Relevant bibliographies by topics / Theater; Art history; Ancient history

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Theater; Art history; Ancient history'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Theater; Art history; Ancient history"

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Portnova, Tatiana V. "Architecture of Antique Theaters as an Element of the World Cultural Landscape." Observatory of Culture 17, no. 3 (August 6, 2020): 320–32. http://dx.doi.org/10.25281/2072-3156-2020-17-3-320-332.

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The article deals with the history of development of the antique theatrical architecture in the context of the environment that forms the territory acquiring the status of a cultural landscape. The material of antiquity is interpreted in the aspect of the formation evolution of theater buildings, ranging from ancient Greek to ancient Roman, which, despite being in ruins, amaze us with their large-scale and unspoiled architecture. The article attempts to systematize the valuable evidence of the past, material (theater architecture) and non-material (theater art), since the repertoire is alive as long as it is performed, and the theater architecture remains to posterity. There is considered their relationship in space and time. The study’s methods (descriptions of the phenomena under study, field observation, problem-historical analysis) made it possible to focus on the construction specifics of the theater buildings located in open spaces representing cultural landscapes — vast areas of co-creation of man and nature. Over the epochs, the theater architecture, designed for spectacular performances and connected with the environmental factor and acting art, was transforming, just as the theater itself was changing, sometimes within a single performance on a single stage. Fragments of the lost cultural experience are today open systems in associative, semantic, historical aspects, as well as in terms of objects reconstruction. They form an attractive and popular place that goes beyond the limits of urban planning conditions and has the property of an important public space. The composition of theater construction and the principles of shaping that formed in the ancient period had a great influence on their subsequent development and have been preserved in modern design solutions. In this context, the experience of interpreting the architectural monuments belonging to the theatrical art has a great cultural and educational value, not only in terms of reconstructing the lost stratum of cultural heritage, but also, to a greater extent, in modeling a new vision of the emerging architectural culture of the world.
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Schechner, Richard. "Quo Vadis, Performance History?" Theatre Survey 45, no. 2 (November 2004): 271–74. http://dx.doi.org/10.1017/s0040557404000249.

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Frankly, I'm not much of a historian. That is, the past interests me mostly as grist for my theoretical mill. I am not nostalgic. I don't often trek through ruins—whether of stone, paintings, videotape, paper, library stacks, or my own many notebooks. Of course, I've done the right thing when it comes to this kind of activity. I have climbed the pyramids at Teotihuacan and in Mayan country, sat on stone benches of the Theatre of Dionysus in Athens and in Epidaurus (where I was tormented by some really awful productions of ancient Greek dramas), and visited the theatre museums of four continents. On the art-history front, I've gazed at more paintings and sculptings than I can readily organize in memory. But my strongest meetings with “history” have been at the cusp of the past and present—living events always already changing as they are (re)performed. This has been the core of my “anthropology-meets-theatre” work whether among the Yaquis of Arizona, at the Ramlila of Ramnagar in India, in the highlands of Papua–New Guinea, at Off-Off Broadway in New York, in the interior of China, and at very many other events in a wide variety of places.
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Sagitova, Aisylu S. "The Worldview Sources of Bashkir Theater." ICONI, no. 1 (2019): 167–75. http://dx.doi.org/10.33779/2658-4824.2019.1.167-175.

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The art of the Bashkir people, similarly to the art of all the peoples of the world, emerged in very early historical times and has its unique roots, which lead us into those remote times when the Bashkirs worshiped pagan gods, and all of their life was that of service to natural elements. These were the times when the great epos “Ural-batyr” was created, which in many ways has conditioned the worldview and world-perception of the Bashkir people during the course of many centuries. Particularly in the epic character of this work and in its pure, unadulterated, direct pathos lies the key to the romantically elevated Bashkir performing art. Frequently even presently, in the technological age of all-pervading mercenary self-interest, cold rationality and unlimited irony in national theater, in some performances a special style of pronunciation of the text as a type of epic singing is preserved. In any of the productions carried out by the Bashkir State Mazhit Gafuri Academic Theater of Drama — whether it be national, Russian or Western European classics or relevant contemporary dramaturgy — it always has the sound of the unusual, original, elevated, melodic, poetical intonation of speech, characteristic only to the Bashkir language. This peculiar intonation is an integral part (ancient, mythological, and archetypical) of the Bashkir consciousness and its product — the Bashkir language, in its sound and melody reminding heroic chants: strict, measured, not restless, maybe, at times harsh and at the same time soft. The language is an invaluable repository of people’s ancient culture and history. The Bashkir art of theatrical performance, which aspires towards capacious relief forms, parabolic, profound plot-generating meanings and epic melodiousness, is in many ways determined particularly by its mythological world perception. The latter is genetically intrinsic to the Bashkir people and is perceived by them as “a genuine and maximally concrete reality”. The worldview sources and folklore traditions make it possible for the Bashkir people to preserve their face and, keeping up with the time, to orient themselves on folklore traditions as the measure of things and the reference point in the constantly changing contemporary world. Therein is contained the unique sense of motion and development of the Bashkir theater: to be con-temporary (in tune with the times), but to base itself on the timeless and the eternal.
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Demchenko, Alexander I. "Ancient World. (Depth of Times). Discoveries and Revelations." ICONI, no. 1 (2020): 6–23. http://dx.doi.org/10.33779/2658-4824.2020.1.006-023.

