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Journal articles on the topic 'Theater and society Theater'
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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.
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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.
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Bartsch, Shadi, and William J. Slater. "Roman Theater and Society." Phoenix 53, no. 1/2 (1999): 152. http://dx.doi.org/10.2307/1088131.
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Brown, Lorraine A. "Pointing to the Future." Theatre Survey 36, no. 2 (November 1995): 83–87. http://dx.doi.org/10.1017/s0040557400001216.
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As many historians of American theater and culture know, the Fenwick Library of George Mason University (GMU) became the home in 1974 to a major collection of Federal Theatre Project (FTP) materials. As many researchers also know, some FTP material was removed from GMU to the Library of Congress in the fall of 1994. In this essay, I will bring Theatre Survey's readers up to date on the status of the FTP collection, which, because of its continuing development over two decades, houses not only a considerable body of FTP material but also early records of the American National Theatre and Academy (ANTA). ANTA in its earliest days was a worthy successor to the FTP in the drive to have a national theater in the United States. Since 1980, all of these holdings have been an integral part of the Center for Government, Society and the Arts (CGSA) at GMU. CGSA has been the site of many activities exploring the relationship between our government and the arts, ranging from conferences on theater and cultural studies to our own theatrical productions of FTP materials, some of which I will outline here.
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Modreanu, Cristina. "Elements of Ethics and Aesthetics in New Romanian Theatre." New Theatre Quarterly 29, no. 4 (November 2013): 385–93. http://dx.doi.org/10.1017/s0266464x13000705.
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Young Romanian theatre artists are very concerned to address issues from the recent past and in using collaborative art to educational and therapeutic ends. The implications of the increased ethical consciousness in their work is addressed here by Cristina Modreanu, who focuses on the productions of directors Gianina Cӑrbunariu and David Schwartz. She analyzes the relationship between ethics and aesthetics in contemporary work against the backdrop of post-Communist Romanian society and in a global context, as well as the dynamics connecting the new wave of Romanian theatre to internationall tendencies in contemporary art, as observed by authors such as Jaques Rancière and Claire Bishop. Cristina Modreanu's doctorate on Romanian theatre after 1989 is from Bucharest University of Theatre and Film, and she has also developed the subject in lectures at Tel Aviv University and Plymouth University. A Fulbright alumna and former Visiting Scholar at New York University, Performance Studies Department, Modreanu currently lectures in Contemporary Performance at Bucharest University. Her publications include articles on Romanian and Eastern European theatre for journals such as Theater, Theater der Zeit, and Alternatives Théâtrales, and for the anthology Romania after 2000: Five New Plays, edited by Martin E. Segal.
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Karr, David. "“Thoughts that Flash like Lightning”: Thomas Holcroft, Radical Theater, and the Production of Meaning in 1790s London." Journal of British Studies 40, no. 3 (July 2001): 324–56. http://dx.doi.org/10.1086/386246.
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During the 1790s, political speech in London's public spaces and commercial sites of leisure came under intense governmental surveillance. Fearing revolutionary infection from across the channel in France, the Pitt ministry sent spies into popular organizations such as the London Corresponding Society and turned more attention to other sites as well, including coffeehouses, taverns, debating-club rooms, and the street. Recently, historians too have explored the ways in which radicals manipulated the ludic vocabularies of urban sociability to critique the regime, protest persecution, and argue for reform. In this article I address a site that figured prominently as a place for radical speech in the 1790s: the Theatre Royal at Covent Garden. Although it was a site whose content was strictly regulated by the state through the office of the Examiner of Plays, the royal theater was, like other eighteenth-century theaters, a place where performances multiplied: viewers watched the play, but in the well-lit and noisy pit, boxes, and galleries, they watched other viewers intently. All were engaged in a complex process of performance, reception, and counterperformance. Indeed, as scholars have shown, theater audiences in late Georgian London were highly skilled at appropriating a theatrical grammar by which to demand their perceived rights as English subjects. Such strategies revealed the potency of theatrical representation in a society where, as Gillian Russell notes, “performance, display and spectatorship were essential components of the social mechanism.”
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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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Saefudin, NFN. "TEATER TUTUR BAPANDUNG DALAM MASYARAKAT BANJAR." UNDAS: Jurnal Hasil Penelitian Bahasa dan Sastra 15, no. 2 (December 1, 2019): 107. http://dx.doi.org/10.26499/und.v15i2.1525.
