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Journal articles on the topic 'Theater artists'
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1
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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Babenko, Valeriia. "PREVENTION OF TRADITION, REGULARITY OF POSITIVE RECEIVES, DELL’ARTE CANONICAL CODE REVALUATION. COMMANDARY TRANSFORMATION OF COMMEDIA CIVILE RUSTICALE INTO COMMEDIA DELL’ARTE (ITALIAN DRAMATURGY)." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 63–69. http://dx.doi.org/10.28925/2412-2475.2019.1310.
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The author of the article studies the peculiarities of comedy dell’arte, regularities of its poetic techniques. Particular attention is drawn to the style and genre of the dramatic works. The masks of dell’arte (mainly zan), having gone from the notion of a dual creature that is on the verge of a funny and terrible, profane and sacred («spirits and ghosts» of the cult of the crops of fertility, devils of the mysterious action), to the mask types of comedy del arte and further - masks-characters in the work of Goldoni, at the turn of the 19–20 centuries, turned into a symbol of the ancient theater, theater-balagan, the theater is extremely conditional and play, emphasizing the concept of «theatrical theater» in art. Mask dell’arte as the unity of the actor and the character actually ceased to exist, but it was in the traditions of this theater and its characters found inspiration for directors, poets, artists at the turn of the century. The main artistic means of comedy dell’arte are analyzed. The conducted research shows that the main aesthetic principles of commedia dell’arte are reduced to the aesthetic system, which contains three essential elements: firstly, the theater is kept by a professional actor, who completely gives himself to the theater; secondly, the influence of the theater is stronger because of the synthesis of arts: plastic, music, dance and words; and thirdly, the soul of the performance is an action. The methods used in the paper are mixed: close reading, historical data processing, analyses of interdisciplinary resources (literary gerontology, social gerontology, theatre studies). The innovative solution lies in the application of interdisciplinary approach to close reading of drama texts. The results can be practical for classes of Italian literature and study of culture, theatre.
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Modreanu, Cristina. "Elements of Ethics and Aesthetics in New Romanian Theatre." New Theatre Quarterly 29, no. 4 (November 2013): 385–93. http://dx.doi.org/10.1017/s0266464x13000705.
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Young Romanian theatre artists are very concerned to address issues from the recent past and in using collaborative art to educational and therapeutic ends. The implications of the increased ethical consciousness in their work is addressed here by Cristina Modreanu, who focuses on the productions of directors Gianina Cӑrbunariu and David Schwartz. She analyzes the relationship between ethics and aesthetics in contemporary work against the backdrop of post-Communist Romanian society and in a global context, as well as the dynamics connecting the new wave of Romanian theatre to internationall tendencies in contemporary art, as observed by authors such as Jaques Rancière and Claire Bishop. Cristina Modreanu's doctorate on Romanian theatre after 1989 is from Bucharest University of Theatre and Film, and she has also developed the subject in lectures at Tel Aviv University and Plymouth University. A Fulbright alumna and former Visiting Scholar at New York University, Performance Studies Department, Modreanu currently lectures in Contemporary Performance at Bucharest University. Her publications include articles on Romanian and Eastern European theatre for journals such as Theater, Theater der Zeit, and Alternatives Théâtrales, and for the anthology Romania after 2000: Five New Plays, edited by Martin E. Segal.
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Inshakov, Alexander N. "Monumental Painting by Sergei Romanovich: Former and Unfulfilled." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 102–26. http://dx.doi.org/10.21638/spbu15.2021.107.
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The article is devoted to an important period in the life and work of the Moscow artist Sergei Romanovich (1894–1968), one of the most interesting young artists of the Russian pictorial avant-garde of the second half of the 1910s, a student and later friend of Mikhail Larionov. From the late 1930s to the mid-1950s, Romanovich was an employee of the Workshop of Monumental Painting at the Academy of Architecture of the USSR. Together with Lev Bruni and Vladimir Favorsky, he worked on the decoration of the Red Army Theater, participated in the development of projects and interior design of theater and exhibition spaces, new public buildings in Moscow and other cities of the country. Romanovich turned to monumental art largely forced, unable to seriously engage in easel painting and exhibit his work in the 1930s. The author of the article analyzed the main works performed by Romanovich in the field of monumental art. Special attention is paid to Romanovich’s interest in painting by outstanding masters of the Renaissance and modern times, which had a certain influence on his monumental works: among the most important artists are Raphael, Michelangelo, and Delacroix. The article also reveals the connections and mutual influences between the easel work and the monumental painting of Romanovich. In his work, there was also a “counter” influence: the artist’s interest in outstanding monuments of monumental art of the past influenced his search in the field of painting. The author demonstrates this influence by referring to an analysis of several famous works by Romanovich in the late 1940s. The most important place in the artist’s heritage is occupied by religious painting. In the conditions of the USSR of the 1940s–1950s, Romanovich could not depict and fulfill his talent as a muralist in religious art.
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Visakko, Tomi. "Becoming Artists: Collective Reflection of Personal Experience in Community Theater." Signs and Society 8, no. 3 (September 1, 2020): 369–400. http://dx.doi.org/10.1086/710155.
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Totah, Ruba, and Krystel Khoury. "Theater against Borders: ‘Miunikh–Damaskus’—A Case Study in Solidarity." Arts 7, no. 4 (November 27, 2018): 90. http://dx.doi.org/10.3390/arts7040090.