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The object of the proposed cycle of essays is that with a maximal compactness of presentment it presents a cumulative overview of the chief phenomena of world artistic culture, spanned in whole, both from the perspective of an overall historical process and in relation to the various arts (literature, the visual arts, architecture, music, theater and cinema). At the same time, it avoids the customary rubrication according to national schools and division into separate arts forms with the specifi cation of genre inherent to each one of them, which is in accord with the positive tendencies of globalization and provides an integral vision of artistic phenomena. A phased examination of the following periods of art history is foreseen: the Ancient World, Antiquity, the Middle Ages, the Renaissance, the Baroque period, the Enlightenment, Romanticism, the 1st Modern style, the 2nd Modern style, the 3rd Modern style, the Postmodern style, and as an afterword — “The Golden Age of Russian Artistic Culture.”
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Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater." Pedagogy and Psychology 42, no. 1 (March 30, 2020): 230–36. http://dx.doi.org/10.51889/2020-1.2077-6861.29.

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The opera originated in Italy. Researchers, right up to the exact date, say the time, when the first piece of music, called the opera today, was written. Nevertheless, the opera form has its own history, despite the fact that it was still a new art form at that time. The roots of this musical style go back to the musical everyday life of ancient Italian village entertainments, so-called «May» games, accompanied by songs and dramatic performances. Around the middle of the 13th century, in Umbria on the squares, people began to hold lauds, religious chants on the plots of gospel themes, which became in the next two centuries the basis for sacred performances (sacre rappresentazioni), a genre close to the mystery. In it, the music was also closely associated with the dramatic action. Thus, the opera, having arisen at the end of the 16th century as a kind of theatrical performance, accompanied by music, has its roots deep into the centuries of the Italian folk art. So, in the vocal class, it is necessary to acquaint students with the works of great composers, genres of musical art, theatrical productions and acting. At the same time, vocals, plastic, dance, acting – all this should be present in the future specialist at the highest professional level.
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Jolles, André, and Peter J. Schwartz. "Legend: From Einfache Formen (“Simple Forms”)." PMLA/Publications of the Modern Language Association of America 128, no. 3 (May 2013): 728–43. http://dx.doi.org/10.1632/pmla.2013.128.3.728.

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Who was andré Jolles? born in den helder in 1874; raised in amsterdam; in his youth a significant player in the literary Movement of the Nineties (Beweging van Negentig), whose organ was the Dutch cultural weekly De Kroniek; a close friend of Aby M. Warburg's and Johan Huizinga's—Jolles studied art history at Freiburg beginning in 1902 and then taught art history in Berlin, archaeology and cultural history in occupied Ghent during World War I, and Netherlandic and comparative literature at Leipzig from 1919 until shortly before his death, in 1946. A man of extraordinary intellectual range—his publications include essays on early Florentine painting, a dissertation on the aesthetics of Vitruvius, a habilitation thesis on Egyptian-Mycenaean ceremonial vessels, literary letters on ancient Greek art, and essays in German and Dutch on folklore, theater, dance, Boccaccio, Dante, Goethe, Zola, Ibsen, Strindberg, and Provençal and Renaissance Italian poetry—he was also an amateur playwright and an outspoken champion of modern trends in dramatic art and stage design. To his friends, he could be something of an intellectual midwife, helping Warburg to formulate what would become a signature notion, the “pathos formula,” and Huizinga to conceive The Waning of the Middle Ages (1919). Jolles's chief work, the one for which he is best known, is Einfache Formen (1930; “Simple Forms”), a collection of lectures he had delivered in German at Leipzig in 1927-28 and revised.
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Volpp, Sophie. "The Literary Circulation of Actors in Seventeenth-Century China." Journal of Asian Studies 61, no. 3 (August 2002): 949–84. http://dx.doi.org/10.2307/3096352.

