” (1880–1919), “Utro” (1906–1916), Kharkov (1877–1880), Kharkovskiy listok (1898–1905) and more. Results. The former newspaper “Kharkovskie gubernskie vedomosti” published, in 1841, the essay “Theater in Kharkov” by dramatist and a prominent public figure Hryhoriy Kvitka-Osnov’yanenko (1778–1843), who described the very first period in the history of theater in Kharkiv (1780–1816). In the 1870s, the “Kharkovskie gubernskie vedomosti” started to publish regularly analytical and summarizing articles, which were an attempt at creating theater’s history of a certain period. There was, for one, an article “The Kharkov Drama Theater in Recent Ten Years” by Ivan Ustinov, published in 1877 and dedicated to the 10th anniversary of the Diukovs’ private theater company. I. Ustinov not only gave a brief analysis of the theater’s repertoire between 1867 and 1877, but also included biographies and short characteristics of the actors, which were playing then on Kharkiv stage. Ustinov also is famous as the compiler of the bibliographic index “The Books on Kharkov Governorate” (1886), with certain information on the history of theater in this city. In the 1880s, Konstantin Schelkov, a graduate of the Kharkiv University’s Law School, wrote his articles on the theater in the “Kharkovskie gubernskie vedomosti”. The newspaper published, among others, his article “Materials for the History of Theater in Kharkiv” (1881), in which he described the activities of the theater’s management headed by N. D. Alferaki in 1845–1848. In the early 1880s, another big newspaper, the “Yuzhnyy kray”, was started. Its columnist Nikolay Chernyaev took a great interest in the history of theater in Kharkiv. Mr. Chernyaev’s works include a systematic review of theater culture in Kharkiv from Catherine II epoch until 1843 as well as a number of essays on the development of theater in Kharkiv up to 1880. The author collected wide documentary material dedicated to specific periods of history as well as to certain artistic figures. Chernyaev studied many various sources: dailies and magazines, published in the capital cities and in provinces, many collections of documents, memoirs and so on. Chernyaev’s works proved to be useful to historians D. I. Bagalei and D. P. Miller who covered the history of theater in their famous book “The History of the City of Kharkov during 250 Years of its Existence.” In the first half of the 20th c., there were no integral and systematic researches on the history of the city of the previous century, so the monograph “The Beginnings of the Theater in Kharkov” by Arkadiy Pletniov, published in 1960, one can consider as summarizing. The author based much of his study on the works of N. I. Chernyaev. He also widely used the materials resting in the A. A. Bakhrushin Museum of Theater, Moscow, and in many archives. In his monograph, Dr. Pletniov did not limit himself with listing the events of theatrical life, but thoroughly analyzed the activities of the Board of Trustees and such managers as I. Shtein and L. Mlotkovskiy. In several supplements, one can find lists of main roles played on Kharkiv stage by its prominent actors (N. Rybakov, L. Mlotkovskiy, K. Solenik). Pletniov’s work, enriched by references and commentaries, played an important part in creating the complex picture of Kharkov’s theatrical life. Due to abundance of the facts and clear style, Dr. Pletniov’s book stays up to now a valuable source on the subject. Conclusions. The analysis of historiography concerning the theater in Kharkiv of the 19th and early 20th cc. enables the author to come to conclusion that the main challenges a modern researcher has to face are as follows: the absence of system in bibliographic manuals; lacunas in the funds of periodicals of most libraries; the absence of important documents in archives. Theater life in Kharkiv has been studied far from satisfactory level yet. The following problems of history especially need thorough research work from historical point of view: theater critique; drama art; architecture of theater buildings in Kharkiv; amateur theater companies; charity for theaters; and some other points. The task of modern researchers, as we see it, lies in gradual filling the gaps mentioned above.

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Levy, James Anders. "Apollo Theater Oral History Project and the Apollo Theater Oral History Project at C.S. 154 , Harlem Apollo Theater and Columbia University Center for Oral History Center, 2008–present." Oral History Review 41, no. 1 (January 1, 2014): 134–36. http://dx.doi.org/10.1093/ohr/ohu015.

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33

Kastleman, Rebecca. "16Performance, Theater, Drama." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 303–23. http://dx.doi.org/10.1093/ywcct/mbz016.

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Abstract The year 2018 was an especially fruitful and wide-ranging one for theater and performance studies. Several major monographs deepened discussion in established subject areas within the field, while new methodological approaches emerged, opening fresh directions in scholarship. This review focuses on four major areas of conversation that shaped the field in 2018: 1. Expanding Performance Aesthetics; 2. Economic and Material Contexts of Performance; 3. Enacting Public Justice; and 4. Performance on the Move.