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In 2017, the City Theater of Munich engaged with a policy of diversity, and decided to include Syrian artists and create the Open Border Ensemble. A German and Syrian refugee and non-refugee cast produced the first performance, “Miunikh–Damaskus: Stories of one city” (May 2018). This mobile play aimed at minimizing stereotypes and deconstructing essentialist cultural identity prejudices. The paper examines how, in this case study, multilayered artistic strategies and relational dynamics came together to implement a ‘third space’. It addresses the challenges and implications of such theater endeavors regarding solidarity and the representation of the figure of the artists within the realm of the migration and refugee discourse.
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Goldstein, Tara. "The Bridge: The Political Possibilities of Intergenerational Verbatim Theater." Qualitative Inquiry 26, no. 7 (April 15, 2019): 833–39. http://dx.doi.org/10.1177/1077800419843947.
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This article introduces the reader to the work of Australian verbatim theater artists Donna Jackson, Bindi Cole Chocka, and James Henry. It describes the artists’ remount of Vicki Reynolds’s verbatim play The Bridge, which tells the story of the collapse of the Melbourne West Gate Bridge in 1970. I discuss the remount of the play as an intergenerational verbatim theater project which not only tells an important story from Australian working-class history to new audiences who haven’t heard it before, but also deepens the story through additional research and music. I also discuss the play as a project that uses political truths from the past to do new political work in the present.
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Z., Klymko, Proskuryakov O., and Kubai R. "COMPARISON OF CREATIVITY OF THE WORLD FAMOUS ARCHITECT AND SCENOGRAPHIST F. KIESLER AND SCENOGRAPHIST AND ARCHITECT E. LYSYK." Vìsnik Nacìonalʹnogo unìversitetu "Lʹvìvsʹka polìtehnìka". Serìâ Arhìtektura 2, no. 2 (November 2020): 91–96. http://dx.doi.org/10.23939/sa2020.02.091.
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The end of the XIX and XX centuries, among other things in architecture, design, scenography were marked by the unique work of two great artists - F. Kizler, born September 22, 1890 in Chernivtsi and E. Lysyk, born September 21, 1930 in the village. Cords near Brody. Their birth, life, creative heritage showed and proved that the era of the Great Artists of the universal type, who synthesized architects, painters, sculptors, decorators, the leader among whom was KF Schinkel, did not end there. Both Kizler and Lysyk showed that such creativity not only did not end, but thanks to their activity was reborn, developed and acquired their personal features. Starting his artistic career in theater with spiral, spatial, collapsible stages, "infinite" and "boundless" spherical theaters, F. Kizler designed and implemented a number of scenographic solutions for Karel Chapek's "Ruhr", "In the Garden in the Pasture" in M opera, New York, "No Way Out", "Soldier's Story", in which he used mechanical devices for scenographic solutions, elevators in the stage space, the idea of "plasticization", fountains. Later, F. Kizler put forward the idea of a theater-complex, which in addition to halls and stages, should be cinemas, television studios, radio stations, publishing houses, recording studios, exhibition spaces.
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Zimnica-Kuzioła, Emilia. "Acting Career and its Determinants in the Social World of Professional Theater in Poland." Konteksty Społeczne 8, no. 1 (November 20, 2020): 48–69. http://dx.doi.org/10.17951/ks.2020.8.1.48-69.
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The article is an attempt to answer the question about factors affecting the trajectory of an acting career. The author confronts the objective dimensions of a career with a subjective concept of success, clarified by the participants of the social world of theater themselves. The empirical basis of the work are free interviews conducted by the author with actors of Polish public drama theaters (in 2015–2017) and journalistic interviews with theater artists published in books and popular monthly magazines in the last two decades of the 21st century. All sources were subjected to qualitative content analysis. It shows that in addition to talent, which is the basis of an acting career, hard work is also important. The actors pay attention to personality aspects – charismatic people with a natural ability to attract attention have a greater chance of success. The cultural capital of the stage artist and social capital (the relevant role of linking artistic careers) are not without significance for the course of the acting career. Actors also say a lot about coincidence of events, but it is worth remembering that “you have to be good to be lucky”, you have to be more motivated and determined. The author also tries to answer questions whether awards actuate the course of acting career and whether migrations are an opportunity for creative progression.
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Rodriguez, Estela. "Scenic Spaces in the Diaspora: Theater from Immigrant Artists in Barcelona." International Journal of the Arts in Society: Annual Review 2, no. 1 (2007): 1–6. http://dx.doi.org/10.18848/1833-1866/cgp/v02i01/35326.
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Guenther, Peter W., and Gunter Berghaus. "Theater and Film in Exile: German Artists in Britain, 1933-1945." German Studies Review 13, no. 3 (October 1990): 563. http://dx.doi.org/10.2307/1430803.
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Jackson, Shannon. "The Way We Perform Now." Dance Research Journal 46, no. 3 (December 2014): 53–61. http://dx.doi.org/10.1017/s0149767714000059.
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This piece is adapted from a lecture delivered in the “Performing Institutions” series curated by Artists Space with the 2012 Whitney Biennial. The event also included David Velasco of Artforum as well as Sarah Michelson, who had just become the first choreographer to win the Bucksbaum Award for the best work presented at the Whitney Biennial. Artists Space represented the Performing Institutions series in the following terms: “Taking as its starting point the 2012 Whitney Biennial's allocation of the fourth floor Emily Fischer Landau Galleries as a performance space for music, dance, theater, and participatory programming, this series of talks consider the status of performance and ‘virtuosity’ within the parameters of an institutional public sphere. Does this turn toward ‘activity without end product’ potentially shift entrenched relations between institution and artist, artwork and viewer, or reinforce a contemporary experience of totalizing social production?”
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Portnova, Tatiana V. "The genre of ballet portrait in the historical and cultural heritage of artists "Art World"." Revista de la Universidad del Zulia 11, no. 31 (October 1, 2020): 261–70. http://dx.doi.org/10.46925//rdluz.31.17.