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Actors were luxury goods traded among the elite in late Ming and early Qing China. Not only individual actors but entire troupes were sold, bestowed upon friends, and bequeathed upon relatives. Their circulation served to create and maintain networks of social exchange, in much the same manner as did gifts of fine ceramic ware, calligraphic scrolls, and ancient bronzes. The cultural prestige of the actor as a luxury good, in turn, was predicated on a highly refined discourse of connoisseurship. For example, the theater aficionado Pan Zhiheng's (1556–1622) disquisitions on the art of acting were collected in a volume entitledChongding xinshang pian(Recompiled texts on connoisseurship), published between 1600 and 1640 (Clunas 1991, 36). In this essay, I discuss the social significance of the connoisseurship of the actor, examining the exchange of actors and poems among a rarefied stratum of the mid-seventeenth-century elite.
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O'Sullivan, Patrick, and Judith Maitland. "Greek and Latin Teaching in Australian and New Zealand Universities: A 2005 Survey." Antichthon 41 (2007): 109–20. http://dx.doi.org/10.1017/s0066477400001787.

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The study of Latin and Ancient Greek at tertiary level is crucial for the survival of Classics within the university sector. And it is not too much to say that the serious study of Greco-Roman antiquity in most, if not all, areas is simply impossible without the ancient languages. They are essential not just for the broad cross-section of philological and literary studies in poetry and prose (ranging at least from Homer to the works of the Church Fathers to Byzantine Chroniclers) but also for ancient history and historiography, philosophy, art history and aesthetics, epigraphy, and many branches of archaeology. In many Classics departments in Australia, New Zealand and elsewhere, enrolments in non-language subjects such as myth, ancient theatre or epic, or history remain healthy and cater to a broad public interest in the ancient Greco-Roman world. This is, of course, to be lauded. But the status of the ancient languages, at least in terms of enrolments, may often seem precarious compared to the more overtly popular courses taught in translation. Given the centrality of the ancient languages to our discipline as a whole, it is worth keeping an eye on how they are faring to ensure their prosperity and longevity.
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Lawrence, William. "Advice to a student of Classics." Journal of Classics Teaching 18, no. 36 (2017): 15–16. http://dx.doi.org/10.1017/s2058631017000162.

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Look at the secondary school timetable and you will see that almost all the subjects are ancient Greek words; so the Greeks studied these ideas first and are worth studying for their ideas in their own language (just like the Romans in Latin!). Greek: Biology, Physics, Zoology, Philosophy, Mathematics, Economics, Politics, Music, Drama, Geography, History, Technology, Theatre Studies. Latin: Greek, Latin, Art, Science, Information (Latin) Technology (Greek), Computer Science, Media Studies.
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Johnson, Eugene J. "Jacopo Sansovino, Giacomo Torelli, and the Theatricality of the Piazzetta in Venice." Journal of the Society of Architectural Historians 59, no. 4 (December 1, 2000): 436–53. http://dx.doi.org/10.2307/991620.

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The architectural forms of Jacopo Sansovino's Libreria di San Marco in Venice, begun in 1537, have generally been interpreted in terms of a revival of the ancient Roman forum. Another way of looking at the building, suggested here, concentrates on its theatrical nature, both in terms of the typology of architectural forms and in terms of use. Sansovino's library completed the Piazzetta in Venice as a theatrical space, and it did so at the same time that the modern theater with boxes was first developed in Venice. The great seventeenth-century scene designer Giacomo Torelli in turn used the space completed by Sansovino as a set for the opera Bellerofonte, produced in Venice in 1642. In Torelli's scene, Venice is shown as a theater of justice.
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Dissertations / Theses on the topic "Theater; Art history; Ancient history"

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Harrison-Snyder, Jill Elizabeth. "Pink Lines and Yellow Tables: A Production of Charles L. Mee's BIG LOVE." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/208821.

