Relevant bibliographies by topics / Theater artists

Contents

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

Academic literature on the topic 'Theater artists'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Theater artists"

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Gilula, Leah. "No Sabras in the Fields?" Israel Studies Review 36, no. 1 (March 1, 2021): 128–43. http://dx.doi.org/10.3167/isr.2021.360109.

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The Cameri Theatre of Tel Aviv has always presented itself as the first repertory theater in the Yishuv that represented the sabras, creating the impression that its actors and artists were themselves mainly sabras and Hebrew their native language. However, this image, based chiefly on the successful performance of the play He Walked through the Fields, does not reflect reality. The article questions the myth by exploring the actual number of sabra theater artists and actors in the troupe, their place and measure of influence. Exposing this image sheds light on The Cameri Theatre at its beginning as well as on the creation of the image of the sabra, as presented by the character of Uri, and embraced by Hebrew culture.
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Rant, Tjaša. "Russian artists in Slovenia after the October revolution." Russian-Slovenian relations in the twentieth century, no. IV (2018): 276–91. http://dx.doi.org/10.31168/2618-8562.2018.4.3.5.

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This article presents selected Russian artists in theater, opera and ballet, which have been working in Ljubljana Theater since 1920. In the article are presented Russian actors, dancers, singers, choreographers and teachers who brought to the Slovenian land two hundred years old traditions of Russian culture and contributed to the success of Slovenian theater, opera and ballet.
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Kaidi, Wang. "CULTURAL CONTACTS BETWEEN RUSSIA AND CHINA IN THE FIELD OF MUSIC AND DRAMA THEATER (50s of the XXth century)." Arts education and science 1, no. 2 (2021): 99–106. http://dx.doi.org/10.36871/hon.202102012.

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The article is devoted to the cultural cooperation between the USSR and the People's Republic of China in the field of musical theater. The Treaty of Friendship, Alliance and Mutual Assistance between these two countries, signed in Moscow on February 14, 1950, became a starting point in the development of cultural contacts. The most productive period was from 1949 to early 1960s. An important marker of the development of Soviet-Chinese cultural relations was the tour of theater troupes from both countries to the Soviet Union and the Celestial Empire. The Stanislavsky and Nemirovich-Danchenko Moscow Musical Theater team visited China in 1954, and later the artists of the Shaoxing Opera and the Shanghai Theater of Beijing Musical Drama demonstrated their art in Russian cities. The two countries' directors showed mutual interest in the classical opera art of their counterparts: in Beijing and Tianjin P. I. Tchaikovsky's "Eugene Onegin" and "The Queen of Spades" were performed by Chinese singers, while in Russian cities the traditional Chinese theatre plays "The Spilled Cup" and "The Grey-Haired Girl" were staged by Russian artists.
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Kopecký, Jiří, and Lenka Křupková. "The “Slavic spirit” and the opera scene in Olomouc, 1830–1920." Studia Musicologica 58, no. 3-4 (December 2017): 341–61. http://dx.doi.org/10.1556/6.2017.58.3-4.4.

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In 1830, a new theater building was opened in the Olomouc Upper square. The stable theatrical life enriched enormously the cultural life of the city and encouraged the development of publishing activities in the field of music journalism and publishing. The public debates on the artistic value of theater performances, on abilities of particular artists and on other subjects gained new quality after the 1860 October diploma because Czechs living in and around the traditional German town put pressure on theater directors and demanded Czech plays on the stage. The fights for the national repertoire on the stage of the Olomouc Provincial Theater are demonstrated in this essay in two contrary ways: at first, the introduction of Czech dramas into the German scene during the 1860s is discussed, then the intensive promotion of German operas during the 1880s and 1890s when internationally played Slavonic operas were performed in all theaters. The director Carl König (1862–1868) offered a contract to many artists who were able to speak both German and Czech, so he could open an independent subscription for the Czech public. The relatively tolerant atmosphere allowed König’s company to give performances in both languages and connect the Olomouc theatrical life to the Prague Provisional Theater. However, Czech nationalism was getting stronger during the 1870s and provoked competitive and unfriendly reactions on German side. The arguments for refusal of Smetana’s and Tchaikovsky’s operas by the directors of the Olomouc theaters are discussed on the basis of archival sources as well as articles published in contemporary periodicals.
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Pawlik, Sabina. "Personal and social dimensions of the theatrical activity of people with autism spectrum disorder – the case study of the ‘Authentic Artists’ theatre group." Edukacyjna Analiza Transakcyjna 9 (2020): 277–88. http://dx.doi.org/10.16926/eat.2020.09.17.

