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Journal articles on the topic 'Theater critics Dramatic criticism Theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

Annichev, О. Ye. "The interaction of theatrical journalism and theatrical criticism in the modern media." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 115–26. http://dx.doi.org/10.34064/khnum1-51.06.

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Background. Topicality of the theme. With the advent of the Internet, Internet journalism has appeared. In relating to theater, in essence, it is theatrical criticism, which has only undergone major changes. In recent years, there have been lively discussions in professional circles about the state and prospects of theater criticism as a profession, about the nature of theater criticism, its self-identification in the modern information space. Round tables with the participation of leading theater critics are devoted to the issues of the current state of theater criticism, a number of relevant

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2

Shchukina, Yu P. "Features of Volodymyr Morskoy’s theatrе criticism (1920–1940 years)". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, № 51 (2018): 70–83. http://dx.doi.org/10.34064/khnum1-51.03.

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Background. Today, analyzing the Ukrainian theatrical movement of the first half of XX century, we can’t bypass V. Morskoy’s critical legacy. Volodimir Saveliyovich Morskoy (the real name – Vulf Mordkovich) is one of the providing Ukrainian theatrical and film critics of the first half of the XX century. He left us his always argumentative, but sometimes contradictious evaluations of dramatic art masters: the directors of Kharkiv Ukrainian drama theatre “Berezil” (from 1935 it named after T. Shevchenko) L. Kurbas, B. Tyagno, L. Dubovik, Yu. Bortnik, V. Inkizhinov, M. Krushelnitsky, M. Osherovs

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3

Bloom, Davida. "Feminist Dramatic Criticism for Theatre for Young Audiences." Youth Theatre Journal 12, no. 1 (1998): 25–35. http://dx.doi.org/10.1080/08929092.1998.10012492.

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4

Goldhill, Simon. "Reading Performance Criticism." Greece and Rome 36, no. 2 (1989): 172–82. http://dx.doi.org/10.1017/s0017383500029740.

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Fred Astaire once remarked of performing in London that he knew when the end of a play's run was approaching when he saw the first black tie in the audience. Perhaps this is an American's ironic representation of the snobbishness of pre-War London (though he was the American who sang the top-hat, white tie and tails into a part of his personal image). Perhaps it is merely an accurate (or nostalgic) picture of the dress code of the audiences of the period. The very appeal to such a dress code, however – in whatever way we choose to read the anecdote – inevitably relies on a whole network of cul

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Hoppe, Balbina. "Schulz niesceniczny?" Schulz/Forum, no. 13 (October 28, 2019): 102–8. http://dx.doi.org/10.26881/sf.2019.13.07.

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Many theater reviewers consider Cinnamon Shops and the Sanatorium under the Sign of the Hourglass to be unspecific, impossible to translate into the language of the theater. Paradoxically, Schulz's theater reception is still growing, new performances, happenings and performances are created. The question arises whether today, in the era of post-dramatic theater, there is still a category such as “indecency” or should literary works be divided into those that can be shown in the theater and those that are not suitable for it. The article confronts the embarrassing concept of “indecency” on the

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6

Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.

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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (

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7

Frendo, Mario. "Ancient Greek Tragedy as Performance: the Literature–Performance Problematic." New Theatre Quarterly 35, no. 1 (2019): 19–32. http://dx.doi.org/10.1017/s0266464x18000581.

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In this article Mario Frendo engages with the idea of ancient Greek tragedy as a performance phenomenon, questioning critiques that approach it exclusively via literary–dramatic methodologies. Based on the premise that ancient Greek tragedy developed within the predominantly oral context of fifth-century BCE Greece, he draws on Hans-Thies Lehmann's study of tragedy and its relation to dramatic theatre, where it is argued that the genre is essentially ‘predramatic’. Considered as such, ancient Greek tragedy cannot be fully investigated using dramatic theories developed since early modernity. In

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Staniškytė, Jurgita. "Between (in)Visible Influences and (Im)Pure Traditions: Hybrid Character of the Postdramatic in Lithuanian Theatre." Art History & Criticism 15, no. 1 (2019): 97–102. http://dx.doi.org/10.2478/mik-2019-0007.

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Summary Lithuanian theatre has always been known for its visual metaphors and dramaturgy of directorial images, where the language of literary text is translated into visual metaphors created on stage by a director. Due to this quality, some critics have argued that Lithuanian theatre has been demonstrating postdramatic characteristics for a long time. However, one should note that visual metaphors of modern Lithuanian theatre have been based on and controlled by literary text and never quite established a more autonomous and self-contained visuality. Dramatic text remained the point of depart

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9

Tanner-Kennedy, Dana. "America’s Postsecular Stages." Theater 50, no. 2 (2020): 5–19. http://dx.doi.org/10.1215/01610775-8154777.