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Theater
M.F.A.
A dramatic analysis and directorial reflection on Temple Theaters' production of Charles L. Mee's BIG LOVE, a modern rendering of Aeschylus' THE SUPPLIANT WOMEN. This thesis explores the entire process of directing the production, from research and text analysis, to visual collaboration and rendering, to casting and rehearsal, to tech and production. Ultimately, it is the author's intention to reveal a specific directorial perspective of BIG LOVE and the corresponding creative process utilized to render this interpretation.
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Burke, Devin Michael Paul. "Music, Magic, and Mechanics: The Living Statue in Ancien-Régime Spectacle." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1449258139.

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Woods, Douglas Ww. "The Floorshow: Origins of a Theatrical Art." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396890099.

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Sidamon-Eristoff, Constantine P. "The "Whys" of the Grand Cameo| A Holistic Approach to Understanding the Piece, its Origins and its Context." Thesis, Sotheby's Institute of Art - New York, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13423363.

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The Grand Cameo for France is the largest cameo surviving from antiquity. Scholars have debated who is portrayed on the stone and what its scene means for centuries, often, although not always, limiting their interpretations to this narrow area and typically only discussing other causes in passing. This pattern can and should be broken, allowing the stone to be what all objects truly are: windows to the lives that that objects have lived, just as all physical things are; evidence of an experience part of the world went though, whose meanings have and continue to be part of a wider network of object-meanings. The underlying purpose of this thesis is to use the Grand Cameo to prove this point. It does so by asking why the Grand Cameo came into being using Aristotle's four-part fragmented "Why" to widen this meaning broadly enough to expand the scope of what cause means from the vernacular use of the term to include material, formal, efficient and final causes. This allows for a sufficiently satisfactory exploration of many elements of the ancient world.

This thesis comprises an introduction, five chapters, and a conclusion. The first chapter discusses the material sardonyx itself, its possible origin points and how it would have been seen and used in its time in both the India and the west. It discusses the development of trade routes through the Indian ocean and Hellenistic and Egyptian ties to the east which were later taken over by Rome, as well as the Ptolemies, who they replaced. The second chapter discusses the relationship between Rome and Egypt, how their imagery and materials were usurped, and how this connects to the cameo, a medium that became Roman. Chapter three discusses Rome's absorption and reuse of Hellenistic kingdoms, their people and their culture to see how these influenced images of Roman Rulers in the transition from the Republic to the Julio-Claudians. The fourth chapter details the nature of Julio-Claudian power in Rome, the roles the family took over, and how they made themselves essential to the state, especially in how this relates to imagery from the Grand Cameo. Finally, the fifth chapter allows for the exploration of final cause by using a process of elimination based on living number of family members to establish a coherent narrative for the stone's scene, allowing an interpretation of message and intent. It seems most likely to be justifying the handing over of power to Emperor Claudius as intended by the heavens regardless of the plans of his relatives.

A roughly chronological understanding of this stone's role from being plucked from the ground to the imperial court is presented by assessing available material. The expansive nature of the question "Why?" allows for an explanation of the stone both broader and more satisfactory than the intentions of one emperor alone, however interesting. The Grand Cameo intersects with the highly international and interactive dynamics of the ancient world as well as specific elements therein which earlier interpretations do not allow for room to explore.

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Williams, Michael David. "The Classicism of Edgar Degas' Woman Bathing and its Affinities with Ancient Art." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392024217.

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Barry, Marie Porterfield. "Lesson 05: Ideal Beauty in the Ancient World." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/6.

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Dochniak, Craig Charles 1964. "Kingship festival iconography in the Egyptian Archaic Period." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/278001.

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The high degree of correlation existing between the subject matter visually depicted on Early Dynastic Egyptian objects and the year-names represented hieroglyphically on the Palermo Stone--an historical annal from the Fifth Dynasty--suggests that much Early Dynastic imagery was meant to serve as a dating device, a kind of pictorial year-name, based on the important event or events that occurred within the year. The selection of the historic events referred to in these year-names appears to be based on their compatibility with certain festivals associated with the king. These festivals express the theoretical model of kingship and therefore can be used to reconstruct the king's primary roles and responsibilities during the Early Dynastic Period. Such duties include the unification, protection and expansion of the king's realm--both Earthly and Cosmic; the insuring of the irrigation and fertility of the land; the foundation and dedication of important buildings and temples; and the reaffirmation and magical rejuvenation of his primeval powers as expressed in such festivals as the Sed.
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Babcock, Jennifer. "Anthropomorphized Animal Imagery on New Kingdom Ostraca and Papyri| Their Artistic and Social Significance." Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3635084.

