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

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Portnova, Tatiana V. "Architecture of Antique Theaters as an Element of the World Cultural Landscape." Observatory of Culture 17, no. 3 (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 a

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2

Schechner, Richard. "Quo Vadis, Performance History?" Theatre Survey 45, no. 2 (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 continent

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3

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

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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 gl

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Zhumagazin, Zhanbolat. "Evolution of opera at early stages of development as a musical theater." Pedagogy and Psychology 42, no. 1 (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 be

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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 (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

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Volpp, Sophie. "The Literary Circulation of Actors in Seventeenth-Century China." Journal of Asian Studies 61, no. 3 (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 wer

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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 branch

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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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10

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 (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 spa

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11

Siry, Joseph M. "Chicago's Auditorium Building: Opera or Anarchism." Journal of the Society of Architectural Historians 57, no. 2 (1998): 128–59. http://dx.doi.org/10.2307/991376.

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Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multipl

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Bemis, Michael F. "Book Review: Conflict in Ancient Greece and Rome: The Definitive Political, Social, and Military Encyclopedia." Reference & User Services Quarterly 56, no. 3 (2017): 215. http://dx.doi.org/10.5860/rusq.56n3.215c.

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Classical civilization represents the foundation upon which rests all of modern-day Western society. The English language, in particular, is larded with allusions to the Greeks and Romans of yesteryear, from “Achilles’s heel” to “deus ex machina” to “Trojan Horse,” which make reference to the many influences that these cultures have had on our art, literature, theater, and, unfortunately, war and military (mis)adventures. For all these reasons, it behooves the modern reader to have at least a passing familiarity with what transpired all those thousands of years ago. The editors would appear to

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STEPHENSON, JOHN. "DINING AS SPECTACLE IN LATE ROMAN HOUSES." Bulletin of the Institute of Classical Studies 59, no. 1 (2016): 54–71. http://dx.doi.org/10.1111/j.2041-5370.2016.12019.x.

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Abstract The elements of visual culture preserved in late Roman houses confirm an intense interest in dramatic visual display. This study employs an interpretive lens of spectacle to examine a new form of banquet space amd furnishings in the period, as well as a new style of ‘dinner-theatre’ they served. By considering ancient art as inseparable from active contexts and ephemeral events, a more sophisticated understanding of a society's self-definition through art emerges. Rather than being epiphenomenal to the poliltical culture of late antiquity, spectacle is argued to be central to the crea

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Billing, Christian M. "Representations of Greek Tragedy in Ancient Pottery: a Theatrical Perspective." New Theatre Quarterly 24, no. 3 (2008): 229–45. http://dx.doi.org/10.1017/s0266464x08000298.

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In this article, Christian M. Billing considers the relationship between representations of mythic narratives found on ancient pottery (primarily found at sites relating to the Greek colonies of south Italy in the fourth century BC, but also to certain vases found in Attica) and the tragic theatre of the fifth century BC. The author argues against the current resurgence in critical accounts that seek to connect such ceramics directly to performance of tragedies by the major tragedians: Aeschylus, Sophocles, and Euripides. Using five significant examples of what he considers to be errors of met

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Bosher, †Kathryn. "Problems in Non-Athenian Drama: Some Questions about South Italy and Sicily." Ramus 42, no. 1-2 (2013): 89–103. http://dx.doi.org/10.1017/s0048671x00000084.

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As Martin Revermann forecast in 1999, the reception history of Greek drama has become ‘big business’ and, as the present volume demonstrates, we are indeed trying to move beyond the ‘Atheno-centric civic ideology approach to Greek drama, which has, fruitfully, been dominating our mode of thinking for quite some time now'. Nevertheless, like Revermann, I believe that work on the reciprocity between social context and theatre that Nothing to do with Dionysos? Athenian Drama in its Social Context (1990) so well exemplifies has been and continues to be an important approach to the field. Examining

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Phelan, Mark. "“Irish Nights”: Paratheatrical Performances of Melodrama on and off the Belfast Stage." Theatre Survey 59, no. 2 (2018): 143–68. http://dx.doi.org/10.1017/s0040557418000042.