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Dana Tanner-Kennedy stakes a claim for an unacknowledged category of contemporary American theater: postsecular theater. She argues that religious belief becomes a matter of choice in a postsecular era that struggles between post-truth reality and transcendental belief. Through in-depth readings of contemporary plays and performances—such as Brandon Jacobs-Jenkins’s Appropriate, Stew’s Passing Strange, and the Wooster Group’s Early Shaker Spirituals—Tanner-Kennedy suggests that these works rescript existing religious values and counter the historic secularity of the American dramatic canon sin

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10

Sierz, Aleks. "Still In-Yer-Face? Towards a Critique and a Summation." New Theatre Quarterly 18, no. 1 (2002): 17–24. http://dx.doi.org/10.1017/s0266464x0200012x.

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The dramatic upsurge of contemporary new writing on British stages in the past decade, and the emergence of a fresh generation of playwrights led by such talents as Mark Ravenhill, Philip Ridley, Joe Penhall, Phyllis Nagy, Patrick Marber, and the late Sarah Kane, has been variously characterized as the ‘New Brutalism’ or even, in Germany, as the ‘Blood and Sperm Generation’. Here, Aleks Sierz summarizes the argument for ‘In-Yer-Face Theatre’ as the most pertinent and inclusive description for the phenomenon, listing its salient characteristics and suggesting the areas in which it is most vulne

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11

Haslett, Rosalind. "Architecture and New Play Development at the National Theatre, 1907–2010." New Theatre Quarterly 27, no. 4 (2011): 358–67. http://dx.doi.org/10.1017/s0266464x11000674.

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In recent criticism a perceived dichotomy has emerged between ‘new writing’ and ‘new work’ for the theatre. In this article Rosalind Haslett contends that this dichotomy is often reflected in the infrastructure of theatre organizations and theatre spaces themselves. Thus ‘new writing’ is seen to refer to a literary process which takes place in a conventional theatre building, while ‘new work’ tends to occur in non-traditional forms and spaces. The relationship between non-conventional spaces and the performance work that might take place in them has received some critical attention, but there

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Kocherga, Svitlana, and Oleksandra Visych. "The antitheatrical discourse in Ukrainian metadrama in the early twentieth century." Przegląd Wschodnioeuropejski 11, no. 1 (2020): 251–59. http://dx.doi.org/10.31648/pw.5985.

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The article analyzes methods of implementing antitheatrical discourse in Ukrainian dramaturgy. Different types of antitheatricality in literary texts are distinguished on the basis of plays by M. Starytskyi, I. Karpenko-Karyi, A. Krushelnytskyi, V. Vynnychenko, Ya. Mamontiv, V. Cherednychenko, and M. Kulish. The authors define key vectors that the antitheatrical discourse follows: criticism of theater as an institution, criticism of the drama school / method, criticism of theatricality and acting, including in offstage situations. It is arguably reasonable to examine the phenomenon of antithea

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Castagno, Paul C. "Varieties of Monologic Strategy: the Dramaturgy of Len Jenkin and Mac Wellman." New Theatre Quarterly 9, no. 34 (1993): 134–46. http://dx.doi.org/10.1017/s0266464x00007727.

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Playwrights, directors, and theatre teachers interested in understanding the theatrical possibilities and functions of monologue soon discover that critical analysis in this area is limited alike in extent and depth. In the following analysis of contemporary dramatic monologue, Paul C. Castagno therefore begins by exploring its more expected or traditional uses, and proceeds to examine its present expanded function with particular reference to the plays of two contemporary American playwrights, Len Jenkin and Mac Wellman – both multiple Obie Award-winning writers, whose dramaturgic techniques

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14

Gramsci, Antonio. "Gramsci on Theatre." New Theatre Quarterly 12, no. 47 (1996): 259–65. http://dx.doi.org/10.1017/s0266464x00010253.

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Our occasional series on early Marxist theatre criticism – which has already included Trotsky on Wedekind in NTQ28, Lunacharsky on Ibsen in NTQ39, and Mehring on Hauptmann in NTQ 42 – continues with two essays by the Italian Marxist philosopher Antonio Gramsci, whose concepts of hegemony, the national-popular, and the organic intellectual have had a profound influence on twentieth-century western thought. From 1916 to 1920 Gramsci was also a theatre critic, writing a regular drama review column in the Piedmont edition of the socialist daily newspaper Avanti! in which he first explored ideas ab

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15

Elam Jr., Harry J. "Making History." Theatre Survey 45, no. 2 (2004): 219–25. http://dx.doi.org/10.1017/s0040557404000171.

