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Djaha, Siti Susanti Mallida. "THE EMERGENCE OF NEW MEDIUM." Notion: Journal of Linguistics, Literature and Culture 1, no. 1 (May 30, 2019): 21. http://dx.doi.org/10.12928/notion.v1i1.712.
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This study aims at finding the development of new medium of drama in English literary history. From the very first emergence of drama, the plays that have been written were performed in the theater and in many kinds of theater were appears to represent some ideas from the society. As time passing by, these kind of theater had a kind of transformation to be the new medium that we called motion picture. This motion picture began with the silent movie, then it became the talking picture, and it was improved to be the cinema. In its development until today, which we had been known as the movie. This new medium emerged to replace the live theater performance especially in Edwardian era.
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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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Vandenbroucke, Russell. "Violence Onstage and Off: Drama and Society in Recent American Plays." New Theatre Quarterly 32, no. 2 (April 13, 2016): 107–20. http://dx.doi.org/10.1017/s0266464x16000026.
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Direct and bloody violence has a long history on stage. In recent years, a different mode of violence can be distinguished in the work of prominent American playwrights – less direct than indirect, more covert than overt, and likely to affect a group rather than individuals. In this article Russell Vandenbroucke applies concepts from Norwegian sociologist and Peace Studies scholar Johan Galtung to examine structural and cultural violence in Suzan-Lori Parks's Father Comes Home from the Wars (Parts 1, 2, & 3) and traces similar representations of violence in Anna Deavere Smith's Fires in the Mirror, Tony Kushner's Angels in America, Lynn Nottage's Ruined, Ayad Aktar's Disgraced, The Laramie Project by Moisés Kauffman and the Tectonic Theater Project, and Tim Robbins's adaptation of Dead Man Walking by Sr Helen Prejean. These writers have in common the status of traditional outsiders – black, female, gay, Muslim – and this informs their engagement in the social and political vitality of the stage. The shift in focus of these plays from direct violence echoes observations in Steven Pinker's recent The Better Angels of Our Nature: Why Violence Has Declined. Russell Vandenbroucke is Professor of Theatre Arts at the University of Louisville and Director of its Peace, Justice, and Conflict Transformation programme. He previously served as Artistic Director of Chicago's Northlight Theatre. His publications include Truths the Hand Can Touch: the Theatre of Athol Fugard and numerous articles on South African theatre.
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Knapp, Bettina L., and Haiping Yan. "Theater & Society: An Anthology of Contemporary Chinese Drama." World Literature Today 74, no. 1 (2000): 237. http://dx.doi.org/10.2307/40155534.
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Mackerras, Colin. "Theater and Society: An Anthology of Contemporary Chinese Drama (review)." China Review International 7, no. 2 (2000): 564–68. http://dx.doi.org/10.1353/cri.2000.0092.
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Wichmann-Alczak, Elizabeth. "Theater and Society: An Anthology of Contemporary Chinese Drama (review)." Theatre Journal 54, no. 2 (2002): 325–26. http://dx.doi.org/10.1353/tj.2002.0066.
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Suyadi, Suyadi. "LAKON BANGSAWAN SUMATRA UTARA, TINJAUAN SINTAKTIKA." MEDAN MAKNA: Jurnal Ilmu Kebahasaan dan Kesastraan 17, no. 2 (December 3, 2019): 180. http://dx.doi.org/10.26499/mm.v17i2.2140.
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The performance of drama bangsawan not only carries social, economic, and political missions. The role of drama bangsawan is increasingly important and strategic in organizing the life of the nation, state, and society. In addition to playing a role to explore the cultural and artistic values that we have, royal drama can also play a role in encouraging the realization of complete human development, which also means not only teaching material/physical, but also very useful to order the mental and spiritual of every human being. This paper presents the syntactic aspects of the drama bangsawan in North Sumatra. The syntactic aspect which is part of Charles Morris's semiotic theory explores the nature and pattern of stories of aristocratic plays. This review succeeded in discovering the existence of the aristocratic theater in North Sumatra and its shape patterns. This folk theater originally took place among the aristocrats in the Serdang Sultanate and eventually became the property of most people. The aristocratic form or concept of the show was maintained even though it was no longer played at the Palace, as the palaces in the former North Sumatra Residency after the Social Revolution collapsed. This theater should be inherited as a non-fine cultural form belonging to North Sumatra.