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The problem discusses in this study is how does the form of narrative theater bapandung (monologue) in Banjar society. The aim of this study is to reveal the form of narrative theater bapandung (monologue) in Banjar society. Banjar society in South Kalimantan has lots of oral traditions, one of them is narrative theater bapandung. A man is called story teller because of his cleverness telling a story in monologue way and playing several characters, that man is called pamandungan. The story in bapandung has lots of jokes played by pamandungan or the performance player. This study uses descriptive qualitative method. It is a method to get information about narrative theater bapandung in Banjar society deeply. The result shows about the description of narrative theater bapandung in Banjar society.
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Lecińska-Ruchniewicz, Monika. "Rys historyczny Teatru Muzycznego Takarazuka – w poszukiwaniu nowego „teatru narodowego”." Slavia Occidentalis, no. 74/2 (December 10, 2018): 51–64. http://dx.doi.org/10.14746/so.2017.74.22.
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The Takarazuka Revue (Takarazuka Kagekidan) occupies an important place among Japanese modern theatres and enjoys unwavering popularity both in Japan and abroad. Both the artistic and commercial character of the idea that brought the first Japanese all-female revue to life in 1914 determined its further development and process of conversion from a simple choir to a full scale musical theater. Kobayashi – the founder of the Takarazuka Revue, an opera aficionado and theater critic – was driven by the need to create a new, affordable and easily understandable national theater that would meet the needs of modern Japanese society. Currently, the Takarazuka Revue is one of the most active and successful modern Japanese theaters. Its harmonious combinationof trends in mass culture and Japanese and Western theatrical traditions is fascinating. The highly characteristic fusion of simplicity and splendour, kitsch and sophistication that can be seen in the revue’s works, creates a unique, albeit somewhat controversial style, complemented by musumeyaku (female emploi) i otokoyaku (male emploi) played by actresses taught in a special school affiliated to the Takarazuka Revue.
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Nelson, John. "Opposing Official Nationality." Experiment 25, no. 1 (September 30, 2019): 115–29. http://dx.doi.org/10.1163/2211730x-12341333.
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Abstract It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened his Private Opera in 1885 at Abramtsevo and in 1895 in Moscow. His aim was to demonstrate that a private opera house could compete with the Imperial theaters, in addition to giving Moscow the opportunity to see Russian-themed operas. It was Mamontov’s new approach to stage direction, including the incorporation of fine artists in the creative process, that attracted the composer. Harassment by the Tsar, the bureaucracy of the Imperial theaters, and the western-orientated repertoire committee, had all alienated the composer. Mamontov’s dedication to filling a gap in the Russian music world, as well as his challenge to the Imperial theaters, caught Rimsky-Korsakov’s attention. Through their collaboration they questioned the bureaucracy and publicly registered their protest against Nicholas II. Together, they challenged the foundations of the “Official Nationality” doctrine propounded by the tsars since the rule of Nicholas I, which in a changing Russian society had acquired a new meaning.
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Davidson, Gordon, Robert Egan, and Robert Glaudini. "Theater and Society: "The Poison Tree"." Bulletin of the American Academy of Arts and Sciences 54, no. 3 (2001): 26. http://dx.doi.org/10.2307/3824684.
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Pereyra, Soledad. "Intimidad, emoción y activismo político en el teatro posmigrante de Sasha Marianna Salzmann." mAGAzin Revista intercultural e interdisciplinar, no. 26 (2018): 14–27. http://dx.doi.org/10.12795/magazin.2018.02.
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As Pavis (2016) argues, intimacy has resurfaced under different forms and names in current theater. This article makes a general introduction to posmigrant theatre in Germany, breaks down some of these forms of intimacy and emotion in theatre studies, and then analyzes its presence and articulation in the monologues of two works by german-language playwright Sasha Marianna Salzmann (n.1985): Muttersprache Mameloschn (2013) and Meteoriten (2016). The examination of the monologues of Salzmann -who is one of the representatives of the so-called German Postmigrant Theatre- exhibits that intimacy in their works is not only about reversing the representational economy of the minorities in a multicultural society. The use of emotion in her theatre abandons its traditional association with the “pathos” and the “Impossibility of Acting” (DidiHuberman, 2013:26), and represents a form of political activism, which builds theatre as the smallest cell of a fairer society (Salzmann 2015).
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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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Geroeva, Lyudmila. "Social-cultural aspect of the development of ideal in the Russian theatre." KANT 37, no. 4 (December 2020): 383–88. http://dx.doi.org/10.24923/2222-243x.2020-37.78.