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The author focuses on the features of the artistic embodiment of the actor’s images, based on the creative concept and aesthetic vision of a particular artist, a member of the Creative Union of the World of Art. The article reveals the innovative use of the retrospection technique in their work, highlights the main elements of genre modification. The study is based on the material of individual groups of images belonging to different artists, but formed according to a similar typology, thus, the urgent need for a closer and more versatile view of the theater portrait as one of the key forms in the genre system of the period under consideration becomes obvious. A system analysis of the genre is used, studying the set of artistic tools that artists use to most adequately implement their ideas. An analysis of the main components of the artistic structure reveals the genre features of the ballet portrait as an important vector of the individual search for artists of the “World of Art” association.
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Slater, W. J. "Pantomime Riots." Classical Antiquity 13, no. 1 (April 1, 1994): 120–44. http://dx.doi.org/10.2307/25011007.
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It is argued that there is no simple or single reason for the riots caused by pantomimes in early imperial Rome, and especially in 14 and 15 A.D. Theatrical passion has been suggested as the main cause, but other factors must be considered: the meaning of the theater as a symbol of order, the peculiar importance of the equestrian order in the architecture of the theater; the position of the main Roman theaters in their relation to the exercise grounds of the iuvenes; the complex relationships of the equestrian iuvenes with the pantomime artists. It is pointed out that it is not always easy to define a pantomime, or to know the nature of the program; but competition was certainly involved. It is argued that the policies of Tiberius toward the theater and the iuvenes were particularly productive of discontent, which led to repeated legislation to control it. The role of Drusus is probably crucial. A central role is also played by the theater claques, and the acclamations of the equestrians, the theater being their principal venue. Various connections between the equestrian iuvenes and the theater are considered. One key is the physical training of Roman youth, which had become affected by Greek concepts of gymnasium dancing, perhaps under the influence of rhetoric. This in turn made it possible for young Romans to develop quasi-pantomime skills, which they could demonstrate in their iuvenalia. Second, it is suggested that the Baths of Agrippa and their decoration can be seen as an indication of such a change in official policy, and their position next to the theaters is stressed. Third, the personal relations between pantomimes and the nobility is documented, and the importance of the private stage in Rome. Finally, the legislation of the Tabula Larinas is considered, as it affected nobles on the stage or in the arena, and other legal implications of this conflict between the senate and the youth are sketched.
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Damrhung, Pornrat. "Cultivating the Garden of Theater Culture: A New Perspective on Traditional Theater in Thailand." MANUSYA 2, no. 2 (1999): 29–60. http://dx.doi.org/10.1163/26659077-00202003.
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After questioning the conventional distinction between traditional and modem theater in Asia, this essay suggests that it may be more fruitful to view today’s live theater traditions as part of a garden of theater culture that includes both native and imported elements and both deep-rooted and recently transplanted traditions. The remainder of the essay amplifies this perspective using examples from Thailand’s theater traditions during the last century and a half. This prepares the way to consider the strengths and weaknesses of traditional theater staged in Thailand during the last decade or so, whether centered on juxtaposing various artistic forms onstage or performing artistic reinterpretations of traditional stories. In seeking to strengthen these approaches for future performances, the author suggests the need for pooling the discipline and creativity performers have in order to fashion patterns of artistic expression that convey significance both among artists and to their audiences.
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Thorpe, Richard G. "The Academic Theaters and the Fate of Soviet Artistic Pluralism, 1919-1928." Slavic Review 51, no. 3 (1992): 389–410. http://dx.doi.org/10.2307/2500051.
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While many studies of the early Soviet theater have focused upon its proletarian or revolutionary stages, in the polemics of that era a central topic of dispute was the so-called academic stage. The academic theaters of Moscow and Petrograd, which included the former imperial theaters as well as select representatives of the pre-revolutionary private stage, most notably the Arts and Kamernyi theaters, had no lack of critics or enemies in the years after October. The former court theaters were attacked as politically dangerous relics of the old regime, their artists were envied for their material privileges and status, their large budgets were coveted by less generously funded workers' and avant-garde stages, their art was condemned as conservative and out of harmony with the revolution and socialism. For Commissar of Education Anatolii Lunacharskii, however, these theaters were academies which would both preserve the best of the pre-revolutionary cultural heritage and provide standards of technical excellence against which more innovative theaters could be measured.
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Fowler, Mayhill C. "What Was Soviet and Ukrainian About Soviet Ukrainian Culture? Mykola Kulish’sMyna Mazailoon the Soviet Stage." Nationalities Papers 47, no. 3 (May 2019): 355–65. http://dx.doi.org/10.1017/nps.2019.12.
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AbstractIn the Soviet Union theatre was an arena for cultural transformation. This article focuses on theatre director Les Kurbas’ 1929 production of playwright Mykola Kulish’sMyna Mazailo, a dark comedy about Ukrainianization, to show the construction of “Soviet Ukrainian” culture. While the Ukrainian and the Soviet are often considered in opposition, this article takes the culture of the Ukrainian Soviet Socialist Republic seriously as a category. Well before Stalin’s infamous adage “national in form and socialist in content,” artists like Kulish and Kurbas were engaged in making art that was not “Ukrainian” in a generic Soviet mold, or “Soviet” art in a generic “Ukrainian” mold, but rather art of an entirely new category: Soviet Ukrainian. Far from a mere mouthpiece for state propaganda, early Soviet theatre offered a space for creating new values, social hierarchies, and worldviews. More broadly, this article argues that Soviet nationality policy was not only imposed from above, but also worked out on the stages of the republic by artists, officials, and audiences alike. Tracing productions ofMyna Mazailointo the post-Soviet period, moreover, reveals a lingering ambiguity over the content of culture in contemporary Ukraine. The state may no longer sponsor cultural construction, but theater remains a space of cultural contestation.