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Because of the lack of provenance or accompanying text, the depictions of anthropomorphized animals on ancient Egyptian New Kingdom ostraca and papyri have long puzzled Egyptologists. Attempts to understand the ostraca usually focus on the role reversals where predatory animals serve their natural prey, which is evident in some of the motifs. Some scholars have suggested that these images are satirical and served as an outlet for mocking elite society. However, their social and cultural context, which has not been thoroughly explored until this dissertation, shows that it is unlikely that the images were considered to be negatively charged social satire. Rather, it is more likely that they were envisioned as humorous parodies of primarily elite imagery that were produced by individuals who considered themselves to be elite as well. "Anthropomorphized Animal Imagery on New Kingdom Ostraca and Papyri: Their Artistic and Social Significance" is also the first time the vignettes are given a full art historical treatment in which the formal qualities of the drawings are studied and evaluated. As a result, this dissertation addresses the aesthetic value of these drawings in ancient Egypt, which will be of interest to the discipline of art history on more general terms as well. Another section of this dissertation discusses the narrative potential of the papyri and ostraca on which these anthropomorphized images are drawn. Though the narrative qualities of these images have been discussed before, this dissertation addresses the broader concerns of visual narrative construction in ancient Egyptian art, which has thus far been given little scholarly attention. The figured ostraca and papyri on which these anthropomorphized animals are drawn show that visual narrative construction in ancient Egypt is not necessarily linear and sequential, but can also embody fluid, and more open-ended narrative constructions that is evident in not only the decorative programs of elite tombs, but in written ancient Egyptian literature as well.

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Davis, Anna. "Civitas: A Game-Based Approach to AP Art History." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3846.

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To increase student engagement as well as cover the content of Ancient Rome, the author developed a game named Civitas for an AP Art History course. The question driving this research project was, "Will incorporating a game into this Ancient Rome unit increase engagement without sacrificing the academic integrity of the class?" Research about engagement as well as others' success incorporating games into the classroom was examined to determine the benefits and difficulties. Much of the work for this unit came before any teaching occurred: designing all aspects of the game as well as carefully determining how it would contribute to measurable learning objectives. The researcher video recorded three AP History courses, with a total of 8 students, over a period of one week. Data collection measures used to determine engagement included a video-recording of the class, keeping a log of engaged behaviors, personal observations, and student free-response questions. Data collection measures to determine evidence of learning content about Ancient Rome included analysis of students' homework, discussions in the class, a multiple-choice test, and an essay test. Upon analysis, it was concluded that playing Civitas greatly increased engagement as well as contributed to the academic integrity of the unit. However, it also took twice as long to engage with the same subject matter, was expensive to produce, and many hours of preparation, which limits the ability to share this learning strategy with others.
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Barry, Marie Porterfield. "Lesson 04: Death and Mourning in the Prehistoric and Ancient World." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/5.

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This lesson covers death and mourning in the prehistoric and ancient world by discussing related art and architecture including, but not limited to, Varna Necropolis, The Flood Tablet / The Gilgamesh Tablet, Ziggurat in Uruk, Royal Tombs of Ur, Great Pyramids of Giza, Tomb of King Tutankhamun, and Book of the Dead of Hunefer.
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Books on the topic "Theater; Art history; Ancient history"

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1939-, Walton J. Michael, and J. Paul Getty Museum, eds. The art of ancient Greek theater. Los Angeles, Calif: J. Paul Getty Museum, 2010.

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Performance and drama in ancient Egypt. London: Duckworth, 2005.

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Actors and icons of the ancient theater. Chichester, U.K: Wiley-Blackwell, 2010.

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Sewell, Richard C. In the theatre of Dionysos: Democracy and tragedy in ancient Athens. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2007.

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Seneca: Oedipus. New York: Bloomsbury Academic, 2015.

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Petrone, Gianna. La parola agitata: Teatralità della retorica latina. Palermo: Flaccovio, 2004.

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The dramaturgy of Senecan tragedy. Ann Arbor: University of Michigan Press, 2012.

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Ancient Rome: Art, architecture & history. Los Angeles, Calif: J. Paul Getty Trust, 2002.