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The article explores the formation and development of the problem of aesthetic ideal in Russian theatrical art, analyzes the socio-cultural evolution and historical periodization of Russian theater, its distinctive features in the context of the development of society. The main areas that form the activities of theatrical currents and schools, their philosophical and social importance and influence on historical formations and consciousness of society are defined, the criteria for expressing the aesthetic ideal in the art of theatre from the point of view of educational and educational potential are investigated.
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Tarantino, Mary. "UNCOVERING GEMS: THEATRICAL DESIGN COLLECTIONS AT THE WISCONSIN HISTORICAL SOCIETY." Theatre Survey 50, no. 2 (November 2009): 327–35. http://dx.doi.org/10.1017/s004055740999010x.
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The Wisconsin Center for Film and Theater Research (WCFTR), which is housed at the Wisconsin Historical Society in Madison, Wisconsin, and partners the historical society with the University of Wisconsin's Department of Communication Arts, was formed in 1960. It maintains a diverse collection of entertainment media, including collections of papers, audio and/or visual materials, and other creative documents such as scripts and designs. The majority of the WCFTR's collections feature film, radio, and television productions and various photographs and promotional material. The smaller theatre collections include papers related to notable actors and playwrights such as Alfred Lunt, Lynn Fontanne, Moss Hart, Langston Hughes, and George S. Kaufman; lyricists and composers such as Marc Blitzstein and Stephen Sondheim; and designers for film and theatre. This article examines the WCFTR collections of three twentieth-century theatrical designers: Wolfgang Roth, Jean Rosenthal, and Gilbert Hemsley.
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Harris, Susan Cannon. "Clearing the Stage: Gender, Class, and the Freedom of the Scenes in Eighteenth-Century Dublin." PMLA/Publications of the Modern Language Association of America 119, no. 5 (October 2004): 1264–78. http://dx.doi.org/10.1632/s0030812900101737.
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This essay investigates the conditions and consequences of Thomas Sheridan's attempt to bar spectators from behind the scenes at the Theatre-Royal in Dublin's Smock Alley. Sheridan succeeded in revoking the “freedom of the scenes”—a privilege by which aristocratic men were allowed to roam the green room, dressing rooms, and stage during the performance—because Dublin was the cultural and political center of a colonial society whose members were struggling for control over the spaces outside the theater. The reform provoked a conflict known as the Kelly riots, which began with a spectator's attempted rape of an actress in Sheridan's production of John Vanbrugh's Aesop. Contextualizing the Kelly riots in the political and cultural situation of eighteenth-century Ireland, this article illuminates the role that the theater plays in the construction of subjectivity and in the interrelation among gender, class, and national identities.
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Balaban, O. I., O. M. Venher, and O. B. Opanasyk. "Market fundamentals of organization of work in the field of stage and audio-visual arts and production." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 200–214. http://dx.doi.org/10.34064/khnum1-53.12.
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Background. Survival and further development is an acute problem for any modern Ukrainian repertory theater. According to the Law (which is only a framework, since it does not answer all the questions that arise), repertory theaters are non-profit organizations and exist for budget funds. The latter are steadily declining and depreciating in the conditions of market relations exist in modern Ukraine. The purpose of the article is to consider and propose methodological approaches to the development and implementation of innovations in the organization of cultural institutions in the field of cultural industries, theater, film and television. Presentation of the main material. The modern development of society is extraordinary – it is filled with changes and transformations caused by the influence of such phenomena as globalization, cheap labor, a large number of competitors. The spread of information and nanotechnology, computer networks is causing changes in the structure of organizations and cultural institutions, in particular, a reduction in their size, which, in turn, predetermines innovation as a result of a creative search for original, non-standard solutions to various problems. Globalization today is not only fierce competition. It also affects the human capital of enterprises, in particular, transforms the concept of a permanent place of work. Technogenic civilization and the rapid change of information technology make cultural institutions need to work extraordinary in such relevant areas as technology, personnel and organizational aspects of business. The most important qualities of the modern cultural space, concerning cultural and educational institutions, creative industries, are openness of thoughts and the possibility to avoid stereotypes. As a result of the development of market relations in Ukraine, cultural institutions have economic freedom, respectively, freedom in choosing directions and guidelines for development, as well as of markets for activities, determining directions for using and attracting own funds, creating a competitive policy, etc. In the same time, the following threats were identified that are relevant for any modern Ukrainian repertory theater, namely: 1) the growth of the budget deficit of the country and the region, which can suspend the budget maintenance of theaters; 2) an increase in inflation; 3) economic instability; 4) political instability; 5) the growth of tax