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The theater, in which the actors are people with autism spectrum, has not yet been researched extensively. Most of the texts consider the therapeutic contexts of theatrical activity performed by people with autism spectrum, or even interventions against them using theatrical techniques. In this article, the author looks for a different perspective on the phenomenon of theater activities performed by people with autism spectrum. The presented research was aimed at showing the activities of "Authentic Artists" theater in two dimensions: personal and social. The research method used was a qualitative study of an individual case, which was the theater group of people with autism spectrum "Authentic Artists" from Łódź. The research showed that theatrical activity can be a source of personal satisfaction and fulfillment for people with autism spectrum. The theater also turned out to be a place to establish relationships and make friends. It has been shown that the activity of "Authentic Artists" has also an emancipatory potential, being a space for searching for their own forms of identity and creativity.
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Riley, Ruth, Johanna Spiers, and Viv Gordon. "PreScribed (A Life Written for Me): A Theatrical Qualitative Research-Based Performance Script Informed by General Practitioners’ Experiences of Emotional Distress." International Journal of Qualitative Methods 20 (January 1, 2021): 160940692199918. http://dx.doi.org/10.1177/1609406921999188.

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This paper includes the script from a research-informed, theater-based production titled PreScribed (A Life Written for Me), which depicts the life of a distressed General Practitioner (GP) who is on the verge of breaking down and burning out. The authors provide context for the collaboration between artist and researchers and report on the creative methodological process involved in the co-production of the script, where research findings were imaginatively transformed into live theater. The researchers provide their reflections on the process and value of artistic collaboration and use of theater to disseminate research findings about emotions to wider audiences. It is concluded that qualitative researchers and artists can collaborate to co-create resonant and powerful pieces of work which communicate the emotions and experiences of research participants in ways that traditional academic dissemination methods cannot. The authors hope that sharing their experiences and this script as well as their reflections on the benefits of this approach may encourage researchers and artists to engage in this type of methodological collaboration in the future.
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Fernandez, Stephen. "“Ich Bin Ein Schauspieler”: Making Crip Performance in Toronto with Theater HORA’s Disabled Theater." Canadian Journal of Disability Studies 7, no. 3 (November 26, 2018): 1–30. http://dx.doi.org/10.15353/cjds.v7i3.449.

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This paper attends to the making of crip performance in the 2015 production of Disabled Theater in Toronto, where eleven performers with intellectual and physical disabilities took to the stage to perform a series of dance solos set to popular music. The performance was directed by the French choreographer Jérôme Bel and produced by the Zurich-based Theater HORA, a professional theatre company that is fully comprised of performers with disabilities. As an experienced choreographer, Bel is portrayed in the performance program as the “brains” behind Disabled Theater. It seems as though the performers were simply executing Bel’s artistic ideas through the embodied materiality of their dance performances. As such, the performers’ desire to be seen as proper artists exists amid the specter of an ableist ideology in “normative” culture that could potentially influence the audience members’ interpretation of their dance solos. Drawing on the work of Rosemarie Garland-Thomson, Carrie Sandahl, and Robert McRuer on the intersection of disability and performance, as well as the Italian dramaturge Eugenio Barba’s concept of the “pre-expressive state” of the actor’s body, I argue that the inclusion of persons with disabilities who confidently describe themselves as “actors” through the German phrase, “Ich Bin Ein Schauspieler”, unfolds the possibility of crip performance in Disabled Theater, which, unlike an ableist conception of performance, acknowledges disability as a reality that is constitutive of everyday life. Through crip performance, persons with disabilities do not need to downplay their disability in order to be publicly acknowledged as artists.
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Anufrieva, Natalya I., and Ekaterina V. Bulkina. "Specifics of Formation of Professional Skills of Musical Theater Artists in College." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 189–97. http://dx.doi.org/10.17922/2071-5323-2021-20-1-189-197.