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These three quotes will serve as a starting point as I enter into this discussion of the import and role of theatre history. While I make a case for theatre history generally, my examples and thesis are drawn from African American theatre history most specifically. My argument is for a critical historicism, a process that recognizes the need to historicize and situate dramatic criticism as well as the need to theorize history or, as Walter Benjamin suggests, to “rub history against the grain.” Rubbing history against the grain means that we must interrogate the past in order to inform the pres

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16

Borkowska-Rychlewska, Alina. "Zamek na Czorsztynie Karola Kurpińskiego – romantyczność in statu nascendi?" Roczniki Humanistyczne 67, no. 1 (2019): 53. http://dx.doi.org/10.18290/rh.2019.67.1-5.

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Karol Kurpiński’s operatic works played a unique role in the process of shaping new trends in Polish opera theatre and in theatrico-musical criticism at the border of Enlightenment and Romanticism. The article presents press discussions devoted to the operas of the author of Zamek na Czorsztynie [The Czorsztyn Castle] in the 1920s, i.e. at the time of their first stagings in the National Theatre in Warsaw. Numerous controversies and contradictions that appear in the 19th-century reviews of Kurpiński’s operas testify to how difficult it was for his contemporary critics to explicitly classify an

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17

Nowak, Olga. "Ku czytelnikowi zaangażowanemu. Hiszpański teatr i komiks w procesie kształtowania krytycznego odbiorcy kultury." Politeja 16, no. 3(60) (2020): 67–83. http://dx.doi.org/10.12797/politeja.16.2019.60.05.

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Towards an Engaged Reader: The Spanish Theatre and Comic in the Process of Educating Critical Cultural Observers Political, social and historical engagement has always been one of the preferred ways of being for writers and intellectuals. Over the past few decades, we have been able to observe how social engagement of artists and writers seems to express itself through two forms that stay at the frontier of literature: theatre and comic. Although the Spanish theatre was conscious of the importance of its social commitment back in the mid-70s of the last century, it wasn’t until several d

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18

Cixous, Hélène. "‘Humanity Doesn’t Exist Yet’: Democracy as a Kind of Prophecy." New Theatre Quarterly 33, no. 3 (2017): 203–15. http://dx.doi.org/10.1017/s0266464x17000252.

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This roundtable discussion with Hélène Cixous took place at St John's College, Cambridge, on 20 September 2014 as part of the Cambridge ‘Conference for a Poetics of Critical Political Theatre in Europe’. It was subsequently transcribed and prepared for publication by Joseph Long and Eva Urban to pay homage to the acclaimed critical theorist, novelist, and dramatist Hélène Cixous on her eightieth birthday on 5 June 2017, and to celebrate her important contribution in particular to political European theatre. The conversation centres on the recurring themes of her major plays, many of which were

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19

Fokin, Pavel E., and Ilya O. Boretsky. "The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)." Dostoevsky and world culture. Philological journal, no. 4 (2020): 219–41. http://dx.doi.org/10.22455/2541-7894-2020-4-219-241.

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The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the s

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20

Bentley, Eric. "From Half-Century to Millennium: the Theatre and the Electric Spectator." New Theatre Quarterly 10, no. 37 (1994): 3–10. http://dx.doi.org/10.1017/s0266464x00000038.

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Well into his eighth decade, Eric Bentley now regards himself as primarily a playwright, having redefined the agenda of serious criticism during the early post-war years, pioneered the understanding, translation, and production of Brecht in the West, and for long combined academic work at Columbia with producing the best kind of regular theatre reviews. Apart from several collections of that ‘occasional’ writing, and anthologies of plays in translation which have helped to extend the range of the English-language repertoire, he has produced several full-length studies of seminal importance – f

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Gudkov, Maksim M. "Tennessee Williams in Soviet Criticism of the 1940–1960s." Literature of the Americas, no. 10 (2021): 163–206. http://dx.doi.org/10.22455/2541-7894-2021-10-163-206.

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The article attempts to present the reception of the plays by Tennessee Williams in Soviet criticism of the 1940s and 1960s to show the dynamics of changing opinions and assessments by Soviet literary and theater critics. In the late Stalinist years Soviet researchers (Michael Morozov, Veniamin Golant, Anna Elistratova, Vadim Gaevsky) were least engaged in the literary analysis of his plays, which they considered exclusively through the lens of ideology and politics. Critical judgments were reduced to a series of offensive comments on the “inferiority” of the “ideologically alien” playwright.