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Zlotnikova, Tanjana S., and Svetlana V. Girshon. "Amateur theaters: soviet past and current practices." Yaroslavl Pedagogical Bulletin 1, no. 118 (2021): 202–9. http://dx.doi.org/10.20323/1813-145x-2021-1-118-202-209.
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This work offers an overview of sources devoted to amateur theater as a socio-cultural phenomenon that existed on the territory of the Soviet state and in post-Soviet Russia. Since amateur theater as a socio-cultural phenomenon has a complex nature, it is advisable to apply an interdisciplinary approach to the study of its activities. The activities of amateur theaters are considered in historical, cultural and sociocultural contexts. The authors consider the sociological, pedagogical, organizational aspects of the activities of amateur theaters, as well as their contribution to the culturalpractices of the regions. Throughout the existence of the Soviet state, amateur theaters were considered as means of propaganda and education of amateur artists and their audiences in the spirit of Soviet ideology. Unlike professional theaters, amateur groups in the 60s instantly reacted to a change in ideological paradigms, asked sharp, uncomfortable questions, and reflected an active civic position. The thaw period was marked by the creative heyday of amateur studio theaters, which ended in clashes with Soviet censorship. In the 90s, after the Soviet dissolution and the abolition of the leading role of the CPSU in the life of the state, amateur groups entered the period of experiments both organizationally and aesthetically. A certain boundary of this period was the professionalization of some amateur groups and the cessation of the activities of others. The authors consider the cultural practices of amateur theaters since the 2000s, when the process of transferring part of amateur groups from departmental subordination to municipal was completed. Attention is also given to the conditions for the existence of amateur theaters in the Yaroslavl region nowadays. Amateur theaters position themselves mainly as a way of organizing active creative leisure of the adult population. The pedagogical component in their activities has an insignificant part, the repertoire is entertaining in nature. In the presence of two or three groups known outside the region, the main part of amateur theaters in the Yaroslavl region carry out a cultural and educational function in small settlements where there is no professional theater
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Mircioagă, Ion. "Performing Arts And Limitation As A Motive." Theatrical Colloquia 10, no. 2 (December 1, 2020): 7–18. http://dx.doi.org/10.2478/tco-2020-0017.
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AbstractTwo categories of limitations are identified in the performing arts: physical, on the one hand, and those related to the intellectual and emotional predispositions of artists, on the other. Physical boundaries, in turn, are divided into material barriers - for example, the type of performing space and its dimensions - and the constraints generated by the anatomy and morphology of each artist. The experience had at the Vasile Alecsandri National Theater, in Iaşi, is evoked, while insisting on the importance of the actors’ abilities to go through the different states of mind that accompany various ages of man. The discussion of limitations involves the discussion of the new. The contribution of new stage technologies to the evolution of theater is recorded. It is briefly described, in context, the experience facilitated by the show Planet of Lost Dreams, in order to advocate for the avoidance of the unwarranted use of means such as video projections, the Internet, etc. The challenges posed by the mix of 3D and 2D images are noted. The view is advanced that the total absence of limitations, as well as their formal treatment can block the development of the theater.
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Tanner-Kennedy, Dana. "Gertrude Stein and the Metaphysical Avant-Garde." Religions 11, no. 4 (March 25, 2020): 152. http://dx.doi.org/10.3390/rel11040152.
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When American metaphysical religion appears onstage, it most often manifests in the subject matter and dramaturgies of experimental theater. In the artistic ferment of the 1960s and 1970s counterculture, theater-makers looked both to alternative dramaturgies and alternative religions to create radical works of political, social, and spiritual transformation. While the ritual experiments of European avant-garde artists like Artaud and Grotowski informed their work, American theater-makers also found inspiration in the dramas of Gertrude Stein, and many of these companies (the Living Theatre and the Wooster Group, most notably) either staged her work or claimed a direct influence (like Richard Foreman). Stein herself, though not a practitioner of metaphysical religion, spent formative years in Cambridge, Massachusetts, at Radcliffe under the tutelage of William James. Cambridge, at the turn of the twentieth century, was a hotbed of spiritualism, theosophy, alternative healing modalities, and James, in addition to running the psychology lab in which Stein studied, ran a multitude of investigations on extrasensory and paranormal phenomena. This article traces a web of associations connecting Ralph Waldo Emerson, Transcendentalism, and liberal Protestantism to Gertrude Stein and landscape dramaturgy to the midcentury avant-garde, the countercultural religious seeking of the 1960s and 1970s, and the Off-Off-Broadway movement.
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Novianto, Wahyu. "PETA TEORITIK PENGKAJIAN TEATER: DARI TEORI STRUKTURALIS SAMPAI POSTRUKTURALIS." Acintya Jurnal Penelitian Seni Budaya 11, no. 2 (March 13, 2020): 129–38. http://dx.doi.org/10.33153/acy.v11i2.2755.
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AbstractThis article tries to map out the structuralist and poststructuralist theories as the basis of theater studies. So far, the studies of theater performed by theater academics have always been based on structuralist views; examining aspects of form, meaning, style and exclude the human aspects as forming agents of the structure. Structuralist view is antihumanist. It says that the sign has meaning when it is associated with other signs in a systematic unity of structure and not from its relation to the individu (artists). According to poststructuralist view, it is very possible to do a cultural study of theatrical text by looking at the interrelationship between one text and another outside, including social, cultural, literary, political, and other texts that are present randomly and overlapping (juxtaposition). Therefore, this theoretical mapping needs to be done in order to enrich the theater academics to conduct theater performances studies.Keywords: studies, theoretical map, structuralist, poststructuralist
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Cesário, Giovanna Zamith. "AYMOND, UM RUIDOSO SUCESSO: A TRAJETÓRIA DO TRAVESTIDO ARGENTINO NO TEATRO DE REVISTA BRASILEIRO." Arteriais - Revista do Programa de Pós-Gradução em Artes 5, no. 9 (February 16, 2021): 143. http://dx.doi.org/10.18542/arteriais.v5i9.9822.