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Tulyantsev, Andrey. "Dnipropetrovsk Ukrainian academic youth theater in the contemporary sociocultural context." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 5–15. http://dx.doi.org/10.33287/222013.
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The purpose of this article is concentrated by researcher into revealing of the particularity for modern theater on the example Dnipropetrovsk Ukrainian academic youth theater. The author studies performances for young people that the theater has in its repertoire. The dialogue between the theater and the audience has its own scientific interest for the author. The author uses the most effective methods of scientific research. The author has a need to understand the peculiarities of the style of acting and directing. It is also necessary to understand the general style of the theater. This position is significant, because there is a specificity in the interpretation of theatrical performance. Scientific novelty. This article has its own peculiarity. The author aims to determine for the first time the main provisions of the activities of the Ukrainian academic theater for youth from the Dnieper. To achieve this goal, the author of the article makes an analysis in which there is a specific meaning of the theater's activities, the subject of this research. Theater is analyzed as an artistic value. The author assesses the state of the collective as a theater historian. The activity of the theater is analyzed in the context of the functioning of modern theater culture. This is what makes it possible to understand the features of the historical phenomenon. It combines the present with the past. It aims to understand the perspective of contemporary theater time in the future. Methods. The performances of this theater have the characteristics of a synthetic genre. These performances have the ability to explain the nature of the interaction between theater and music. Therefore, research methods are based on the synthesis of various areas of scientific activity. In which there are various scientific disciplines. Specifically: the structural system of the history of the theater, the use of analytical methods in the analysis of drama, direction, skill of actors, singing, orchestra work, scenography. The author explores their analogies and connections, what unites them and what is opposition. Conclusions. The performances of the Ukrainian academic theater for young people from Dnipro are of different genres. The principles of the dialogue between the theater system and the audience, which exists in mutual exchange, are revealed in these performances. The author notes the real mutual cooperation between the theater and the audience. At the same time, there is an addition of one dramatic tradition to another. You can also observe how professional directors worked with the texts of the plays. The fact of how the structure and style of the performance is changing is significant. The academic professional artistic transformation of vocational performances in modern society is essential relevant.
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TOMA, Florin. "THE CONVENTIONAL APPROACH OF DRAMATIC SITUATIONS TO THE DISADVANTAGE OF THE ORGANIC APPROACH FROM A HUMAN PERSPECTIVE." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 4, no. 1 (December 7, 2020): 123–28. http://dx.doi.org/10.26520/mcdsare.2020.4.123-128.
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This study aims to present some arguments that would highlight the difference in the approach of a dramatic text from a literary, conventional perspective and from an organic, violently subjective one. The analysis of drama from an acting perspective involves a set of difficulties and peculiarities resulted especially from its dual nature, because it is in the same time literature (fiction), as well as theater (action, show). The completion of a dramatic text involves, most often, its transformation into a show, but also into a processually-objective reality through the actor's creativity. The logical mechanisms typical to the acting creation process can often be inhibited by the need to exert self-control, due to a pattern of thinking extensively promoted in contemporary society, and that mostly aims success instead of encouraging an honest journey of self-discovery through theatre
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Hauptfleisch, Temple. "Eventifying Identity: Festivals in South Africa and the Search for Cultural Identity." New Theatre Quarterly 22, no. 2 (April 19, 2006): 181–98. http://dx.doi.org/10.1017/s0266464x0600039x.
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Festivals have become a prominent feature of theatre in South Africa today. More than forty such annual events not only provide employment, but constitute a socio-cultural polysystem that serves to ‘eventify’ the output of theatre practitioners and turn everyday life patterns into a significant cultural occasion. Important for the present argument is the role of the festivals as events that foreground relevant social issues. This is well illustrated by the many linked Afrikaans-language festivals which arose after 1994, and which have become a major factor not only in creating, displaying, and eventifying Afrikaans writing and performance, but also in communicating a particular vision of the Afrikaans-speaking and ‘Afrikaner’ cultural context. Using the Klein Karoo Nasionale Kunstefees in Oudtshoorn as a case study, in this article Temple Hauptfleisch discusses the nature, content, and impact of this particular festival as a theatrical event, and goes on to explore the polysystemic nature of the festival phenomenon in general. Temple Hauptfleisch is a former head of the Centre for South African Theatre Research (CESAT) and Chair of the University of Stellenbosch Drama Department. He is currently the director of the Centre for Theatre and Performance Studies at Stellenbosch and editor of the South African Theatre Journal. His recent publications include Theatre and Society in South Africa: Reflections in a Fractured Mirror (1997), a chapter in Theatrical Events: Borders, Dynamics, Frames (2003), and one on South African theatre in Kreatives Afrika: Schriftstellerlnnen über Literatur, Theater und Gesellschaft (2005).