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Raphael, Elaine. Drawing history: Ancient Greece. New York: F. Watts, 1989.

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Raphael, Elaine. Drawing history: Ancient Rome. New York: F. Watts, 1990.

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Book chapters on the topic "Theater; Art history; Ancient history"

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Bonfante, Larissa. "HISTORICAL ART: ETRUSCAN AND EARLY ROMAN." In American Journal of Ancient History, edited by Ernst Badian, 136–62. Piscataway, NJ, USA: Gorgias Press, 2017. http://dx.doi.org/10.31826/9781463237400-003.

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Stager, Jennifer M. S. "The Materiality of Color in Ancient Mediterranean Art." In Essays in Global Color History, edited by Rachael B. Goldman, 97–120. Piscataway, NJ, USA: Gorgias Press, 2016. http://dx.doi.org/10.31826/9781463236632-010.

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Corcoran, Lorelei H. "The Color Blue as an ‘Animator’ in Ancient Egyptian Art." In Essays in Global Color History, edited by Rachael B. Goldman, 41–64. Piscataway, NJ, USA: Gorgias Press, 2016. http://dx.doi.org/10.31826/9781463236632-008.

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Unguru, Sabetai. "History of Ancient Mathematics: Some Reflections on the State of the Art." In Classics in the History of Greek Mathematics, 451–61. Dordrecht: Springer Netherlands, 2004. http://dx.doi.org/10.1007/978-1-4020-2640-9_25.

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Colledge, Malcolm A. R. "Art and architecture." In The Cambridge Ancient History, 966–83. Cambridge University Press, 2000. http://dx.doi.org/10.1017/chol9780521263351.035.

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Elsner, Jaś. "Art and architecture." In The Cambridge Ancient History, 736–61. Cambridge University Press, 1997. http://dx.doi.org/10.1017/chol9780521302005.026.

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Pollitt, J. J. "Art: Archaic to Classical." In The Cambridge Ancient History, 171–83. Cambridge University Press, 1992. http://dx.doi.org/10.1017/chol9780521233477.009.

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"A house divided: the study of Roman art and the art of." In Archaeology and Ancient History, 146–62. Routledge, 2004. http://dx.doi.org/10.4324/9780203643716-15.

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Pollitt, J. J. "Greek art: Classical to Hellenistic." In The Cambridge Ancient History, 647–60. Cambridge University Press, 1994. http://dx.doi.org/10.1017/chol9780521233484.025.

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Huskinson, Janet. "Art and architecture,a.d.193–337." In The Cambridge Ancient History, 672–703. Cambridge University Press, 2005. http://dx.doi.org/10.1017/chol9780521301992.027.

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Conference papers on the topic "Theater; Art history; Ancient history"

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Vellington, A. T. "The modern theater. Experiments on form and content." In Scientific Trends: Philology, Culturology, Art history. LJournal, 2019. http://dx.doi.org/10.18411/spc-26-03-2019-09.

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Majdanova, M. N. "On the problem of the stage implementation of content in the Russian director's theater beginning of XX century." In Scientific Trends: Philology, Culturology, Art history. LJournal, 2019. http://dx.doi.org/10.18411/spc-26-03-2019-11.

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Semenov, Igor Vitalievich. "Saratov - theater city." In V International Research-to-practice conference for pupils, chair Vera Alekseevna Pishkova. TSNS Interaktiv Plus, 2019. http://dx.doi.org/10.21661/r-486321.

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Abstract:
The article covers the history of the development of theatrical art in Saratov: from its origins to the present. The theaters of Saratov are listed, prominent theatrical figures are mentioned. Attention is drawn to the fact that the year 2019 is declared the Year of the Theater in Russia.
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Teng, Chengxiu, and Wanyu Guo. "Research on Ancient Chinese Literature History from Time Dimension to Spatial Dimension." In Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.55.

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Gruew, Georgi. "REFERENCES TO THE ANCIENT ART AND HISTORY IN THE PROPAGANDA POSTERS OF WORLD WAR I." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s23.011.

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Galeev, Timur. "Russian Titles in the Context of Russian Culture History of the title TZAR (king) and it s derivates in Old Slavic, Ancient Russian and modern Russian languages." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.104.

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You might also be interested in the extended bibliographies on the topic 'Theater; Art history; Ancient history' for particular source types:
Journal articles Dissertations / Theses Books
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