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ResumoTeatros fervilhavam de mentes e olhares curiosos, artistas dos mais variados tipos estrelavam na ribalta. A todo momento novas peças surgiam, companhias iam e chegavam no país. Essa era a atmosfera do teatro de revista nas décadas de 20 e 30 do século XX. E será em meio a esse cenário que Aymond, “o garganta de ouro”, se tornaria um artista respeitado pelos companheiros, admirado pelo público, cobiçado pelos empresários, e sobretudo, um sopro de novidade na disputa com o crescente cinema. Através de críticas, crônicas e propagandas de jornais, esse artigo convida o leitor a conhecer a trajetória do argentino Norberto Américo Aymonino.AbstractTheaters bursted with curious minds and eyes, the most colorful and varied sort of artists lighted up the limelight. At all times new plays came out and theater companies were in and out of the country. Such was the firing atmosphere of the theatrical revue of the 20’s and 30’s XX century. Amongst this scenary would Aymond, the “garganta de ouro”, become a well respected artist in his circle, admired by the audiences, coveted by managers, ad most of all, a new breathe in the rising competition with the movies industry. From newspapers’ reviews, chronicles and advertising, the present article invites the readers to know the trajectory of the Argentinian Norberto Américo Aymonino.
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Nelson, John. "Opposing Official Nationality." Experiment 25, no. 1 (September 30, 2019): 115–29. http://dx.doi.org/10.1163/2211730x-12341333.
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Abstract It was political turmoil in Russia that brought Savva Mamontov and his Abramtsevo circle together with Nikolai Rimsky-Korsakov. The composer questioned whether the “Official Nationality” decree of Tsar Nicholas I, with its emphasis on autocracy, Orthodoxy, and nationality—which together asserted despotic rule—truly represented the values of a changing Russian society. In addition, his operas found little favor within the Imperial theater directorate. This changed, however, when the Imperial theater monopoly was abolished, allowing private theaters to operate freely. Mamontov opened his Private Opera in 1885 at Abramtsevo and in 1895 in Moscow. His aim was to demonstrate that a private opera house could compete with the Imperial theaters, in addition to giving Moscow the opportunity to see Russian-themed operas. It was Mamontov’s new approach to stage direction, including the incorporation of fine artists in the creative process, that attracted the composer. Harassment by the Tsar, the bureaucracy of the Imperial theaters, and the western-orientated repertoire committee, had all alienated the composer. Mamontov’s dedication to filling a gap in the Russian music world, as well as his challenge to the Imperial theaters, caught Rimsky-Korsakov’s attention. Through their collaboration they questioned the bureaucracy and publicly registered their protest against Nicholas II. Together, they challenged the foundations of the “Official Nationality” doctrine propounded by the tsars since the rule of Nicholas I, which in a changing Russian society had acquired a new meaning.
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Odazhiev, Petar. "An Innovative Form of Access to the Cultural Heritage of Musical Theatre: A Perspective from Bulgaria." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 178–92. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_013.
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Providing as an example the Virtual Museum of Bulgarian Musical Theatre, institutionalized as an independent and constantly evolving Internet platform at the Museum of the Bulgarian Musical Theater (MBMT), this study represents a new contribution to the application of digital technologies to management and cultural promotion. The research answers questions regarding the current development and applications of digital technologies for designing multimedia content aiming to represent cultural heritage. The results offer an original virtual museum constructing method for interactive access to archival samples of performances in the following genres: opera, ballet, operetta, and musical. Additionally, the museum offers access to a presentation of the achievements of music and stage art through permanent thematic collections of repertoire programs, up-to-date information about the creative process of artists, conductors, directors, scenographers, choreographers. Keywords: Digitization, Preservation, Cultural Heritage, Digital Collections, Musical Theatre, Opera, Ballet
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Pai, Shin Yu. "Embarkation: Reimagining a Taoist Ritual Ceremony." Genealogy 4, no. 3 (September 8, 2020): 92. http://dx.doi.org/10.3390/genealogy4030092.
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Poet and artist Shin Yu Pai shares the origins and process of creating her performance video piece Embarkation. Informed by Buddhist and Taoist rituals from Bhutan and Taiwan, Pai reflects on her efforts to reimagine a traditional Taoist ceremony in the context of a personal grief ritual performed for the stage. She discusses the process of collaborating with film, video, theater, and movement artists from both Taiwan and Seattle, including Ye Mimi, Scott Keva James, Jane Kaplan and Vanessa DeWolf, and how her vision evolved over many iterations. The roles of community, audience, and creative friendships are also explored in the context of how they can invigorate a creative work.
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Petcu, Ioana. "“Bach never lacked violinists, so Peter never lacks puppeteers” – interview with the Bread and Puppet Theater." Theatrical Colloquia 7, no. 2 (December 1, 2017): 291–301. http://dx.doi.org/10.1515/tco-2017-0028.