rates; 6) a decrease in the solvency of the audience; 7) low demand from the audience for theatrical services; 8) significant variability in the needs of the audience; 9) a high level of competitiveness of other theaters and cultural institutions; 10) changes in public values; 11) low social consciousness of the population. Due to these conditions, the solution of the problem of survival and development requires the search for new strategic approaches to the organization of activities and management of these theaters, which seems quite relevant. The possibilities are contained in the Law itself, which allows theaters to earn money through various types of commercial activities. Strategically, the most promising is production, which is used by almost all foreign non-commercial theaters. The opportunities provided by “The Law on Public-Private Partnership”, 2010, in the fields of tourism, re-creation, culture and sports can be included in support of such activities. The effectiveness and profitability of cultural institutions depends on the quality of management, as well as monitoring the implementation and quality of services. The high potential of cultural institutions with an underestimation of activity and inefficient management leads to insufficient funding for the development of cultural institutions, a lack of working capital, and low material interest of workers. This situation makes it necessary to constantly increase the budget line for the maintenance of institutions. But to increase the budget revenues of cultural institutions, it is possible to use crisis management technologies. The development of crisis management methods by the management company (with an emphasis on theatrical activities) will be aimed at: protecting intellectual property and patenting by type of activity, developing and applying franchising schemes in theatrical activities; constant monitoring of the theater audience in order to identify trends in the development of culture and demand from the audience; collecting and summarizing the practice of successful European theater projects and managerial decisions to create a system of training the managerial staff of cultural institutions; collecting and analyzing information about the interaction of theaters with the external environment, tracking new trends and market contradictions; creating the basis for adjusting the regulatory framework; increasing the profitability of theaters; development of areas related to the core business; attraction and use of various types of financing (budget, grants, commercial, credit, investment funds); reduction of the budget load and the transition from current financing schemes to the financing of theater projects and programs; the creation of new financial instruments for the development of the theater, including depreciation and accumulation of income; the search for opportunities for the management company to implement external financial management and carry out financial planning, control over improving the effectiveness of theater management; creation of systems of motivation and interest of the creative team of theaters; creative audit of theatrical productions and repertoire policy, assessment of the positioning of theaters and theatrical productions. Summing up the above, we can reach the statements: 1) the rapid reduction of budget support for modern Ukrainian repertory theaters may end with a complete rejection of it; 2) under such conditions, it will be appropriate to study the experience of organizing the activities of foreign non-profit theaters that successfully survive in market conditions; 3) this becomes possible through the use of a rather specific activity called “producing”; 4) modern Ukrainian repertory theaters will have to master it; 5) for this purpose, it seems appropriate to create a "production center" in the theater, which can be started as a startup; 6) this creates a new creative and production system that becomes productive.
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Brosa Rodríguez, Antoni. "Las compañías teatrales españolas en internet." Triangle, no. 10 (May 21, 2020): 1. http://dx.doi.org/10.17345/triangle10.1-98.
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In this work, the Internet presence of Spanish theater companies will be analyzed by studying a corpus of own data. The internet concept is very broad. The great advances in this eld have developed many new functions. Although the fundamental and essential purpose of the Internet is communication, the real technological change begins with computerization and the ability to process, manipulate and control vast amounts of data. This change does not lie only in the methodology in communicating, but involves a deep change that aects the life of society in general. Internet is a virtual space where you can live: watch a movie, buy food or clothes, talking with friends, check bank details, play, etc. This profound change in society also comes to literature in general and theater in particular. Within this giant free showcase that is Internet, every author and every theater company seeks its place in order to be visible to the world. In this paper, we review the dierent ways in which the theater appears on the Internet and present a systematic and detailed analysis of the Internet presence of twenty companies of Spanish theater with very dierent idiosyncrasies that reect the current Spanish theater scene.
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Sellars, Peter, and Edward W. Said. "Theater Opera & Society: The Director's Perspective." Grand Street, no. 61 (1997): 192. http://dx.doi.org/10.2307/25000127.
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Porter, John R., and Ruth Scodel. "Theater and Society in the Classical World." Phoenix 50, no. 1 (1996): 77. http://dx.doi.org/10.2307/1192686.
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Pahomov, George, and E. Anthony Swift. "Popular Theater and Society in Tsarist Russia." Slavic and East European Journal 47, no. 4 (2003): 693. http://dx.doi.org/10.2307/3220262.