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Baldyga, Natalya. "Corporeal Eloquence and Sensate Cognition: G. E. Lessing, Acting Theory, and Properly Feeling Bodies in Eighteenth-Century Germany." Theatre Survey 58, no. 2 (2017): 162–85. http://dx.doi.org/10.1017/s0040557417000059.

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Most know Gotthold Ephraim Lessing (1729–81) for his dramatic theory, specifically that which is found in his periodical the Hamburg Dramaturgy (1767–69), a collection of 101 essays that has since earned Lessing the moniker of “the first dramaturg.” Many are also familiar with Lessing's major plays, Miss Sara Sampson (1755), Minna von Barnhelm (1767), Emilia Galotti (1772), and Nathan the Wise (1779). Fewer, however, may be familiar with his acting theory and his long association with actors, an association that began in his college years and which so disturbed Lessing's father that the respec

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Patsunov, V. "Conceptual basis of the art of “Theatre of Shock”." Culture of Ukraine, no. 72 (June 23, 2021): 131–35. http://dx.doi.org/10.31516/2410-5325.072.18.

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The purpose of this paper is to develop the fundamental basis of the art of “theatre of shock”, as the art of the highest spiritual and emotional level, as well as to identify the characteristic features and directorial components that provide it. The methodology. We applied the analytic-conceptual and empirical approaches to identify the most energy-intensive artistic means of creating a theatrical product and the most effective directorial tools for influencing the spiritual-emotional sphere of the viewer by creating the highest energy and philosophical and aesthetic level that can bri

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Freeman, Lisa A. "On the Art of Dramatic Probability: Elizabeth Inchbald's Remarks for The British Theatre." Theatre Survey 62, no. 2 (2021): 163–81. http://dx.doi.org/10.1017/s0040557421000053.

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In 1806, Longman & Co. publishers commissioned the accomplished actress, playwright, and novelist Elizabeth Inchbald to compose a series of prefatory remarks for the plays to be included in their British Theatre series. One hundred and twenty-five in all, each of the plays for Longman's British Theatre was originally published and sold separately at a rate of about one per week. Once the series was complete, the plays were bound together and sold as a twenty-five-volume set. As the surviving diary entries from the two-year period during which she wrote her Remarks testify, the task proved

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Botunova,, H. Ya. "Organizational-pedagogical, scientific-research and theatrical-critical activity of A. V. Pletniov through the prism of time." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 9–40. http://dx.doi.org/10.34064/khnum1-51.01.

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The article deals with the main aspects of organizational-pedagogical, scientific- research and theatrical-critical activity of the candidate of art studies A. V. Pletniov. Little-known biographical data on the life of the theater scientist and the creative environment, in which his professional formation took place, are presented. It is noted that A. V. Pletniov was one of the first graduates of the State Institute of Theatrical Arts named after A. V. Lunacharsky (now – RUTM). He studied there in 1934–1938, surrounded by highly-qualified students, many of whom subsequently became the pride of

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Bentley, Eric, Robert Brustein, and Stanley Kauffmann. "The Theatre Critic as Thinker: a Round-Table Discussion." New Theatre Quarterly 25, no. 4 (2009): 310–23. http://dx.doi.org/10.1017/s0266464x09000608.

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In 1946, Eric Bentley published The Playwright as Thinker, a revolutionary study of modern drama that helped to create the intellectual climate in which serious American theatre would thrive in the second half of the twentieth century. In 1964 Robert Brustein published an equally influential study of modern drama entitled The Theatre of Revolt. And in 1966, Stanley Kauffmann began a brief, combative stint as first-string theatre critic for the New York Times. Kauffmann's short-lived tenure at the Times dramatized the enormous gap that had arisen between mainstream taste and the alternative vis

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Williams, Bronwyn. "Games People Play: Metatheatre as Performance Criticism in Plautus' Casina." Ramus 22, no. 1 (1993): 33–59. http://dx.doi.org/10.1017/s0048671x00002538.

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Casina is one of Plautus' most metatheatrical comedies. Self-reflexive role-play, plays within plays, explicit references to theatrical context or convention are usual in Plautine drama. In Casina they constitute much or most of the dramatic action. During the prologue the audience is encouraged to sit back and enjoy the games (23ff.); whereas by Act 5 it is the play's women who have come out ‘to watch the wedding games out here on the street’ (Judos visere hue in viam nuptialis, 856). The stage-set, which the audience accepts implicitly as ‘a street’, has been turned back into a stage-set. Th

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28

Mehring, Franz. "On Hauptmann's ‘The Weavers’ (1893)." New Theatre Quarterly 11, no. 42 (1995): 184–89. http://dx.doi.org/10.1017/s0266464x00001202.