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Abstract The American Bread and Puppet Theater, funded and coordinated by Peter Schumann, answered the International Theater Festival for the Young Public’s invitation at its 10th edition. This event was a Prologue, according to the organizers, and took place on the 30th of September. I arrived at theater during their rehearsal for the show presented - “basic byebye cantastoria extravaganza”. It was a great opportunity for me to see the actors patiently adapting their voices to the new stage condition. During a break I talked with three of them – this is how I met young artists Esteli Kitchen, Joe Therrien and Josh Krugman, relaxed, full of energy, and easily immersing themselves into our dialogue, in which I carefully inserted some anarchic ideas and a dash of humor.
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Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.
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Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
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Packer, Randall. "Third Space Network: Theatrical Roots." Lumina 11, no. 2 (August 30, 2017): 82–109. http://dx.doi.org/10.34019/1981-4070.2017.v11.21446.
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This essay provides an overview of artistic work and experimentation leading to the concept of the Third Space Network: a live Internet broadcast and performance project for connecting artists, audiences, and cultural perspectives from around the world. The concept of the third space suggests the collapse of the local (first space) and remote (second space) into a third, socially constructed networked space. The third space can be viewed as a new realization of the community of theater in a globally connected culture: performance space for broadcasted live art, a forum for the aggregation of artist streams of media art, and an arena for social interaction. The following is a personal artistic history and contextualization of nearly thirty years of live performance, interactive media, installation, Internet art, and the spaces they inhabit. This essay connects early work in Music Theater from the late 1980s and early 1990s to more recent networked projects to frame the idea of the Third Space Network as a new theatrical environment rich in potential for live performance and creative discourse.
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Juvan, Marko. "From Political Theater in Yugoslav Socialism to Political Performance in Global Capitalism: The Case of Slovenian Mladinsko Theater." European Review 24, no. 1 (February 2016): 72–82. http://dx.doi.org/10.1017/s1062798715000459.
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Political theater is a trend that, during the avant-garde 1920s, emerged at the intersection of efforts to liberate artistic forms and oppressed groups in society. It was an influence on Slovenian theatrical artists at the Workers’ Stage (Delavski oder) already in the interwar period. A trend towards ‘political theater’, one of the tendencies of politicized performing arts in the period, flourished in Slovenia and other republics of the former Yugoslavia in the 1980s. Against the background of an identity crisis of the Yugoslav state and its ideology, political theater addressed great stories of History and the Revolution in a post-avant-garde manner. During the transition, political theater initially lost its edge but was reborn in the 21st century. As a post-dramatic practice associated with performance, it now parses its own politics. It is a forum for critiquing small, local stories that nonetheless evince the contradictions of a peripheral nation-state in the era of transnational late capitalism.
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Koliqi, Kushtrim. "Kadare and the Theater." European Journal of Interdisciplinary Studies 4, no. 3 (November 29, 2018): 79. http://dx.doi.org/10.26417/ejis.v4i3.p79-83.
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The transformation of a literary work into other artistic and cultural dimensions is always intriguing and challenging. This transformation is frequent in cases when a certain literary work is brought to the theater through dramatization and staging. A constant debate among theater, film and literature artists is that of dramatization and staging of a literary work in the form of a theatrical performance or some other artistic medium. The arguments and counterarguments are numerous and are usually based on personal experiences or on the outcome and quality of a play or film emerging from the dramatization of a literary work. Perhaps due to the low output of theatrical productions in Kosovo or lack of creative ideas, the dramatizations of literary works into a theater plays are rare in Kosovo’s stages. In spite of cases being sporadic, some attempts at theatrical productions deriving from dramatization of literary works do exist and the most serious among them are those based on the literary works of authors such as Ismail Kadare, though not always possessing the qualities that characterize the original works. By approaching Ismail Kadare’s work from a different angle, that of its dramatization and staging for theater, I aim to contribute to the recognition of the Albanian literature in another dimension, namely that of playwriting and theater. This will be achieved by illuminating the principal and fundamental issues of the relationship between the literary work and the theater, focusing on the particular potential Kadare’s work has for staging.
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Prykowska-Michalak, Karolina. "Teatr niemiecki i teatr polski w początkowym okresie transformacji ustrojowej." Miscellanea Posttotalitariana Wratislaviensia 4 (April 26, 2016): 25–35. http://dx.doi.org/10.19195/2353-8546.4.3.
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German and Polish theatre in the initial period of the political transformation.During the first theatre seasons of the nineties, German drama focused on the analysis of the social traumas following the fall of the Berlin Wall, German reunification and perestroika. However, it soon became apparent that the theatre was not able to keep pace with the political changes of the times, and it failed to do justice to their internal complications and discrepancies.The fascination with the new dramatic scenic forms originating in Germany, which could be observed in Poland in the second half of the nineties, had nothing to do with the so-called reunification drama. It more likely resulted from its fiasco and the adoption of new aesthetics and communication methods. The strengthening relation of the German and Polish theatre, i.e. joint festivals, inspired those Polish artists who sought for a new scenic language and transposed the German theatre experience into their own plays in a creative way. The scale of this movement was so extensive that it could be described as a kind of phenomenon in modern art and in relations between Poland and Germany.Das deutsche und das polnische Theater in der Anfangszeit der Systemtransformation.Die politischen Transformationen `89 hatten großen Einfluss auf die Veränderungen in Kunst und Kultur, und zwar nicht nur mit Bezug auf Deutschland und Polen, sondern vielmehr in weiten Teilen Ost- und Mittel-Osteuropas. Die deutsche Dramaturgie konzentrierte sich in den ersten Theatersaisons der 90er Jahre vorwiegend auf die Verarbeitung der aus dem Mauerfall, der Wiedervereinigung Deutschlands sowie der Perestroika resultierenden gesellschaftlichen Veränderungen in Kultur- und Künstlerkreisen wird auch ein traumatischer Zustand betont. Es zeigte sich jedoch schnell, dass das Theater weder mit dem Tempo der politischen Ereignisse mithalten noch ihren inneren Verwicklungen und Widersprüchen gerecht werden konnte. Die in Polen seit Ende der 90er Jahre beobachtete Faszination von neuen dramatisch-schauspielerischen Formen aus Deutschland hatte nichts mit der sogenannten Dramaturgie der Wiedervereinigung zu tun. Sie entstand vielmehr aus deren Misslingen und der Aufnahme einer neuen Ästhetik bzw. neuen Kommunikationsmethoden. Die immer enger werdenden Kontakte zwischen dem deutschen und dem polnischen Theater z. B. über gemeinsame Festivals wurden zur Inspiration für polnische Kunstschaffende, die eine neue szenische Sprache suchten und ihre Erfahrungen mit dem deutschen Theater kreativ in eigene Inszenierungen transponierten. Die Verbreitung dieser Erscheinung war so weitreichend, dass von einem Phänomen in der zeitgenössischen Kunst sowie den künstlerischen Beziehungen zwischen Polen und Deutschland gesprochen werden kann.