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Elbuzdukaeva, Tamara Umarovna. "THE DEVELOPMENT OF THEATER IN THE CHECHENO-INGUSH ASSR IN THE 40―60S’ OF THE XX CENTURY." History, Archeology and Ethnography of the Caucasus 15, no. 1 (March 19, 2019): 37–46. http://dx.doi.org/10.32653/ch15137-46.
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The selection of the topic for publication is brought into focus by the decree of the President of the Russian Federation on the announcement of 2019 as the Year of Theater, as well as preparation for the celebration of the 75th anniversary of the Victory over Nazi Germany. The relevance of the choice of theatrical culture of the Chechen Republic in the object of study is also related to its lack of information on this topic. The study analyzes the activities of republican theaters in military conditions; reconstruction of the basic principles and methods of functioning of the Chechen-Ingush theaters in the years of the restoration of autonomy and the “ottepel” (thaw) of the 1960s’.In the years of the Great Patriotic War, the Chechen-Ingush Theater was rebuilt in a military manner and confided to barracks. The propaganda teams that spoke in all corners of the republic, in hospitals and military units, in field camps and at enterprises raised the fighting spirit of the soldiers. Many artists of the republic went to the front and fought against the enemy in arms.The development of the Chechen-Ingush culture in the second half of the 1950s’ – 1960s’ of the XX century occurred in the conditions of democratization of life of the Soviet society, the restoration of the republic’s autonomy, the atmosphere of freedom of creativity. In the mid-1960s’, with the arrival of students of the academic M. Soltsayev and R. Khakishev’s Leningrad school, the repertoire of the Chechen-Ingush theater is replenished with works of heroic romance and high poetry. The performances of Russian, Georgian, Azerbaijani, Ossetian, Balkarian, Dagestan and other authors appear. In the 60s’ of the XX century, Chechen-Ingush Theater was among the ten best national theaters of the Soviet Union.The methodological basis of the research is the dialectical approach, which allowed studying the theatrical art of the Chechen-Ingush ASSR on the principles of historicism, objectivity and comprehensive study of the subject. The logical method made it possible to analyze the sources, to establish the degree of knowledge of the problem in the national historiography, to determine the purpose and objectives. With the help of the historical-genetic method, the theatrical life of the republic during the war, the restoration of autonomy and the “ottepel” of the 1960s’ is revealed.
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Essien, Edet. "Theater for development in contemporary Nigeria: problems and prospects." International Journal of Humanities and Innovation (IJHI) 3, no. 1 (March 31, 2020): 17–21. http://dx.doi.org/10.33750/ijhi.v3i1.66.
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Theater has become more popular over the years. It is generally known to people as a building designed for the performance of plays, dances, etc. This paper is aimed at espousing the pertinence of theater in national development, especially in a developing African nation-state like Nigeria. In doing this, the paper identifies and discusses the exploitable prospects and problems that go along with the deployment of theater in enhancing Nigeria’s development. The paper concludes that despite the challenges, theater plays a vital role to play towards creating a reliable, effective, and responsive representative institution and in advancing the frontiers of development of the Nigerian society.
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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.
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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.
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Müller, Sven Oliver. ":The Swastika and the Stage: German Theater and Society, 1933–1945.(Cambridge Studies in Modern Theater.)." American Historical Review 114, no. 2 (April 2009): 496–97. http://dx.doi.org/10.1086/ahr.114.2.496.
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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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Bashir, Lika mohamed. "El Teatro absurdo es un espejo de la realidad." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 214, no. 2 (November 11, 2018): 85–104. http://dx.doi.org/10.36473/ujhss.v214i2.634.
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The Theatre of the Absurd is a trend in which many were written plays of certain US and European playwrights during the 1940s, 1950s and 1960s, in general, which arose from the work of those. It is characterized by frames that seem meaningless, repetitive dialogue and lack of dramatic sequence that often create a dreamlike atmosphere. The theater of the absurd has strong existentialist traits and questions the society and the man. Through humor and mythologizing hiding a fussy attitude toward his art. The inconsistency and illogical nonsense are also very representative features of these works.
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Samidi, S. "Identitas Budaya Masyarakat Kota: Teater Tradisi di Kota Surabaya Pada Awal Abad XX." Indonesian Historical Studies 3, no. 1 (July 7, 2019): 1. http://dx.doi.org/10.14710/ihis.v3i1.5308.