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Born in 1846, Franz Mehring as a young man was a follower of Ferdinand Lassalle, who in 1863 had organized Germany's first socialist party. As well as establishing a reputation as a journalist with his contributions to many liberal and democratic newspapers, Mehring was awarded his doctorate at Leipzig University in 1881 for his dissertation on the history and teachings of German social democracy. In his mid-forties he embraced Marxism and in 1891 joined the German Social Democratic Party, soon emerging as the intellectual leader of its left wing. He became editor of the Leipziger Volkszeitung

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Sehat, David. "Gender and Theatrical Realism: The Problem of Clyde Fitch." Journal of the Gilded Age and Progressive Era 7, no. 3 (2008): 325–52. http://dx.doi.org/10.1017/s1537781400000748.

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Clyde Fitch was the most famous playwright of the early twentieth century, but today no one studies him. The disconnect between his fame in his lifetime and his obscurity after death points to a major historiographical problem, a problem that began in Fitch's own day. Fitch's numerous contemporary critics, many of whom were early proponents of theatrical realism, criticized his plays as effeminate, bound by the narrow conventions of the legitimate theater that relied on women as its predominant patrons. By contrast, realism, as the critics under-stood it, was masculine, bringing the gritty rea

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REINELT, JANELLE. "Generational shifts." Theatre Research International 35, no. 3 (2010): 288–90. http://dx.doi.org/10.1017/s0307883310000593.

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Thirty-five years, the age of TRI, is roughly the length of time I have been involved in our discipline. I completed my Ph.D. in 1974 and entered the profession on the cusp of a generational shift. During my first decade in the academy, a number of new young scholars emerged and began to take the places of an older cohort who were primarily theatre historians and/or drama critics and interpreters. The theory explosion changed the way that both theatre history and dramatic criticism were carried out, and a whole new range of methods and objects of study began to appear in our journals and confe

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van den Berg, Klaus. "Land/Scape/Theater. Edited by Elinor Fuchs and Una Chaudhuri. Ann Arbor: University of Michigan Press, 2002; pp. 390 + illus. $59.50 cloth, $29.95 paper." Theatre Survey 45, no. 1 (2004): 118–20. http://dx.doi.org/10.1017/s0040557404220087.

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The past three decades have produced a wealth of criticism devoted to the issue of space and performance as well as a glut of terms attempting to capture how theatre artists exploit the spatial dimension. A brief inventory yields spectacle, site, image, heterotopia, simulacra, surface, environment, geography, scenography, visual field, place, and space—to name only a few. Drawing on insights from anthropology, phenomenology, cultural studies, new historicism, and urban studies, critics are working to investigate the cultural meaning of space, to capture its dramaturgical potential, and to reth

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Viana Leite, Rafael De Araújo e. "O dever de Rousseau ou deixando Berenice: a propósito do Prefácio da Carta a d'Alembert." Princípios: Revista de Filosofia (UFRN) 24, no. 43 (2017): 249. http://dx.doi.org/10.21680/1983-2109.2017v24n43id10036.

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O presente artigo tem por objetivo analisar o Prefácio da Carta a d’Alembert, de Jean-Jacques Rousseau, obra publicada em 1758. Para além da crítica ao teatro efetuada pelo filósofo, tentarei explicitar o registro em que a obra se insere, mostrando a ligação entre literatura, sentimento e política na qual desde o início da Carta a d’Alembert Rousseau parece se engajar. Para tanto, aproximarei a postura do filósofo genebrino à de dois personagens dramáticos do teatro clássico francês, estratégia que parece interessante se pensarmos na polêmica motivada pela obra e, também, na ausência de coment

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Ferreyra, Sandra. "Objetos, cuerpos y memoria en el teatro argentino contemporáneo." Arte y Políticas de Identidad 23 (December 30, 2020): 58–79. http://dx.doi.org/10.6018/reapi.460991.

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En la década de 1990, el campo teatral argentino se encuentra determinado por la aparición de una heterogeneidad de formas agrupadas por la crítica bajo el título “Nuevo teatro argentino”. Estas formas evidencian la tensión entre una concepción idealista de la escena que había dominado el teatro independiente hasta la década de 1980 y una perspectiva materialista que se había ido desarrollando subrepticiamente en tensión con los modos en que la primera planteaba las relaciones de la escena con la historia, de los sujetos con los objetos, de las palabras con las cosas y, como correlato, en tens

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Hays, Michael. "Notes toward a History of Tragedy and the “Tragic”." boundary 2 47, no. 2 (2020): 19–27. http://dx.doi.org/10.1215/01903659-8193208.