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Every year in Russia there is a growing number of people who want to devote themselves to stage professions. Pop and academic singer, actor of musical and dramatic theater, ballet dancer – here is an incomplete list of specialties that can be obtained in educational institutions of culture and art. The main task of these educational institutions is the professional formation of future stage masters, the formation of competencies that allow students to carry out further acting activities. The basis for the preparation of the future artist is the formation of stage skills, since this complex concept includes the internal (psychological) and external (physical) data of the actor, the possession of the art of reincarnation in the process of creating a stage image, the possession of stage freedom. The professional training of a musical theater artist in college becomes a multifaceted process, where the combination of vocals, dance, acting is aimed at solving the dramatic problems of a musical performance. The purpose of the article is to theoretically justify and identify empirically the specifics of the formation of professional skills of musical theater artists in college.
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Iacobuţe, Ramona-Petronela. "The Theater And The Pandemic: The Theater In A Zoom Or Facebook Window." Theatrical Colloquia 10, no. 2 (December 1, 2020): 133–37. http://dx.doi.org/10.2478/tco-2020-0026.

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AbstractThe year 2020 is a difficult one for all of us: employees, employers, economic or cultural operators, event organizers, parents and children, artists and spectators. Nothing is as we knew it. The classroom, the performance hall, the office, all moved to our living room, and new technologies have shown us once again that we can no longer live without them in the 21st century, that they can save us in situations that at first sight have no solution. The emotion, the closeness, the direct contact from the rehearsals and from the performance hall have become a rarity for those who work in the artistic area, with the mass spread of a virus that does not take into account anyone’s needs. The artists were forced to bring on stage a mask that they would never have wanted there, the surgical one, and the theater to exceed new limits. Online rehearsals, in the heart of your own library, online premieres, live streaming and pay-per-view have all taken over a living art, an art that needs the here and now of the real, the physicality of real life. Screens are the new filters through which we sift our emotions. Distance art, technologymediated art, pseudo-appropriation are part of the new reality of those who creates and consume art. Surgical masks and visors become indispensable components when working on stage costumes and this can reduce emotion. But this is a challenge for artists like no other, their limits are tested, their creativity tried and their ability to adapt extremely demanded.
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Zimnica-Kuzioła, Emilia, and Ewelina Wejbert-Wąsiewicz. "Female directors of contemporary Polish theater and cinema (selected examples)." Acta Universitatis Lodziensis. Folia Sociologica, no. 71 (December 30, 2019): 121–37. http://dx.doi.org/10.18778/0208-600x.71.09.

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The issue of artistic careers is rarely tackled by Polish sociologists. The article is an analysis of the work of selected contemporary Polish female film and theater directors. The present study exploits secondary sources (monographs and scientific studies, press and internet publications, interviews with directors) and primary sources: interviews with creators of Polish drama theaters conducted as part of the authors’ own research. Women in Polish theater and film are slowly breakingthe glass ceiling and they are taking their rightful place in the pantheon of artists who have a lot to say about our difficult modern times. Polish directors are true individuals however they raise important social problems. Their creativity is not feminist. They have their own signature style and their sex is of secondary importance.
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Dissertations / Theses on the topic "Theater artists"

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Prior, Robert A. "The imperative education of theater artists." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527577.

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David Mamet's book of essays True and False: Heresy and Common Sense for the Actor boldly claims that formal training, particularly of the academic variety, is of no use to aspiring theater artists. This thesis argues for the importance and validity of such training. It is a defense of both formal training and ofStanislavski--the father of almost all contemporary training systems and a figure particularly irksome to Mamet. The thesis is supported by examples gleaned from my own formal education in theater and from insights gained directing student actors on my final project for my MFA, Kira Obelensky's play Lobster Alice.

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Koss, Juliet 1968. "Empathy abstracted : George Fuchs and the Munich Artists' Theater." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/8832.