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Until relatively recently, melodrama has been an unfairly maligned genre of theatre history; its pejorative associations based on the prejudiced assumptions that its aesthetics of excess (in terms of its extravagant emotion, sensationalism and popularity amongst predominantly working class audiences) meant, therefore, that it was for simpletons. What Walter Benjamin excoriated as the “ancient lament that the masses seek distraction whereas art demands concentration from the spectator” fuelled bourgeois disdain for this theatrical form and the derision of the Theatrical Inquisitor’s dismissal o

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Sulyak, S. G. "N.I. Nadezhdin and Carpathian Rus." Rusin, no. 61 (2020): 41–66. http://dx.doi.org/10.17223/18572685/61/4.

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Nikolai Ivanovich Nadezhdin (1804–1856), a Russian philologist, literary and theater critic, philosopher, journalist, editor, historian, archaeologist, ethnographer, art critic, and educator, was the son of a poor village priest. The surname Nadezhdin was given to him by the Ryazan archbishop Theophilact (Rusanov), who pinned great hopes on the boy. N.I. Nadezhdin made a significant contribution to the development of science in Russia. Back in 1834, he spoke of the need to study the Russian language in various fields, in addition to belles-lettres and theological literature. He defended the id

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Khalili Kolahian, Shiva. "An analytical study of the ritual ceremonies in Iranian performing arts, a case study of Travellers." CINEJ Cinema Journal 8, no. 2 (2020): 217–46. http://dx.doi.org/10.5195/cinej.2020.260.

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Rites and myths are important parts of the identity and the culture of every nation. Iranian rites and performing arts, as a part of Iranian art and culture, which has always got attention throughout history, can help us recognize ancient Iranian culture and history. Cinema, among other interactive arts, has sometimes been able to portray ritual arts well. Travellers movie, made by Bahram Beyzai, is one of the most prominent examples of the visualization of ritual arts in Iran, because the movie consists of three parts, like the three theaters, in which the rites are portrayed as the main stor

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19

Amin, Dina. "Bā Kathīr's Hārūt wa-Mārūt: Can the Qur'an Have an Alienating Effect?" Journal of Qur'anic Studies 16, no. 3 (2014): 157–73. http://dx.doi.org/10.3366/jqs.2014.0171.

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The relationship between religion and theatre is an ancient one; in fact this relationship has been the essence and raison d’être of theatre from ancient Egypt and Greece until the present day. However, in today's world, to borrow from, or be inspired by, a holy scripture is not only to debate issues pertaining to faith, but rather to aim for a dialectics between the dramatic work and the modern-day readers/spectators and their contemporary sociopolitical conditions. Indeed, it was his recourse to a Qur'anic story as plot for Ahl al-kahf (‘Sleepers of the Cave’, 1933) that helped Tawfīq al-Ḥak

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20

Sukhomlinova, T. P. "Choral creativity by Hanna Havrylets as a symbol of the togetherness of Ukraine (on the example of the musical and stage action “We will sow the Golden Stone”)." Aspects of Historical Musicology 17, no. 17 (2019): 44–59. http://dx.doi.org/10.34064/khnum2-17.03.

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In recent years, there has been an increasing interest in Ukrainian choral music of the modern generation of composers. Hanna Havrylets’ choral works are topical for performers and scholars. The musical and stage performance “We will sow the Golden Stone” is an example of embodiment the idea of united Ukraine, which was preserving its actuality during the all history of the country. Hanna Havrylets is an artistic figure, whose creative work unites Western and Eastern Ukraine. She was born in Galicia, studied and worked in the capital city. Her music reached Eastern Ukraine, where the artist’s

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Mir-Bagirzade, Farida. "ORIENTAL SYMBOLISM OF THE BALLET “SEVEN BEAUTIES” BASED ON THE POEM BY NIZAMI GANJAVI." Historical Search 1, no. 4 (2020): 197–201. http://dx.doi.org/10.47026/2712-9454-2020-1-4-197-201.