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Lyons, Charles R. "Addressing the American Theater." American Literary History 5, no. 1 (1993): 159–71. http://dx.doi.org/10.1093/alh/5.1.159.

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Hill, Errol, and George A. Thompson. "A Documentary History of the African Theater." African American Review 34, no. 3 (2000): 534. http://dx.doi.org/10.2307/2901399.

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Constantinidis, Stratos E. "Modern Greek Theater, Its History and Theory." Journal of Modern Greek Studies 25, no. 2 (2007): 147–61. http://dx.doi.org/10.1353/mgs.2008.0001.

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Voss, D. "THEATER AND HISTORY OF SCIENCE:A Friendship's Fission." Science 288, no. 5464 (April 14, 2000): 278–79. http://dx.doi.org/10.1126/science.288.5464.278.

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Milleret, Margo. "Exorcising History: Argentine Theater Under Dictatorship (review)." Theatre Journal 54, no. 1 (2002): 169–71. http://dx.doi.org/10.1353/tj.2002.0023.

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Tulyantsev, Andrey. "Dnipropetrovsk Ukrainian academic youth theater in the contemporary sociocultural context." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 5–15. http://dx.doi.org/10.33287/222013.

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The purpose of this article is concentrated by researcher into revealing of the particularity for modern theater on the example Dnipropetrovsk Ukrainian academic youth theater. The author studies performances for young people that the theater has in its repertoire. The dialogue between the theater and the audience has its own scientific interest for the author. The author uses the most effective methods of scientific research. The author has a need to understand the peculiarities of the style of acting and directing. It is also necessary to understand the general style of the theater. This position is significant, because there is a specificity in the interpretation of theatrical performance. Scientific novelty. This article has its own peculiarity. The author aims to determine for the first time the main provisions of the activities of the Ukrainian academic theater for youth from the Dnieper. To achieve this goal, the author of the article makes an analysis in which there is a specific meaning of the theater's activities, the subject of this research. Theater is analyzed as an artistic value. The author assesses the state of the collective as a theater historian. The activity of the theater is analyzed in the context of the functioning of modern theater culture. This is what makes it possible to understand the features of the historical phenomenon. It combines the present with the past. It aims to understand the perspective of contemporary theater time in the future. Methods. The performances of this theater have the characteristics of a synthetic genre. These performances have the ability to explain the nature of the interaction between theater and music. Therefore, research methods are based on the synthesis of various areas of scientific activity. In which there are various scientific disciplines. Specifically: the structural system of the history of the theater, the use of analytical methods in the analysis of drama, direction, skill of actors, singing, orchestra work, scenography. The author explores their analogies and connections, what unites them and what is opposition. Conclusions. The performances of the Ukrainian academic theater for young people from Dnipro are of different genres. The principles of the dialogue between the theater system and the audience, which exists in mutual exchange, are revealed in these performances. The author notes the real mutual cooperation between the theater and the audience. At the same time, there is an addition of one dramatic tradition to another. You can also observe how professional directors worked with the texts of the plays. The fact of how the structure and style of the performance is changing is significant. The academic professional artistic transformation of vocational performances in modern society is essential relevant.

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Brundage, William Fitzhugh. "The Theater of Racial Opposites." Reviews in American History 41, no. 1 (2013): 94–98. http://dx.doi.org/10.1353/rah.2013.0003.

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Wallingford, Katherine. "The theater of the self." American Quarterly 49, no. 2 (1997): 423–28. http://dx.doi.org/10.1353/aq.1997.0020.

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HARRISON ROMAN, GAIL. "TATLIN'S "TOWER " : MONUMENT AS THEATER." Canadian-American Slavic Studies 19, no. 4 (1985): 497–510. http://dx.doi.org/10.1163/221023985x00215.

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Furay, Julia. "Performance review: online research guides for theater students." Reference Services Review 46, no. 1 (February 12, 2018): 91–109. http://dx.doi.org/10.1108/rsr-09-2017-0037.