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This essay addresses the rather complex questions of the history and function of the word tragedy: Is there a historically and logically consistent use of the word that can serve as a constant in discussions of both drama and dramatic theory? I will try to address some of the reasons why questioning the historical uses and transformations of the word tragedy and the notion of the “tragic” may be important today. Such an effort matters not just for theater critics or historians but also for anyone who wishes to discover the active links between these normative generic concepts and their lived c

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35

Dorofieieva, O. Yu. "Activity of the T. Shevchenko Kharkov Theater in the coverage of theatrical criticism (the second half of the 1930s – 1940s)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 84–101. http://dx.doi.org/10.34064/khnum1-51.04.

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Background. In the Ukrainian art history, the problems of theatre criticism and the interrelations between criticism and stage art until remain insufficiently studied. The article considers the activities of the T. Shevchenko Kharkov Theatre (until 1935 – the Theatre «Berezil») in the second half of the 1930s–1940s in the coverage of theatre criticism. Since 1933, the aesthetic course of this theatre had changed dramatically from avant-garde searches to socialist realism in connection with the defeat of the position of Les Kurbas and his dismissal from the theatre. This reversal of the creativ

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KNÖDLER, STEFAN. "Initialzündung der europäischen Romantik. : Zur frühesten Rezeption von August Wilhelm Schlegels Vorlesungen ,,Ueber dramatische Kunst und Litteratur“ im Kreis von Coppet sowie bei Stendhal und Charles Nodier." Zeitschrift für Germanistik 29, no. 2 (2019): 249–64. http://dx.doi.org/10.3726/92165_249.

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Abstract Die Übersetzung von August Wilhelm Schlegels Vorlesungen Ueber dramatische Kunst und Litteratur machte das französische Publikum 1814 erstmals mit den Ideen der deutschen Romantik bekannt. In den Äußerungen der Übersetzer und ersten Leser im Kreis von Coppet um Germaine de Staël sowie der ersten Rezensenten Stendhal und Charles Nodier werden die Schwierigkeiten der französischen Leser sowohl mit Schlegels heftiger Kritik am klassischen Theater des Landes wie auch mit dem Begriff des ,Romantischen‘ deutlich. Die Argumente der Befürworter wie Gegner sollen auch die Debatte der folgenden

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Kalenichenko, O. N. "Fernand Crommelynck’s dramaturgy and its interpretation by Vsevolod Meyerhold and Les Kurbas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 102–14. http://dx.doi.org/10.34064/khnum1-51.05.

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Background. The modernist dramaturgy of Fernand Crommelynck allows some literary critics to attribute it to symbolism: continuing the symbolist traditions, the author builds his works “on the development of an abstract position, personified by dramatic characters that can be perceived both as living people and as figurative designations of concepts” [8]. Other researchers believe that the F. Crommelynck’s works are expressionistic, since the Crommelynck Theater is “poetic, but full of pathos, hyperbolized images, in the characteristics of his personages exaggeration is brought to the point of

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Block, Geoffrey. ""Reading Musicals": Andrea Most's Making Americans: Jews and the Broadway Musical (Cambridge: Harvard University Press, 2004)." Journal of Musicology 21, no. 4 (2004): 579–600. http://dx.doi.org/10.1525/jm.2004.21.4.579.

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Andrea Most's Making Americans: Jews and the Broadway Musical studies eight musicals (The Jazz Singer, Whoopee, Girl Crazy, Babes in Arms, Oklahoma!, Annie Get Your Gun, South Pacific, and The King and I) in an effort to explore "how first- and second-generation American Jewish writers, composers, and performers used the theater to fashion their own identities as Americans."Most offers imaginative and often insightful sociological readings of musical librettos, lyrics, even stage directions, but virtually ignores music. That music can sometimes elucidate or contradict an exclusively social or

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Vanskike, Elliott. "Consistent Inconsistencies: The Transvestite Actress Madame Vestris and Charlotte Brontë's Shirley." Nineteenth-Century Literature 50, no. 4 (1996): 464–88. http://dx.doi.org/10.2307/2933924.

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In this paper I propose the transvestite actress Madame Vestris as an interpretive doppelgänger for the title character in Charlotte Brontë's novel Shirley. Vestris crossed gender lines not only in her cross-dressed performances on the Victorian stage but also in her incursion into the male-dominated realm of theater ownership. In this way she is like Shirley Keeldar, the fiercely independent female factory owner whom Brontë consistently depicts in masculine terms. Most critics read Shirley as a narrative and thematic fiasco because the protofeminist momentum that the novel accumulates from Br

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Eliasberg, Galina. "The Russian-Jewish New York, the Balfour Declaration and the Revolution in Russia in Leon Kobrin's Play Back to Your People!" Judaic-Slavic Journal, no. 1 (2018): 25–43. http://dx.doi.org/10.31168/2658-3364.2018.1.2.2.