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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.
Includes bibliographical references (v. 2, leaves 279-295).
Founded by the art critic Georg Fuchs and built by the architect Max Littmann in 1908, the Munich Artists' Theater is famous for its shallow "relief stage." Reworking the ideas of Friedrich Nietzsche and Richard Wagner in the service of the emerging mass audience, Fuchs advocated "the stage of the future," but created one embedded in its historical moment. Eliciting reactions from major figures in theater, architecture, and the visual arts, it provoked debate over the nature of spectatorship and crystallizes the complex relationship between empathy and abstraction, foundational concepts in modernist aesthetic discourse and artistic production. The relief stage embodied the modernist discourse of flatness; the performances it presented may be allied to the contemporaneous birth of abstraction in Munich. Evoking the newly popular film screen, it faced an amphitheatrical auditorium suitable for the emerging mass audience. The publication that year in Munich of Wilhelm Worringer's Abstraction and Empathy, which articulated the "urge to abstraction," a universal, visceral response to art, registered the spectator's changing status in aesthetic discourse. But Fuchs was inspired by the discussion of relief sculpture presented in 1893 by the sculptor and visual theorist Adolf von Hildebrand. Through Hildebrand, he absorbed the theory of empathy, developed in late nineteenth-century aesthetic philosophy, psychology, and visual theory to describe the spectator's experience as a form of active and embodied vision. Fuchs attempted both to create and serve the mass audience, but he relied on an outmoded aesthetic model while abstraction was brewing in Munich. Ignoring Worringer's displacement of theoretical allegiances from empathy to abstraction, he never linked the relief stage to the aesthetic theory being embraced by the Munich avant-garde. His political leanings were equally conservative; he valued theater's ability to mold a group of individual spectators into the unified audience that he considered necessary for the creation of a strong German state. The promotion and reception of the Artists' Theater in 1908 present a turning point between the solitary bourgeois viewer of the nineteenth century implied by empathy and the mass audience of the 1920s, often described in terms of abstraction, distraction, and estrangement.
by Juliet Koss.
Ph.D.
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Knight, Christina Anne. "Performing Passage: Contemporary Artists Stage the Slave Trade." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11178.

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My dissertation examines the work of George C. Wolfe, August Wilson, Lorna Simpson and Glenn Ligon, theater and visual artists working in the 1980s and 1990s who feature representations of the Middle Passage in their work. Despite their different mediums--Wolfe and Wilson created plays for the proscenium stage and Simpson and Ligon crafted art installations--all four critiqued the racialized social retrenchment of their historical moment by linking it to the slave trade, and each did so through an engagement with black performance traditions.
African and African American Studies
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Deal, Claire Elizabeth. "Collaborative theater of testimony performance as critical performance pedagogy implications for theater artists, community members, audiences, and performance studies scholars /." Fairfax, VA : George Mason University, 2008. http://hdl.handle.net/1920/3356.

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Thesis (Ph.D.)--George Mason University, 2008.
Vita: p. 244. Thesis director: Lorraine A. Brown. Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Cultural Studies. Title from PDF t.p. (viewed Jan. 11, 2009). Includes bibliographical references (p. 228-243). Also issued in print.
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Mohamed, Noorlinah. "At the nexus between theatre and education : a study of theatre artists' teaching practices." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57690/.