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De Oliveira Elias, Tatiane. "A imagem artistica nos anos de chumbo / Artistic Image in the Years of Lead." Revista Internacional de Cultura Visual 4, no. 1 (August 7, 2017): 36–43. http://dx.doi.org/10.37467/gka-revvisual.v4.235.
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ABSTRACTThe Brazilian dictatorship (1964-1984) directly influenced Brazilian arts. Various artists addressed death, torture, and riot scenes in their works. This era of upheaval and oppression played an important role in Brazilian visual art, films, music, theater, literature and politics and is very important to understand avant-garde art of the time and the pronounced changes of the arts in general. In this paper I will examine the ways in which Brazilian artists have expressed and responded to the social, economic and political crisis of dictatorship. Moreover they resisted American cultural imperialism and displayed culture and social realities of Brazil.RESUMOHélio Oiticica (1937-1980) foi um artista brasileiro contemporâneo. Ele fez obras abstratas, performance, instalação, fotografia e filmes. Sua obra se insere em uma época em que o Brasil estava se modernizando com acontecimentos como, por exemplo, a construção de Brasília; a primeira Bienal de Artes de São Paulo; a presença de Max Bill (artista suíço) no Brasil.Oiticica esteve em Sussex em 1969 e em Nova Iorque no decorrer dos anos 70 e retornou ao Brasil (1978). O artista pôs sua obra - contextualizada entre os anos 50 a 80 - em contato com o meio social das favelas do Rio de Janeiro, com a escola de samba da Mangueira e com a criminalidade do Rio. Todos estes fatores apresentaram uma relação com sua obra.
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Pereverzeva, Marina V. "Genre Specifics of the Musical and Its Reflection in Stage Practice (Experience in Staging the Performance by College Students)." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 164–71. http://dx.doi.org/10.17922/2071-5323-2021-20-1-164-171.
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Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. Annotation. Pop faculties and departments of universities and colleges became the main suppliers of musical actors, interest in which arose in Russia in the 90s of the XX century. The methodological support for the preparation of musical artists has not yet been sufficiently covered due to the youth of this genre and the specifics not fully studied. The popularity of the musical in our country gradually leads to an increase in the number of specialized educational institutions and relevant faculties in existing theater and music colleges and universities, which, of course, should increase the overall level of stage productions in this genre and bring the Russian musical to new creative heights. As far as graduates of the College of Music and Theater master the skills of stage skills and singing in the process of training, the practice of their participation in theatrical productions as musical theater actors shows. In this case, the participation of college graduates in the most famous musical in Russia “Notre-Dame de Paris” is considered.
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Barris, Roann. "Exhibiting Russia." Experiment 23, no. 1 (October 11, 2017): 142–57. http://dx.doi.org/10.1163/2211730x-12341307.
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Abstract Although we have some first-hand accounts of visits by American drama critics and theater directors to the Soviet Union in the 1920s and 1930s, with one or two exceptions we do not know much about how American visual artists gained first-hand knowledge of the works of the Russian avant-garde at this time. Tracing the surprisingly rich history of American exhibitions of Russian art in the first half of the twentieth century, this paper examines the influence of Berlin and Vienna in shaping American exhibitions and also shows how curatorial decisions often determined which artists were associated with which movements, even when these associations would later be contradicted by historical facts. Indeed, style may be said to have played a subservient role as curators strove to associate the avant-garde with spirituality or to gain public support for starving Russian artists. Nevertheless, these exhibitions did bring significant works to the attention of American artists and the American public, revealing the significance of certain artists as well as collectors and curators in shaping the American understanding of the Russian avant-garde.
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Borucki, Alex. "From Colonial Performers to Actors of ‘American Liberty’: Black Artists in Bourbon and Revolutionary Río de la Plata." Americas 75, no. 2 (March 26, 2018): 261–89. http://dx.doi.org/10.1017/tam.2017.183.
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From the late eighteenth century through most of the nineteenth, Buenos Aires and Montevideo were hosts to a joint theatrical circuit characterized by the regular comings and goings of impresarios, artisans, musicians, and actors between the two cities. The military conflicts that shaped this period actually encouraged these connections, as they stimulated both exile and repatriation between one locale and the other. Africans, and particularly their Rioplatense descendants, were an integral part of popular entertainment circuits in Buenos Aires and Montevideo. Some of the first Argentinean historians of theater and music, among them Vicente Gesualdo and Teodoro Klein, were aware of this connection and included in their initial scholarship links that connect the history of free and enslaved Afro-descendants to the early theater of Río de la Plata.