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The author explores creative interpretations of the work “Seven Beauties” written by a humanist poet Nizami Ganjavi (7th century) from the “Hamse” cycle. The poet was a genuine erudite, connoisseur of not only Koranic texts, history, ancient and Muslim philosophy, but astronomy as well. This article is an attempt to trace the oriental symbolism in the images of Ganjavi in one of the creative interpretations of the poem “Seven Beauties” through the prism of choreographic and scenographic art. The method of research is a semiological analysis, the object of study is the ballet “Seven Beauties”,

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Tyshchyk, V. "Programmability projections in “The Ancient Kiev Frescoes” by A. Stashevsky for the button accordion." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 33–49. http://dx.doi.org/10.34064/khnum1-55.03.

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The article explains the role of extra-musical factors in the creation of the compositions, caused by the action of the art synthesis as a cross-cutting theme of the composer’s creativity in the European tradition. In the academic art, this phenomenon has acquired the status of the program method, which to some extent has directed the listeners’ perceptions. The actualization of the present topic and its predetermined task is to determine the degree of the correlation of the semantics of a new composition to its artistic original, since it is precisely on the “artistic type translation” that b

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

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

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du S. Read, Leslie. "Social Space in Ancient Theatres." New Theatre Quarterly 9, no. 36 (1993): 316–28. http://dx.doi.org/10.1017/s0266464x00008228.

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How do modern archeological discoveries mesh with and affect present views of ancient theatrical techniques – specifically, of the interrelationship between performers and audience? Looking especially at the ways in which the audience itself was able to interact through the construction of the areas devoted to its own accommodation and circulation, Leslie du S. Read here blends narrative comment and photographic illustration to create a picture of the essential sociability of ancient theatre spaces – an aspect usually ignored by scholars primarily concerned with dramaturgical techniques. Lesli

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Elsner, Jas. "Ancient viewing and modern art history." Mètis. Anthropologie des mondes grecs anciens 13, no. 1 (1998): 417–37. http://dx.doi.org/10.3406/metis.1998.1091.

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Климбус Ірина Михайлівна. "ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ". World Science 3, № 8(48) (2019): 54–57. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6648.

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   Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his intere

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Fabbricotti, Emanuela. "Silphium in Ancient Art." Libyan Studies 24 (1993): 27–33. http://dx.doi.org/10.1017/s0263718900001941.

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AbstractSilphium is the source of Cyrene's wealth. It is possible that the first colonists who landed in Cyrenaica realized the many qualities of the plant and decided at once to take advantage of it. Maybe, the Minoans knew about it too, as Sir Arthur Evans found some inscribed tablets from Cnossos with symbols very like those represented on later Cyrenaican coins.Silphium is represented on coins possibly as the symbol of Cyrenaica and a branch of silphium is also shown held by a female divinity in clay statuettes. A rare coin shows a female figure sitting on a high stool, holding out her arm

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Milbrath, Susan, and Barbara A. Purdy. "Indian Art of Ancient Florida." Ethnohistory 45, no. 2 (1998): 376. http://dx.doi.org/10.2307/483070.

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REVERMANN, MARTIN. "The ‘Cleveland Medea’ Calyx Crater and the Iconography of Ancient Greek Theatre." Theatre Research International 30, no. 1 (2005): 3–18. http://dx.doi.org/10.1017/s0307883304000835.

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This article examines a spectacular example of Greek theatre-related vase iconography, the so-called ‘Cleveland Medea’, by studying the ways in which a painter appropriates iconography for his own narrative purposes. Of special interest are the interactions called for by the vessel from its prospective viewers in the symposium context. Throughout, the artefact is treated as an important document of the cultural history of Greek tragedy in the fourth century BCE.

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Keen, Benjamin, and George Kubler. "Esthetic Recognition of Ancient Amerindian Art." Ethnohistory 39, no. 4 (1992): 570. http://dx.doi.org/10.2307/482000.

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Solari, A. "Ancient Maya Art at Dumbarton Oaks." Ethnohistory 61, no. 1 (2014): 212–13. http://dx.doi.org/10.1215/00141801-2376213.