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In Singapore, there is an increasing presence of theatre artists as educators across varied sectors of the educational institutions. However despite their active engagement with education, research on what and how they do their teaching is limited. This thesis sets out to investigate the theatre artists’ teaching practices in education settings. The literature reviewed as part of this inquiry point to an identifiable system of pedagogy in the theatre artists’ teaching practices. As such, one of the key strands of this research is to identify and name what is distinctive about theatre artists’ teaching practices. But more than just identifying characteristics, I am interested in understanding if there is an overarching philosophy that guides these practices. To that end, I conceptualised a framework, which examines the theatre artists’ teaching practices as inhabiting a nested nexus of two distinguishably separate fields: Theatre and Education. Each with its own variegated influences and systems of knowledge and values that govern practices. Working with an overarching Bourdieusean theoretical framework, in particular habitus and field, as well as invoking Lyotard’s notion of differend, the study relies on interdisciplinary theories to aid explication of key concepts related to the study. The study also employs a melding of ethnographic case study and reflective practitioner as its methodology. Additionally, it works with “critiquing across difference” (Lather 2008) as a means to challenge and destabilise the reflective practitioner lens. This is achieved by structuring the research into two phases. Phase I involves researching in England. Working with four theatre artists, I examine how each assumes their position as educators in various education settings both within and beyond the school environment. The opportunity gained from this experience informed Phase II research in Singapore, the main focus of this inquiry. The findings suggest that to understand theatre artists’ teaching practices require an examination of contexts influencing their teaching acts. This includes their layered histories of both artistic and teaching experiences as well as the relationship they have with the school culture and the objectives and needs of their teaching projects. Additionally, in examining their teaching moments, the study discovers a pattern of doing the same approaches or strategies, differently. Working from the data, an overarching world view guiding the construction of their teaching practices is eventually proposed.
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Wong, Hoi-yan. "Centre for HK Cantonese Opera Artist's Association." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946687.

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Descoteaux, Jillian M. "Substance Use Patterns of Performing Artists: A Preliminary Study." Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1408643234.

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Miller, Jeffrey S. "Enter Stage Right| A Study of Marginalization Related to Conservative Theatre Artists and the Journey to Finding Their Voice Within the Greater Theatre Community." Thesis, Regent University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10784538.

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The issue of marginalization has acquired a position of important scrutiny over the past fifty years among Communication scholars. Two theories in particular deal with this issue in a theoretical and practical way: Muted Group Theory and Standpoint Theory. Muted Group Theory, based on the work of Kramarae (Foss, Foss, & Griffin, 1999), Ardener, and Ardener (1973, 1975, 1980, 2005), purports that the linguistic nature of the world lends itself to power structures in which the language and word choice of one group is able to dominate the voice of another. Standpoint Theory, popularized by the work of Harding and Hill Collins, and brought to greater working prominence within the communication field through Wood and Houston, essentially deals with “how the circumstances of an individual’s life affect how that individual understands and constructs a social world” (Littlejohn & Foss, 2011, p. 110). While these two theories are typically applied to causes generally considered to be championed by liberal ideologists, they are not without their crossover value within the realm of conservative causes. The thrust of this study is to take one such cause—the voice of the conservative theatre practitioner within the greater theatre industry—and examine it through the lens of these two theories to the end that the issue of marginalization and its effects on these practitioners may be understood and that such marginalization may be mediated through the use of practical and theory-based strategies.

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Calvert, Dave. "Performance, learning disability and the priority of the object : a study of dialectics, dynamism and performativity in the work of learning disabled artists." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/95588/.

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This submission draws together six publications and a covering document to set out an original contribution to knowledge in the field of learning disabled performance. Critical attention has been relatively scarce in this field, and the publications gathered here offer the only extended study of learning disability and performance that covers a range of artists across the artforms of theatre and music. Following an initial provocation which outlines the emergence of theatre and learning disability, the publications focus mostly on detailed studies of specific artists, exploring their aesthetic practice along with discursive and audience responses to their work. The article on Heavy Load considers how the integrated band, in its negotiation of punk’s anti-aesthetic, reappropriates the image of learning disability already inherent in the form. Two publications on Susan Boyle explore how her successful audition for Britain’s Got Talent contradicts medical and discursive attempts to contain learning disabled people, and also reveals the traditional place of learning disability in what Slavoj Žižek (following Jacques Lacan) calls the symbolic order. A chapter on Mind the Gap critically assesses the company’s various projects and explores the notion of the learning disabled actor. The final article on Back to Back theatre opens up post-Brechtian dialectics operating in key productions by the ensemble. The covering document sets out the core arguments that underpin my publications, forming a cohesive approach to reading learning disabled performance with significance for the social and aesthetic understanding of cognitive impairment. I contest a dominant approach that positions learning disabled people as non-performative and singularly non-dialectical. My original readings draw particularly on Theodor Adorno’s negative dialectics and I propose a specific dialectic of stasis and dynamism. In doing so, the combined research generates new possibilities for understanding such performance encounters beyond the historically sedimented constructions of learning disability.
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Erenrich, Susan J. "Rhythms of Rebellion: Artists Creating Dangerously for Social Change." Antioch University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1286560130.