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This study examines why does Ludruk represent the cultural identity of the people of Surabaya? How does society appreciate the traditional theater, especially in Ludruk in their daily practice? The purpose of this article explains the historical reality of Ludruk art that serves as entertainment and cultural identity. This article using the historical method by relying on historical sources. The result shows that theater traditions that existed and famous in Surabaya at the beginning of the 20th century were Comedy Stambul, Wayang Wong, and Ludruk, then appeared Ketoprak in the late 1930s. The appearance of this theater has been adapted to the tastes of the support community. Comedy Stambul is a theater that originated in India, then spread to Southeast Asia. Comedy Stambul is considered as a hybrid art because it comes from a blend of local cultural elements, while Wayang Wong, Ludruk, and Ketoprak an original art derived from customs and local values. Theater that represents the cultural identity of the people of Surabaya is Ludruk.
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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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Jacobsen, Roswitha. "Theater als Medium höfischer Kommunikation." Daphnis 42, no. 2 (2013): 467–89. http://dx.doi.org/10.1163/18796583-04202007.
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Since historical research gave up the paradigm of absolutism a new understanding of dynastic rule, as a process of communication and interaction aimed at securing acceptance, has become established. This has been accompanied by a new perspective on the institutions of courtly culture, which play a key role as important media in this process. In accordance with current media-theoretical discourse, this paper describes the contribution of specific aspects of one particular medium: the theatre. The theatre is embedded in two frames, which themselves are media: the court and the courtly festival. Thanks to its rigid techniques of selection and reduction, theatre is able to construct ‘the world’ according to contemporary knowledge systems in a straightforward manner. It can also serve as a tool for both the symbolic representation and the management of current problems. Above all, it enables the self-reflexivity of courtly society, which is itself characterized to the core by forms of theatricality.
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Abdollahi, Hooman, and Seyed Babak Ebrahimi. "Modeling and Investigating the Economy and Production Structure of Iran Public Theater." International Journal of System Dynamics Applications 8, no. 1 (January 2019): 60–78. http://dx.doi.org/10.4018/ijsda.2019010104.
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Cultural productions are considered as a sign of civilization in modern societies. Theater is known as an important type of cultural productions, playing important role in the cultural economy of a society. Due to complexities of socio-economic interactions, this sector needs dynamic investigation to illuminate different aspects of possible potentials and threats. The present paper tries to find relationships between Iran public theater economy and production structure based on a dynamic model including all economic stages, namely production, distribution, and consumption to achieve a solid perception of Iran theater position. The authors use System Dynamics to create a model that can explain or mimic the behavior of the system in order to evaluate policies. Since Tehran City Theater complex is the sole place for the public theater in Iran, the authors assess it over the period 2012-2015 and predict its behavior to 2022. On the other hand, the investigation in this context is being directed in accordance with microeconomics principles. The results indicate that the position of Iran public theater is undesired due to vague managerial policy. Also, the findings offer insights into the problems and suggest practical solutions.
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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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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.
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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.
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Jamil Shahwan, Saed, and Tasneem Rashed Said Shahwan. "Development of Literary Forms in Theater and Novel during the Victorian Era." International Journal of Applied Linguistics and English Literature 8, no. 5 (September 30, 2019): 49. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.5p.49.
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Appropriate understanding and embracing of the literature in the 19th century in Britain, should be considered so crucial when it comes to writing of novel and the same as to that of theater. Although Radcliff & Mattacks (2009) point out the changes experienced in theatre during the Victorian era, this research further explains the role of human activities in influencing changes in literary forms. There are a number of factors that are seen to be taking place at this particular period, lack of some basic understanding hindered the whole concept of writing. This period was commonly referred as the Victorian era and novel writing were considered to be on the lead when it came to literary genre. Most of the novels at this particular period were published in three volumes, several developments are clearly observed by introduction of other styles such as the satire writing. The women are now given equal opportunities and their work is being acknowledged without any challenges. On the other hand, the 19th century makes a great impact on the theatre; this can be illustrated by the number of developments that were involved. This stage was identified as the revolving stage and these changes were observed as from the 1896. This paper presents the major activities that took place in the 19th century in Britain that took place in the writing of the novel, the impact that it had on the novelist and so is that on the theater. This paper goes on to present the kind of society that existed in this era, the cultures and their way of life which includes the division of classes among the people of Britain.
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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.
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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.
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Vandenbroucke, Russell. "Violence Onstage and Off: Drama and Society in Recent American Plays." New Theatre Quarterly 32, no. 2 (April 13, 2016): 107–20. http://dx.doi.org/10.1017/s0266464x16000026.