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Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.

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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ e

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Bryant-Bertail, Sarah. "The Trojan Women a Love Story: A Postmodern Semiotics of the Tragic." Theatre Research International 25, no. 1 (2000): 40–52. http://dx.doi.org/10.1017/s0307883300013948.

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Charles Mee, before turning to playwriting, authored several well-known political histories. To the last of these, from 1993, he gave the ironically portentous title of Playing God: Seven Fateful Moments When Great Men Met to Change the World. With this deconstructive final word after two decades as a historian, he did not in fact abandon history, but began to write it in the medium of theatre. In doing so Mee has come to share a view articulated by Roland Barthes, who was once a university student of theatre and actor in Greek tragedies: the view that theatre, and Greek tragedy in particular,

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Shemyakina, Sophia. "History of One Portrait." Bulletin of Baikal State University 29, no. 1 (2019): 32–38. http://dx.doi.org/10.17150/2500-2759.2019.29(1).32-38.

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Irkutsk Regional Art Museum exhibition opened in September 2018 commemorated the 90th anniversary of the birth of Boris Timofeevich Bychkov, Russian folk artist, corresponding member of Russian Art Academy, member of Irkutsk Regional Union of Artists and master of decorative glass. He had lived and worked in Irkutsk since 1962. A native of Moscow he graduated from Mukhina Leningard Higher Arts and Crafts College. For many years, he was an art director of Gusev glass manufacturing plant in Gus-Khrustalny. In 1962, he moved to Irkutsk and dedicated his whole life to Siberia. These are some of h

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Davis, Whitney, Anatoly I. Martynov, Demitri B. Shimkin, and Edith M. Shimkin. "The Ancient Art of Northern Asia." American Historical Review 97, no. 3 (1992): 907. http://dx.doi.org/10.2307/2164897.

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MacCormack, Sabine, and George Kubler. "Esthetic Recognition of Ancient Amerindian Art." American Historical Review 97, no. 2 (1992): 650. http://dx.doi.org/10.2307/2165919.

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Scott, John F., and George Kubler. "Esthetic Recognition of Ancient Amerindian Art." Hispanic American Historical Review 72, no. 1 (1992): 120. http://dx.doi.org/10.2307/2515962.

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Scott, John F. "Esthetic Recognition of Ancient Amerindian Art." Hispanic American Historical Review 72, no. 1 (1992): 120–21. http://dx.doi.org/10.1215/00182168-72.1.120.

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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 ar

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Onians, John. "War, Mathematics, and Art in Ancient Greece." History of the Human Sciences 2, no. 1 (1989): 39–62. http://dx.doi.org/10.1177/095269518900200103.

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Ley, Graham. "Theatre of Migration and the Search for a Multicultural Aesthetic: Twenty Years of Tara Arts." New Theatre Quarterly 13, no. 52 (1997): 349. http://dx.doi.org/10.1017/s0266464x00011477.

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This year sees the twentieth anniversary of the foremost British-Asian ‘company of identity’, Tara Arts, directed throughout that time by Jatinder Verma – a major interview with whom forms the core of this celebratory feature. This traces the history and evolving philosophy of the company, from its origins in outrage at a racist murder, through changing perceptions of how multicultural identity can best find its dramatic expression, to a discussion of Verma's own recent work for Contact Theatre and the National. Contributions from other leading participants in the company's work are complement

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Sellar, Tom. "Discussion, Dream, Art, People." Theater 50, no. 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 st

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Hall, Edith. "Medea and British Legislation Before The First World War." Greece and Rome 46, no. 1 (1999): 42–77. http://dx.doi.org/10.1017/s0017383500026097.