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Books on the topic "Theater artists"

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Krejčí, Jaroslav. Divadelní jarmara Alfréda Radoka a Jana Grossmana: Plná fotografií Jaroslava Krejčího a jeho žáků : 8.-27. června 1999, Praha - Výstaviště, Průmyslový palác u příležitosti PQ 99 = Theatre cupboard of Alfréd Radok and Jan Grossman. [Praha]: Divadelní ústav, 2003.

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Krejčí, Jaroslav. Divadelní jarmara Alfréda Radoka a Jana Grossmana: Plná fotografií Jaroslava Krejčího a jeho žáků : 8.-27. června 1999, Praha - Výstaviště, Průmyslový palác u příležitosti PQ 99 = Theatre cupboard of Alfréd Radok and Jan Grossman. [Praha]: Divadelní ústav, 2003.

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Cutting performances: Collage events, feminist artists, and the American avant-garde. Ann Arbor: University of Michigan Press, 2009.

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1960-, Castellucci Romeo, Laporte Arnaud, and Rencontres européennes Aix-en-Provence, Arles, Avignon (2011), eds. Europe, le regard des artistes: Europe, the artists' view : rencontres européennes Aix-en-Provence, Arles, Avignon. Avignon, France: Éditions universitaires d'Avignon, 2012.

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Trivedī, Upendra. Upendra Trivedī, ātmakathana tathā anya ālekha. Amadāvāda: Gurjara Grantharatna Kāryālaya, 2009.

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Trivedī, Upendra. Upendra Trivedī, ātmakathana tathā anya ālekha. Amadāvāda: Gurjara Grantharatna Kāryālaya, 2009.

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Die Brüder Asam: Vom Leben im Theater der Kunst. Regensburg: F. Pustet, 2011.

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The theatre makers: How seven great artists shaped the modern theatre. Abergele, U.K: Studymates, 2007.

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Der kollektive Prozess des Theaters: Chorkörper, Probengemeinschaften, theatrale Kreativität. Bielefeld: Transcript, 2009.

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Vyāsa, Satīśa. Raṅga-goshṭhi: Nāṭyamulākāto. Mumbaī: Śubham Prakāśana, 2012.

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Book chapters on the topic "Theater artists"

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Pannewick, Friederike. "The Year 1979 as a Turning Point in Syrian Theatre: From Politicization to Critical Humanism." In Re-Configurations, 277–87. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-31160-5_18.

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Abstract This chapter investigates a crucial turning point in the writing of Syrian dramatist Saadallah Wannous (1941–1997) in the late 1970s. This internationally acclaimed author belonged to a generation of Arab intellectuals and artists whose political and artistic identities were strongly shaped by the question of Palestine. After the Camp David Accords of 1978 and the resulting Egypt-Israel peace treaty, signed in 1979, Wannous attempted suicide and stopped writing plays for more than ten years. This chapter shows how the plays he published after this self-imposed silence moved away from a didactic, political theater and towards psychological studies focusing on individuals as well as minority and gender issues. This chapter asks whether the significant aesthetic and conceptual turn in Wannous’s work from the early 1990s onwards might go beyond the concerns of a specific individual artist. To what extent does it mark a generational shift in regard to the meaning and connotations of political art?
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Wallert, James. "Newspaper theatre." In Citizen Artists, 138–43. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003079835-20.

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Wallert, James. "What is Epic Theatre?" In Citizen Artists, 31–35. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003079835-4.

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Hoesch, Benjamin. "1Young artists, international markets." In Theatre and Internationalization, 215–31. Abingdon, Oxon; New York: Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028406-17.

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Purkis, Charlotte. "The Other Gates: Anglo-American Influences on and from Dublin." In Cultural Convergence, 107–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_5.