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Direct and bloody violence has a long history on stage. In recent years, a different mode of violence can be distinguished in the work of prominent American playwrights – less direct than indirect, more covert than overt, and likely to affect a group rather than individuals. In this article Russell Vandenbroucke applies concepts from Norwegian sociologist and Peace Studies scholar Johan Galtung to examine structural and cultural violence in Suzan-Lori Parks's Father Comes Home from the Wars (Parts 1, 2, & 3) and traces similar representations of violence in Anna Deavere Smith's Fires in the Mirror, Tony Kushner's Angels in America, Lynn Nottage's Ruined, Ayad Aktar's Disgraced, The Laramie Project by Moisés Kauffman and the Tectonic Theater Project, and Tim Robbins's adaptation of Dead Man Walking by Sr Helen Prejean. These writers have in common the status of traditional outsiders – black, female, gay, Muslim – and this informs their engagement in the social and political vitality of the stage. The shift in focus of these plays from direct violence echoes observations in Steven Pinker's recent The Better Angels of Our Nature: Why Violence Has Declined. Russell Vandenbroucke is Professor of Theatre Arts at the University of Louisville and Director of its Peace, Justice, and Conflict Transformation programme. He previously served as Artistic Director of Chicago's Northlight Theatre. His publications include Truths the Hand Can Touch: the Theatre of Athol Fugard and numerous articles on South African theatre.
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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.
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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
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Bukina, E. Yu. "Network competitions as one of the forms of extracurricular activities." Informatics in school, no. 3 (May 14, 2020): 8–15. http://dx.doi.org/10.32517/2221-1993-2020-19-3-8-15.
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The article describes the organization and conduct of the distance contest "Networking wiseacres" on the theme "2019 — Year of the Theater in Russia". The competition is aimed at forming students' ideas about the theater and its importance in society, developing students' interest in information and communication technologies, encouraging students to use information technologies as an educational resource, and shaping and developing the students' information culture.
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Letin, Vyacheslav A., and Karina S. Visenya. "THEATER DISCOURSE IN A. P. LOSENKO’S PAINTING." World of Russian-speaking Countries 6, no. 4 (2020): 95–114. http://dx.doi.org/10.20323/2658-7866-2020-4-6-95-114.
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The article is devoted to the analysis of the representation of theatricality in painting by A. P. Losenko. On the example of his works, most closely related to stage art, the theatrical component of his creative method is revealed. The article analyzes two works by A. P. Losenko, directly related to the circle of the first Russian theaters: “Portrait of actor F. G. Volkov” and “Vladimir before Rogneda”, which are considered in the context of the theatrical discourse of European theater culture of the second half of the XVIII century as peculiar declarations of the artist about the personality of the artist and the mission of theater art in society. Almost all the historical paintings by A. P. Losenko are written in a tragic way with the characteristic color of the conflict, the characterization of the characters and the construction of mise-en-scenes. In particular, in “Vladimir...” the tragic conflict lies in the need for revenge on the hero to the insulter and a sense of love for her, which arose under the impression of her beauty. However, this situation is emphasized already in the spirit of the Enlightenment era with its cult of sensitivity. The conflict loses heroic-political acumen, and is transferred to the lyric-psychological register. The article concludes that the “theatricality” of Losenko's paintings is an important component of his creative method, that its principles are rooted in the historical and cultural context of the Enlightenment. In A. P. Losenko’s “theatrical” paintings, actual searches for both European and national art culture in the field of stage arts were reflected. And, in turn, his work influenced both the development of historical painting and the theatrical art of Russia of the late XVIII - early XIX centuries.
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Juvan, Marko. "From Political Theater in Yugoslav Socialism to Political Performance in Global Capitalism: The Case of Slovenian Mladinsko Theater." European Review 24, no. 1 (February 2016): 72–82. http://dx.doi.org/10.1017/s1062798715000459.
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Political theater is a trend that, during the avant-garde 1920s, emerged at the intersection of efforts to liberate artistic forms and oppressed groups in society. It was an influence on Slovenian theatrical artists at the Workers’ Stage (Delavski oder) already in the interwar period. A trend towards ‘political theater’, one of the tendencies of politicized performing arts in the period, flourished in Slovenia and other republics of the former Yugoslavia in the 1980s. Against the background of an identity crisis of the Yugoslav state and its ideology, political theater addressed great stories of History and the Revolution in a post-avant-garde manner. During the transition, political theater initially lost its edge but was reborn in the 21st century. As a post-dramatic practice associated with performance, it now parses its own politics. It is a forum for critiquing small, local stories that nonetheless evince the contradictions of a peripheral nation-state in the era of transnational late capitalism.