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Jaime, Karen. "Patricia Herrera. Nuyorican Feminist Performance: From the Café to Hip Hop Theater." Modern Drama 64, no. 3 (August 1, 2021): 378–80. http://dx.doi.org/10.3138/md.64.3.br3.
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Patricia Herrera fills a void in scholarship on the Nuyorican Poets Café. Her focus on women performers ( performeras) and their writing and performance challenges these artists’ marginalization and erasure, while the Nuyorican feminist aesthetic she proposes, as situated within intersectional feminism, underscores the work’s critical intervention in feminist performance theory.
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Kraft, Helga. "Milo Rau as Influencer." Theater 51, no. 2 (May 1, 2021): 38–47. http://dx.doi.org/10.1215/01610775-8920496.
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Helen Kraft considers director Milo Rau as an influencer. Kraft places Rau within a subcategory of influencer identified by economist and psychologist Robert Cialdini as intellectuals who are “well-connected, create an impact, have active minds, and are trendsetters.” She argues that Rau fills that role in the theater and positions the director in relation to other postmodern thinkers and theater artists. According to Kraft, Rau actively courts controversy with his work as a means of drawing attention to conflict and corruption around the world, but, despite frequent comparisons to Bertolt Brecht, Rau is not an idealogue, exposing inconsistencies rather than promoting any single ideology in his work.
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Boenisch, Peter M., and Lise Sofie Houe. "Milo Rau’s Work as Artistic Director of NTGent." Theater 51, no. 2 (May 1, 2021): 84–95. http://dx.doi.org/10.1215/01610775-8920552.
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Peter M. Boenisch and Lise Sofie Houe survey the 2018–20 tenure of Swiss director Milo Rau as artistic director of ntgent, the city theater of Ghent, Belgium. Contextualizing his role and actions within the European city theater system, the authors also examine his artistic programming and output in the period, personally and institutionally, with particular emphasis on works produced at ntgent. The authors focus especially on Rau’s efforts to produce work with global collaborators, as seen in his Orestes in Mosul (2019) and other works. Boenisch and Houe additionally summarize critiques of Rau’s practice from other thinkers and artists and Rau’s response to these critiques.
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Sitorus, Eka Dimitri. "Unity In Diversity: Moving Indonesian Theater, Film, and Television Forward." Indonesian Journal Of Performing Arts Education 1, no. 1 (January 31, 2021): 1–10. http://dx.doi.org/10.24821/ijopaed.v1i1.4916.
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AbstractThe purpose of this article is to show how Indonesia has experienced a tremendous change in its approach to acting in the last 20 years, but it has not been for the better. The modern era of film and television has led to a misleading perception among the Indonesian people regarding the art of “acting,” thereby resulting in an unfavorable attitude toward the craft. This misleading perception stems from the effect of traditional Indonesian theater to its modern counterpart without any adjustments to cater to the millennial generation of Indonesians. The paper explores the roots of this misleading perception. It starts with the problem of applying Indonesian cultural policy, catering to such diverse artistic expressions in Indonesia, educating the artists, all the way to providing the specific educational infrastructure for the arts. The article provides examples of past theater and film productions to point out the problems of modern versus traditional acting styles, the challenges of translations of classic and contemporary western plays into the Indonesian language, the difficulties to apply such rigid interpretations by prominent Indonesian writer to contemporary Indonesian acting styles. The article shows that only by improving and implementing sound Indonesian cultural policy, developing and managing specific educational infrastructure for the arts, and creating a new acting method or re-considering the pre-existing ones, the Indonesian theatre, film, and television will be able to move forward.
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Sawant, Shukla. "The Trace Beneath: The Photographic Residue in the Early Twentieth-century Paintings of the “Bombay School”." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 1–29. http://dx.doi.org/10.1177/0974927617700768.
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This essay examines the interface between the indexical and the gestural, through the practice of early twentieth-century painters active in the Bombay Presidency and adjoining princely states such as Kolhapur and Aundh. It draws upon archival materials such as biographies, memoirs, and photographs documenting artists at work in the studio, as well as remains of posed photographs that were produced as aide-mémoire for paintings. It throws light on the fraught place of photography as aesthetic practice in the art academy, its association with colonial protocols of scientific accuracy, capture and control, and its use to construct suggestive representational hybrids of the anatomical and the painterly outside the academy. The article explores patterns of patronage and of the use of photography in the practices of art production, publication, and exhibition, looking, in particular, at the role of the photographic basis of the portrait painting, and how photography became a supplement to “life-study” or the practice of drawing from nude models. The gendered politics of this interface, between artist, technology, and female model is a recurrent thread of analysis, drawing on critical debates that were published in Marathi periodicals of the time. The article explores the braiding of technologies in artistic practice in different sites, from the academy and the artist’s studio through to publication and exhibition in galleries, and illustrated magazines. While the essay considers a number of artists, including Ravi Varma, Durandhar, and Thakur Singh, it focuses, in particular, on Baburao Painter for his engagement with photography and painting in a career which traversed theater, painting, photography, and film production.
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Moreels, Dries. "Mining the databases of the Vlaams Theater Instituut." Art Libraries Journal 33, no. 3 (2008): 39–43. http://dx.doi.org/10.1017/s0307472200015479.
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In 1987 the Vlaams Theater Instituut (VTi) was born, as a result of the need to support and identify the ambitions of a new generation of performing artists in Flanders and Brussels, to document and investigate the context of this turbulent but artistically exceptional period, and to develop appropriate policy instruments for this burgeoning practice. Twenty years on, and the artistic and social context has changed radically. Initiatives that were played out on the fringes ‘back then’ we now see right at the centre of things. Today the need to keep documenting, investigating and reflecting is just as relevant as it was in those days. Moreover, the VTi can now explore the value of 20 years of metadata creation in new ways.