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Abstract An important influence on the foundation of the Dublin Gate Theatre in 1928 was the London Gate Theatre Studio. This chapter offers a historiographical survey concerning how the range of connections between these theatres have been treated by theatre commentators up to the present. Alongside this re-examination is a discussion of two other theatres that were also inspired by the London Gate, but established independently by the two London co-directors, Peter Godfrey and Velona Pilcher. Godfrey revived the early programming from London in 1943 at his ‘transplanted’ theatre in Hollywood, which also connected Los Angeles emigré culture back to Ireland. In London, Pilcher worked with a group of women associates to found a ‘new Gate’, the Watergate Theatre Club in 1949, which, with its avant-garde artistic ethos, had a cultural impact on the post-war London scene similar to the achievements of the earlier Gate theatres.
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Ismat, Riad. "Modern Theatre in Tunisia." In Artists, Writers and The Arab Spring, 105–9. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02668-4_10.

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Minarti, Helly. "Artists versus the city." In The Routledge Companion to Theatre and Politics, 181–84. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge theatre and performance companions: Routledge, 2019. http://dx.doi.org/10.4324/9780203731055-45.

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Templeton, Fiona. "Authority, Authorship and Authoring in the Theatre of Mistakes." In Artists in the Archive, 204–10. Abingdon, Oxon; New York: Routledge,: Routledge, 2018. http://dx.doi.org/10.4324/9781315680972-19.

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Schneider, Rebecca. "History and the theatre artist." In Theatre & History, 21–41. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-45657-1_4.

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Chinoy, Helen Krich. "Lee Strasberg: Artist of the Theater." In The Group Theatre, 81–94. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137294609_6.

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Conference papers on the topic "Theater artists"

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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Li, Shu. "Artistic Synaesthesia and Cross-Border Theater Design: Taking Cirque du Soleil’s “KA” Show as an Example." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.064.

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SKVARCIANY, Viktorija, and Kristina ASTIKĖ. "THEORETICAL ASPECTS OF CULTURAL ECONOMICS CONCEPT." In International Scientific Conference „Contemporary Issues in Business, Management and Economics Engineering". Vilnius Gediminas Technical University, 2021. http://dx.doi.org/10.3846/cibmee.2021.626.

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Abstract. Purpose – the aim of the article is to present the concept of cultural economics upon analysing the scientific literature and to single out the factors that influence the development of cultural economics. Research methodology – analysis and synthesis of scientific literature. The articles published in CA WoS were analysed in order to extract high-quality information on the topic of cultural economics. Findings – after analysis of the scientific literature, the factors of cultural economics have been determined. They are as follows: creativity; new technologies; consumer society; public authorities; artistic forms; media, information, digitisation; local cultural identity; public sector approach to culture; theatre, cinema, museums, crafts; media, social networks; the needs for a consumer society and culture; public sector funding for culture. Research limitations – the main limitation of the current research is that the factors of cultural economics are distinguished from the scientific literature. For more precise identification, the experts should be interviewed as well. Practical implications – the distinguished factors could be used for measurement of the level of a country’s cultural economics level. Originality/Value – the article summarises
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Araripe, Celso, Eliane Hocayen de Paula, and Cla´udio Serricchio. "A New Approach to Work Safety Awareness for Pipeline Construction Workers." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64132.

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One of the greatest difficulties faced by Work Safety teams is keeping workers committed to and focused on safety practices in their day-to-day work. With time, the worker tends to become accustomed to the way safety information is fed to him and he becomes indifferent, allowing lapses that can result in incidents and/or accidents. In order to break the routine that provokes such lapses, PETROBRAS/ENGENHARIA/IEDT developed the HSE (Health, Safety and Environment) MOBILE project, using educational-and-artistic tools for training in the field; a much more enticing method than conventional presentations in training rooms. The dynamic approach includes 15-minute theater-and-video presentations at the worksite and conveys messages of awareness and prevention related to Health, Safety and Environment – HSE. The goal: encouraging workers’ attentiveness and commitment to safety practices. The HSE MOBILE project aims to prevent lapses of safety practices and to reduce the number of incidents and accidents through the use of HSE points considered priority for the construction of pipelines. An analysis of the performance record in HSE shows that the Mobile HSE project has two distinct benefits. It improves behavior and attitude in the field, by increasing the perception of risk and recognizing work safety. It also produces positive results in audits by reducing the number of accidents.
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Schrock, Peter J., M. Elisa McQueen, Kathryn J. De Laurentis, Merry L. Morris, and Rajiv V. Dubey. "Wheelchair Modification for Hands-Free Motion for Dancers With Disabilities." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-193178.