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Knapp, Bettina L., and Haiping Yan. "Theater & Society: An Anthology of Contemporary Chinese Drama." World Literature Today 74, no. 1 (2000): 237. http://dx.doi.org/10.2307/40155534.
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Steever, Sanford B., and R. S. Perinbanayagam. "The Karmic Theater: Self, Society and Astrology in Jaffna." Journal of the American Oriental Society 105, no. 1 (January 1985): 187. http://dx.doi.org/10.2307/601582.
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Pabel, Hilmar M., and J. A. Fernandez-Santamaria. "The Theater of Man: J. L. Vives on Society." Sixteenth Century Journal 30, no. 2 (1999): 487. http://dx.doi.org/10.2307/2544718.
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Fernandez-Santamaria, J. A. "The Theater of Man: J. L. Vives on Society." Transactions of the American Philosophical Society 88, no. 2 (1998): i. http://dx.doi.org/10.2307/1006630.
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Henderson, Jeffrey. "Theater and Society in the Classical World. Ruth Scodel." Classical Philology 90, no. 1 (January 1995): 77–82. http://dx.doi.org/10.1086/367446.
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Goldberg, Sander M. "Roman Theater and Society ed. by William J. Slater." Comparative Drama 31, no. 4 (1997): 589–92. http://dx.doi.org/10.1353/cdr.1997.0034.
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Suprajitno, Setefanus. "Teater Sebagai Media untuk Pengabdian Masyarakat." Jurnal Pengabdian kepada Masyarakat (Indonesian Journal of Community Engagement) 3, no. 1 (December 18, 2017): 96–107. http://dx.doi.org/10.22146/jpkm.25757.
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Theater is not just a performing art that has aesthetic function, as a phrase, art for art, reflects. It also has a connection with the social community outside the art world. In this paper, through the discipline of educational anthropology, I examine the use of theater as a medium for service-learning, a project I conducted in 2015-2016. In this project, students were asked to work together with members of community involved to write a script based on their experiences. This script is expected to reflect their understanding and interpretation on the social and cultural problems of the society where they lived. My analysis shows that theater as a medium for service-learning could give a valuable opportunity for students to foster their social responsibility and awareness. It also helps students understand the social problems of the society, and document their understanding through theatrical process. This results in developing the cultural agency of the students and members of community involved.
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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.
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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.
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Antochi, Carmen. "The Female Artist in Romanian Inter-War Theater." Review of Artistic Education 17, no. 1 (March 1, 2019): 189–95. http://dx.doi.org/10.2478/rae-2019-0020.
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Abstract In Romania at the beginning of the twentieth century women were concerned with the home environment. In an urban environment, however, there had been a re-alignment towards education, women from affluent families having an artistic preoccupation, with them being determined and epochal. Though loved and admired on the stage, the women who embraced an artistic career were not looked upon with total respect by the society as a whole, because they were straying away from ‘their calling’. The opening towards the occident had lit the flame in our womens hearts to reach equality in rights, to occupy a place in society and to fight a prejudice image.
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Baumgarten, Jean. "Ahuva Belkin. The Purimshpil, Studies in Jewish Folk Theater. Jerusalem: Bialik Institute, 2002. 287 pp. (Hebrew)." AJS Review 29, no. 2 (November 2005): 404–5. http://dx.doi.org/10.1017/s0364009405430172.
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In the Early Modern period, the Jewish people did not develop theater arts comparable to that of other cultures. One reason often given to explain this absence of theatrical tradition is the virulent denunciations of theater by the rabbis, who likened it to idolatry and heresy, and condemned it as being incompatible with monotheism. The biblical injunction (Ps.1:1): “Blessed is the man that sits not in the seat of the scornful” has often been cited as condemning the theater, interpreting the Hebrew word leẓim, not as mocking or impious, but as buffoon or jester, and by extension, actor. Ahuva Belkin attempts to explain this cultural fact while at the same time challenging the argument that Jews did not create any theatrical tradition. From the Middle Ages on, Ashkenazi society produced many forms of popular entertainment, the most accomplished of which was the Purim-shpil. Belkin's work, which makes use of the pioneering studies of Yiddish theater by B. Gorin, Y. Shatsky, I. Shipper, and Ch. Shmeruk, offers much new and original material.
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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.