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The article analyzes Kobrin’s play Back to Your People! and the Yiddish press reviews of its performances in New York at Boris Thomashevsky’s Peoples Theater in December 1917 by A. Cahan, I. Vartsman, B. Gorin and others. Critics defined the genre of Kobrin’s play variously as “national drama”, “sentimental melodrama”, “modern sketch” and “tendentious drama” but unanimously noted that it was a direct response to the landmark events of 1917, including the Russian Revolution and the Balfour Declaration. These events triggered nationalist feelings and had a significant impact on Jewish socialists

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Sgibnіeva, S. S. "The role of the person-centered approach in the vocal art of a dramatic actor." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 241–57. http://dx.doi.org/10.34064/khnum1-51.14.

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Background. In recent years, there has been an increasing interest in studying the processes of the development of the creative personality of the drama actor, amongst other things, the modern methods of vocal training, focused on his future activity in nowadays-scenic conditions. Therefore, there is a need to renew the traditional system of the vocal training of drama actors in accordance with the trends of contemporary theatrical art, namely, the introduction of the principles of person-centered pedagogy. Objectives, methodology. The research is an attempt to provide an overview of the princ

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Medda, Laura. "Scrivere per il teatro Il mondo sardo nei racconti drammatici di Giuseppe Dessì." Revista Italiano UERJ 12, no. 1 (2021): 18. http://dx.doi.org/10.12957/italianouerj.2021.61943.

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ABSTRACT: Questo articolo riguarda i testi per il teatro dello scrittore sardo Giuseppe Dessì (Cagliari, 1909 – Roma, 1977). Nell'ordine, presentiamo i Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) e il dramma storico Eleonora D'Arborea (Mondadori, 1964). Importante autore di romanzi e racconti, in questi testi, Giuseppe Dessì rappresenta la complessità del mondo sardo in linea di continuità con quanto espresso nelle sue pagine narrative e saggistiche. Il teatro permette allo scrittore di sperimentare un nuovo linguaggio capace di rappresentare, attraverso i pers

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Markus, Donka D. "Performing the Book: The Recital of Epic in First-Century C.E. Rome." Classical Antiquity 19, no. 1 (2000): 138–79. http://dx.doi.org/10.2307/25011114.

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The detrimental effect of the public recital on the quality of epic production in the first century is a stock theme both in ancient and in modern literary criticism. While previous studies on the epic recital emphasize its negative effects, or aim at its reconstruction as social reality, I focus on its conflicting representations by the ancients themselves and the lessons that we can learn from them. The voices of critics and defenders reveal anxieties about who controls the prestigious high genre of epic and about the construction of gender and social status through epic's public performance

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Panasiuk, Valerii. "Ideas’ stories and people’s stories in A. Zholdak’s directorial conception." Aspects of Historical Musicology 19, no. 19 (2020): 358–73. http://dx.doi.org/10.34064/khnum2-19.21.

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Problematic field, objectives and methodology of the study. The “star” figure of A. Zholdak, one of the most shocking directors intriguing with his unpredictability, cannot be overlooked in the sky of modern theatrical art. True, not of national art, but Western European or Russian – the stage productions of the avant-garde director resonate with the priority world trends in theatrical culture. This also applies to musical performances, where the staging process in last time has been carried out under the sign of the “Regio-Theater”, under the director’s concept, which is often radical and rev

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Orji, Bernard Eze. "Humour, satire and the emergent stand-up comedy: A diachronic appraisal of the contributions of the masking tradition." European Journal of Humour Research 6, no. 4 (2018): 24. http://dx.doi.org/10.7592/ejhr2018.6.4.orji.

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Masking is a phenomenon that is traced to almost all human ages. From its prehistoric and primitive narratives in Africa, its dramatic beginnings in ancient Greece and Rome, to its use as forms of character delineation in the commedia dell’Arte of the 16th and 18th century Europe, as well as its age long association with carnivals due largely to its analogous to humour and entertainment. Masking, as comic as it may seem, has been critical of humanity’s social dispositions from time past. As humans, the façade of the mask is a leeway to speak truth to power and also an opportunity for the perfo

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Jurak, Mirko. "Jakob Kelemina on Shakespeare's plays." Acta Neophilologica 40, no. 1-2 (2007): 5–49. http://dx.doi.org/10.4312/an.40.1-2.5-49.