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Functional modifications to power and manual chairs are currently advancing in the areas of rehabilitation, sports and recreation and in the activities of daily living; however, these modification have yet to be directly applied in the field of performing arts. An assistive device was developed at the University of South Florida (USF) during collaboration between the Department of Mechanical Engineering and the School of Theatre and Dance. The project was initiated by Professor Merry Lynn Morris who identified a need for new conceptions of mobility; her work with dancers, with and without disabilities established the research framework in which choreographic vision could be supported with technological applications. Therefore, a device was designed to alleviate the constraints of current wheelchair designs which inhibit the user’s upper-body artistic movement range and capacity for interaction. The main purpose of the design was to create hands-free motion through the modification of a power wheelchair, which make it useful in the performing arts, but also as an assistive device for persons with disabilities. This device is in its first research phase of development as a prototype and is patent pending.
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St-Onge, David, Cle´ment Gosselin, and Nicolas Reeves. "Dynamic Modelling of a Cubic Flying Robot." In ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-28811.

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This paper presents preliminary results on the dynamic modelling of a cubic flying robot referred to as the Tryphon. Several Tryphons and other similar cubic flying robots have been built in the course of this project. They are used for artistic performances in museums, art galleries or theatres. Although the Tryphons are functional, they are difficult to control because of limited knowledge of their behaviour. Hence, the development of a dynamic model has the potential to significantly improve the control performances. Based on models found in the literature, the aerostatics, aerodynamics, gravity, buoyancy and inertial effects of the Tryphon are combined into a dynamic model in this paper. The parameters of the proposed model are adjusted based on experimental data obtained with the Tryphons. It is shown that a proper selection and optimization of the parameters can accurately predict the dynamics of the robot. Further extensions of the model are discussed and potential applications are proposed.
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Le Quoc, Hieu. "Intersemiotic Translation in Adaptation: The Case Study of the Adaptation of Narrative Poem The Tale of Kiều (Nguyễn Du) to Cải lương Film Kim Vân Kiều (Nguyễn Bạch Tuyết)." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-4.

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We are living in the age of adaptation. In contemporary art, the power of adaptation is evidenced by the fact that a textual semiotic system is continuously passing through the different genres and means to establish new texts. Adaptation is also an intercultural translation as each work adapted experiences a cultural shift so as to adapt to the target culture. Although The Tale of Kieu (Nguyen Du) made use of the plot of Kim Van Kieu, written as the pseudonym Qingxin Cairen (青心才人, Pure Heart Talented Man), in the Vietnamese artistic context, the tale can be considered as the “original text” that provides superabundant materials for other adaptations. The Tale of Kieu is one of the Nom poetries that has been most adapted to other art forms, particularly “cải lương” (reformed theatre). In this study, we analyze the case of video-cải lương Kim Van Kieu (directed by Nguyen Bach Tuyet), to determine modes of semiotic transposition from the narrative (narrative poem) to the performance/showing (video cải lương). This inter-semiotic translation process requires that the author adapts, selects, renounces, transforms as well as encodes/decodes, as semiotics, genre, and materials belonging to the verbal semiotic system to the nonverbal semiotic system, or vice versa. To concretize this, we analyze factors that were involved or omited during the adaptation of The Tale of Kieu to Kim Van Kieu.
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Reports on the topic "Theater artists"

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Borges, Vera, Pedro Costa, and Susana Graça. Artistic work and structural organization of theater groups in Lisbon area. Five empirical standpoints to inform public policies. DINÂMIA'CET-IUL, 2013. http://dx.doi.org/10.7749/dinamiacet-iul.wp.2013.02.

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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.
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