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Euripides' Medea has penetrated to parts of modernity most mythical figures have not reached. Since she first rolled off the printing presses half a millennium ago, she has inspired hundreds of performances, plays, paintings, and operas. Medea has murdered her way into a privileged place in the history of the imagination of the West, and can today command huge audiences in the commercial theatre. Yet in Britain, at least, her popularity on the stage is a relatively recent phenomenon. Medea has transcended history partly because she enacts a primal terror universal to human beings: that the mot

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Goyder, Joanna. "Scheduling Monuments: The Rose Theatre Case." International Journal of Cultural Property 1, no. 2 (1992): 353–58. http://dx.doi.org/10.1017/s0940739192000389.

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1 SummaryIn R v Secretary of State for the Environment ex parte Rose Theatre Trust Co [1990] 1 All ER 754, Schiemann J. held that no ordinary member of the public, nor even a very large number of members of the public who have joined together for that very purpose, has any standing to challenge a decision by the Secretary of State for the Environment not to schedule a site as a monument of national importance under Section 1(3) of the Ancient Monuments and Archaeological Areas Act 1979. Moreover, the Secretary of State may base the exercise of his discretion on a number of factors in addition

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Tankovska, Snejina. "Women in Bulgarian theater: A promise of preserving and promoting the tradition of theater as art." European Legacy 2, no. 1 (1997): 15–17. http://dx.doi.org/10.1080/10848779708579683.

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Platt, Verity. "The Matter of Classical Art History." Daedalus 145, no. 2 (2016): 69–78. http://dx.doi.org/10.1162/daed_a_00377.

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Though foundational to the study of art history, Greco-Roman visual culture is often sidelined by the modern, and overshadowed by its own cultural and intellectual reception. Recent scholarship, however, has meticulously unpacked the discipline's formative narratives, while building on archaeological and literary studies in order to locate its objects of analysis more precisely within the dynamic cultural frameworks that produced them, and that were in turn shaped by them. Focusing on a passage from Pliny the Elder's Natural History (arguably the urtext of classical art history), this paper ex

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Alexander, Karen. "A History of the Ancient Art Collection at The Art Institute of Chicago." Art Institute of Chicago Museum Studies 20, no. 1 (1994): 6. http://dx.doi.org/10.2307/4112948.

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Beaujon, Danielle. "“Purely Artistic”." Historical Reflections/Réflexions Historiques 46, no. 2 (2020): 89–109. http://dx.doi.org/10.3167/hrrh.2020.460206.

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Following World War II, French police surveillance in Algeria increasingly focused on the threat of Algerian nationalism and policing theater proved no exception. The police assiduously investigated the contents of plays and the background of performers, seeking to determine whether a performance could be considered “purely artistic.” In cracking down on theater, the police attempted to produce “pro-French” art that could influence Algerian loyalties, a cultural civilizing mission carried out by the unlikely figure of the beat cop. Ultimately, their mission failed. Live performances presented

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van Els, Paul, and Frank Witkam. "Schoolyard Soldiers: The Art of Adapting the Art of War." Journal of Chinese Military History 8, no. 2 (2019): 191–224. http://dx.doi.org/10.1163/22127453-12341346.

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Abstract The Art of War (or Sun Tzu) abounds with practical strategic and tactical advice which, while intended for use in warfare, can be applied to almost any professional or personal crisis or conflict. In recent decades this ancient Chinese military classic has been adapted for a variety of non-military purposes in fields as diverse as trade, law, sports, and love. Intrigued by the text’s seemingly limitless applicability, this article analyzes when, where, why, and how present-day adapters applied the ancient military text to modern non-military issues. The article also reflects on the va

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Goldberg, Sander M. "Plautus on the Palatine." Journal of Roman Studies 88 (November 1998): 1–20. http://dx.doi.org/10.2307/300802.

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It was probably in the agora at Athens and possibly in the seventieth Olympiad (i.e. 499–496 B.C.) that a wooden grandstand collapsed while a play by Pratinas was being performed. The Athenians responded quite sensibly to this disaster by moving their dramatic performances to the precinct of Dionysus Eleuthereus, where the audience could be more safely accommodated on the south slope of the acropolis. Or so it appears: no fact of this early period in ancient theatre history is ever entirely secure. By the time of Aeschylus, however, what we call the Theatre of Dionysus was certainly the place

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