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Among Slovene scholars in English and German studies Jakob Kelemina (19 July 1882- 14 May 1957) has a very important place. Janez Stanonik justly places him among the founding fathers of the University of Ljubljana (Stanonik 1966: 332). From 1920 Kelemina was professor of Germanic philology and between 1920 and 1957 he was also the Chair of the Deparment ofGermanic Languages and Literatures at the Faculty of Arts of this university. The major part of Kelemina's research was devoted to German and Austrian literatures, German philology, German-Slovene cultural relations, and literary theory; his

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Sokolovska, S. F. "ART SPACE OF CONTEMPORARY DRAMA." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(94) (July 7, 2021): 49–57. http://dx.doi.org/10.35433/philology.1(94).2021.49-57.

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Sokolovska S. F.The study of the modern literary situation, in particular, new trends in drama, is a relevant task for literary criticism. The work of playwrights of the 90s of the twentieth century deserves special attention since the literary practice of this generation of artists caused a number of significant shifts in various formally substantive areas of drama. Indicative in this respect are the works of the modern German author R. Schimmelpfennig. In the process of literary study of the play «The Golden Dragon», an analytical model of a literary text has been built, which is correlated

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Lybo, O. L. "Characteristics of Kharkiv theatre development in1840–1860’s (on the materials of State Archive of the Kharkiv Region)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 126–41. http://dx.doi.org/10.34064/khnum1-51.07.

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Problem statement. In this study, attention is focused on the Kharkiv theatre development in the 1940–1960’s, the activities of the theatrical entrepreneur Liudvih Mlotkovskyi and the directors of the Kharkov Theatre: Hendrikov, Alferaki, Petrovskyi, Lvov and Shcherbyna. The theatre directors served as intermediaries between the entrepreneur and the Provincial Offices authorities, while addressing issues of organization and contract negotiation with actors, maintenance of theatre premises. They played an important role on repertoire policies controlled with the censorship committee of the Tsar

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Walker, Craig Stewart. "After Wissenschaft: The Present and Future of Canadian Theatre StudiesBIBLIOGRAPHY OF THEATRE HISTORY IN CANADA: THE BEGINNINGS THROUGH 1984. John Ball and Richard Plant. Toronto: ECW Press, 1993.THE CTR ANTHOLOGY: FIFTEEN PLAYS FROM CANADIAN THEATRE REVIEW. Ed. Alan Filewod. Toronto: University of Toronto Press, 1993.EARLY STAGES: THEATRE IN ONTARIO 1800-1914. Ed. Ann Saddlemyer. Ontario Historical Studies series. Toronto: University of Toronto Press, 1990.GEORGE BERNARD SHAW AND CHRISTOPHER NEWTON: EXPLORATIONS OF SHAVIAN THEATRE. Oakville: Mosaic Press, 1993.PLAYWRIGHTS OF COLLECTIVE CREATION. Diane Bessai. The Canadian Dramatist, v. 2. Toronto: Simon & Pierre, 1992.PRODUCING MARGINAUTY: THEATRE AND CRITICISM IN CANADA. Robert Wallace. Saskatoon: Fifth House Publishers, 1990.THEORY AND METHODOLOGY IN CANADIAN THEATRE HISTORIOGRAPHY. Special issue of Theatre Research in Canada/Recherches Théâtrales au Canada Vol 13, nos. 1/2 (Spring/Fall 1992).UP THE MAINSTREAM: THE RISE OF TORONTO’S ALTERNATIVE THEATRES. Denis W. Johnston. Toronto: University of Toronto Press, 1991.A WELL-BRED MUSE: SELECTED THEATRE WRITINGS 1978-1988. Keith Garebian. Oakville: Mosaic Press, 1991.WOMEN ON THE CANADIAN STAGE: THE LEGACY OF HROTSVIT. Ed. Rita Much. Winnipeg: Blizzard Publishing, 1992." Journal of Canadian Studies 29, no. 1 (1994): 156–70. http://dx.doi.org/10.3138/jcs.29.1.156.

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Mizitova, A. A. "Marko Marelli’s vision of “Turandot” by Giacomo Puccini." Aspects of Historical Musicology 15, no. 15 (2019): 249–63. http://dx.doi.org/10.34064/khnum2-15.13.

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Background. As a notion, an opera theater led by a stage director has a strong presence in modern artistic practice, as it puts forward its own range of cognitive and evaluative tasks that undergo criticism. The fi rst task is related to compliance of the proposed rendition with the composer’s concept and music drama of a particular opera music piece. The second one is related to the director’s vision and understanding the peculiarities, which allows us to form an opinion about the comprehension degree of an author’s idea and the individuality of its implementation. The relevance of the design

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