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Purpose This study aims to assess current academic library services to theater students through an examination of online research guides. Design/methodology/approach This study uses a representative sample of 100 universities that offer theater degrees; the library website at each of these institutions is examined for the existence of a theater research guide. Each research guide was analyzed in depth. Findings The vast majority of the universities in the sample did create research guides for theater students, though the contents of these guides varied greatly. The study highlights findings including popular databases and journals for theater students, as well as media resources and common subjects for subsections or course guides. Research limitations/implications This study only examined a sample of 100 institutions; many theater research guides were not examined for this study. Additionally, analysis of online content is a time-specific endeavor: a guide may look significantly different from one month to the next, though the recommendations in this article might prove useful even if the sites at these institutions have since been updated. Practical implications Through an examination of a great number of guides, a few practical suggestions emerge for librarians looking to create theater research guides, such as highlighting playscripts and other print materials and including hyperlocal information (such as university production history). Originality/value Though several studies have been performed on research guides in various disciplines, this article is the first on those to theater students.

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Salimova, Leila F. "THE BODY IN THE HISTORY OF WESTERN EUROPEAN AND RUSSIAN THEATRE: CULTURAL VARIABILITY OF SHAME." Articult, no. 1 (2021): 19–31. http://dx.doi.org/10.28995/2227-6165-2021-1-19-31.

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Modern scientific knowledge approaches the study of the physical and aesthetic bodies with a considerable body of texts. However, on the territory of the theater, the body is still considered exclusively from the point of view of the actor's artistic tools. Theatrical physicality and the character of physical empathy in the theater are not limited to the boundaries of the performing arts, but exist in close relationship with the visual and empirical experience of the spectator, performer, and director. The aesthetic and ethical aspect of the attitude to the body in the history of theatrical art has repeatedly changed, including under the influence of changing cultural criteria of "shameful". The culmination of the demarcation of theatrical shame, it would seem, should be an act of pure art, independent of the moral restrictions of society. However, the experiments of modern theater continue to face archaic ethical views. The article attempts to understand the cultural variability of such a phenomenon as shame in its historical and cultural extent using examples from theater art from antiquity to the present day.

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Parush, Adi. "The Courtroom as Theater and the Theater as Courtroom in Ancient Athens." Israel Law Review 35, no. 1 (2001): 118–37. http://dx.doi.org/10.1017/s0021223700012103.

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To prevent any misunderstanding, I first would like to clarify that I am not a historian dealing with classical studies; my main disciplines are philosophy and law. However, following a seminar I gave dealing with several philosophical-legal aspects of Greek tragedy, and an article I wrote about the relationship between the concept of guilt in Oedipus Tyrannus and the principle of strict liability in modern criminal law, I have found myself in recent years becoming increasingly interested in the unique culture which emerged in Athens during the classical period, particularly in the 5th century BCE. In the course of that century, Athens was involved in many wars – against the Persians in the early decades, against Sparta (the Peloponnesian War) in the latter decades, and other “minor” wars. And yet despite these wars, during the 5th century BCE Athens was in a state of cultural-social-political ferment that left its mark on the whole history of western culture. In the course of that century, there was in Athens a burgeoning of independent-critical thought in the philosophical domain, nature and medicine were systematically studied, tragedies by the Athenians Aeschylus, Sophocles and Euripides were written and performed, and the democratic regime took shape.

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Annichev, О. Ye. "The interaction of theatrical journalism and theatrical criticism in the modern media." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 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 materials have been published in specialized publications, often with indicative headings: “Who needs theater critics?” [1], “Theater criticism: final or transformation?” [9]; interviews of theater critics, in which they uphold the positions of the profession and, at the same time, speak about urgent problems and the need to update it taking into account rapidly changing realities: with S. Vasilyev [2], N. Pivovarova [5], Ya. Partola [6]; discussion articles on the status and prospects of the profession by M. Harbuziuk [3], M. Dmitrevskaya [4], N. Pesochinsky [7], I. Chuzhynova [10], S. Schagina, E. Strogaleva, E. Gorokhovskaya [11]. Thus, there are several points of view on this topic: that theatrical journalism has replaced theatrical criticism; that theatrical critics of the old school did not have time to adapt to the changing world and use new tools in this profession, and young critics just occupy their niches in the youth media and on the Internet; that the profession of a critic does not go beyond the framework of participation in expert councils, jury membership, attendance at theater festivals, and writing reviews on request. The question, however, is still open. The main goal of this article is to determine the degree and main character of the interaction of journalism and theatrical criticism in modern media. Results of the study. Those who are seriously engaged in theater studies and academic theater criticism feel the need for specialized publications, the number of which in Ukraine is reduced to a minimum. Therefore, those who had the opportunity to publish reviews in the socio-political periodicals, have to combine three professional areas in one, becoming a theater journalist. Academically trained theater critics can write and often write good books, but, as a rule, do not know how to write for newspapers and magazines. But graduates of journalistic departments who write about the theater are not familiar with professional terminology, which is able to give a correct assessment of the premiere performance. The question arises: how to combine those and these, that the theater journalism was both fascinating and acute, and moderately scandalous, but at the same time accurate and high-quality? To grow such specialists is a matter of work, there can be no conveyor system here. Modern theater criticism, gradually becoming obsolete, rather survives from the common theatrical space. The theater critic cannot be a free artist, and live on the money from the results of his work, because in non-capital cities the number of journals in which the theater specialist would have had time to publish his works has decreased by several times. In cities such as Poltava, Sumy, Chernigov, the issues relating to theatrical premieres are not covered by critics (they are simply not there), but by journalists who write on various topics and rarely specialize in one. The substitution of theatrical critique by journalism is quite natural, for example, for cities where there is no professional training of theater critics, however in Kiev, Kharkiv and Lviv theater studies continue, and a certain number of graduates hope for the viability of this profession. Theatrical criticism and theatrical journalism are in their own way demanded in certain circles. Criticism is closer to theaters, journalism – to the audience. It is difficult to debate with this statement that new epoch came with the Internet. Now, the spoken word has a completely different value. For example, а word thrown on Facebook can have the same effect on public opinion as a big, built, hard fought text. This does not mean that you do not need to write large texts and publish them on paper. You just need to understand and accept the new reality, its advantages and disadvantages, its danger and its benefits. It is a very important problem of our consciousness and the problem of our theater. The Internet has given a new push to the development of new type of media-translations, actively working in social networks. Sites appear on the network where online remote screenings of performances are held. They provide Internet audiences with the opportunity to be acquainted with the history of national and world theater art; they are introduced to modern avant-garde performances. Of course, this also brings the theater closer to a wide, as a rule, young audience and opens up new opportunities for a different kind of theater journalism. Сonclusions. Thus, the Internet becomes an active means of influencing the minds in the modern media space. The Internet influences everyone and everything, changing attitudes towards theatrical art, as well as contemporary theater criticism and theater journalism. However in this case, it is essential to remember that not the Internet, but only professional theater criticism that has been and remains the breeding ground for the scientific work of theater critics and art historians, while creating the history of dramatic, opera and ballet theater.

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Sellar, Tom. "Discussion, Dream, Art, People." Theater 50, no. 1 (February 1, 2020): 1–11. http://dx.doi.org/10.1215/01610775-8123826.

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In this article, Tom Sellar, the editor of Theater for sixteen years, reflects on the five-decade legacy of the magazine. Sellar’s personal retrospective looks both backward and forward, from Theater’s polemical beginnings in the late 1960s and his own encounters with the magazine as a student in the 1980s to the political exigencies of the present day and the demands this moment makes on the future of theater and criticism. As Sellar writes, Theater’s early radical spirit has not left the magazine’s mission: “Part muse, part archive, part mirror, Theater has held tightly to … its permanent stance that the theater can provide a vessel for transformation, bringing altered consciousness and maybe a better society.” Tracing this history, Sellar illuminates how Theater, as a journal and a reflection of its object of inquiry, has responded to the evolving idea of a public — a sphere that has narrowed and expanded, fractured and recombined over the past half century.

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Djaha, Siti Susanti Mallida. "THE EMERGENCE OF NEW MEDIUM." Notion: Journal of Linguistics, Literature and Culture 1, no. 1 (May 30, 2019): 21. http://dx.doi.org/10.12928/notion.v1i1.712.

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This study aims at finding the development of new medium of drama in English literary history. From the very first emergence of drama, the plays that have been written were performed in the theater and in many kinds of theater were appears to represent some ideas from the society. As time passing by, these kind of theater had a kind of transformation to be the new medium that we called motion picture. This motion picture began with the silent movie, then it became the talking picture, and it was improved to be the cinema. In its development until today, which we had been known as the movie. This new medium emerged to replace the live theater performance especially in Edwardian era.

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49

Scott, Kim Allen, and James Willis. "Arkansas Confederates in the Western Theater." Arkansas Historical Quarterly 58, no. 3 (1999): 329. http://dx.doi.org/10.2307/40026234.

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Teele, Rebecca, and Kenneth Yasuda. "Masterworks of the No Theater." Monumenta Nipponica 45, no. 3 (1990): 386. http://dx.doi.org/10.2307/2384922.

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