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Dergach, M. "PLAYBACK-THEATRE IN THE SYSTEM OF SOCIALIZATION AND RE-SOCIALIZATION OF PERSONALITY." Bulletin of Taras Shevchenko National University of Kyiv. Series “Psychology”, no. 2 (9) (2018): 17–20. http://dx.doi.org/10.17721/bsp.2018.2(9).4.
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The article reveals the peculiarities of playback theater as a psychodramatic technique, analyzes the current practice of using playback theater in the system of socialization and re-socialization. The author found that socialization, as a necessary process for interaction with the outside world, is manifested in the assimilation and appropriation of social experience for the purpose of productive functioning in it and to construct an image of the common and own world (as a part of the common), which allows a person to live a life while preserving individuality. and creatively influence the world. Within this provision, playback theater should be regarded as a technology of the paratheater system of dramatherapy, which is relevant at any stage of the socialization of the individual or as a means in the mechanisms of socialization. Playback theater contributes to the development of tolerance for social differences, the acceptance of another with all its features, values. Thanks to him, we learn to listen to understand others, because in the performance the main thing is the story of the viewer, the realization of which is impossible in reality without careful perception. The author has found that playback theater as a paratheater system of drama is a rather interesting and important means of socialization and re-socialization of the personality, it can be used in any group of people to solve problems of a wide range. The article describes in detail the content of the playback theater application, namely: social integration of individual subgroups into society; social and psychological adaptation of personality; social-psychological and therapeutic support for people who are in emotional and psychological state; creation of a more favorable social and psychological climate for the team; social and psychological support in complex events; development of personal qualities of children in educational institutions; social and psychological support of people in recreational activities; playback theater as a means of creating space for social networking. Prospects for further research on the topic of the article are to study the attitude of the audience to the performances of the playback theater, the search for the means of expression of the actors, the impact of playback on the children's audience.
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D’Alessandro, Michael. "Creole Drama: Theatre and Society in Antebellum New OrleansProvocative Eloquence: Theater, Violence, and Antislavery Speech in the Antebellum United States." American Literature 92, no. 3 (September 1, 2020): 589–91. http://dx.doi.org/10.1215/00029831-8616223.
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Roberts, Matthew. "Ajax in America, or Catharsis in the Time of Terrorism." New Theatre Quarterly 36, no. 4 (November 2020): 306–19. http://dx.doi.org/10.1017/s0266464x20000652.
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Originally funded by the US Department of Defense in 2009, Theater of War Productions’ first project, Theater of War, performs dramatic readings of Ajax at military bases, hospitals, and academic institutions throughout the United States. Developed by Bryan Doerries, Theater of War brings awareness to the epidemic of suicide and other forms of violence committed by American military service members in the wake of the United States’ so-called ‘war on terror’. But like Ajax, American military personnel typically turn to violence only after being betrayed by the institutions that they served. This article follows how Ajax’s more modern manifestation disrupts the tragic protagonist’s status as a sacrificial victim whose death precipitates tragedy’s cathartic effect, and challenges what René Girard calls the ‘scapegoat mechanism’ and its socio-political function. It argues that Ajax’s appearance as a cathartic figure in American society provokes spectators and artists to reckon with the conditions that can cause military personnel to act violently, and inspires protests against broader hegemonic socio-political structures and the military culture that sustains them. Matthew Roberts is Assistant Professor and Librarian for Comparative and World Literature, English, and Drama at the University of Illinois at Urbana-Champaign.
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Hagens, Jan L. "SPIELEN UND ZUSCHAUEN IN JAKOB BIDERMANNS PHILEMON MARTYR." Daphnis 29, no. 1-2 (March 30, 2000): 103–57. http://dx.doi.org/10.1163/18796583-90000703.
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Jacob Bidermann's (1578-1639) Jesuit drama, Philemon Martyr (1618), presents the world as a theater, not only within its plot, but also through structural and stylistic features. Ironically, precisely because of his dubious profession, the pagan comedian Philemon, as he plays a Christian, is granted , and grasps, the chance to convert. Though his perfect model may inspire the audience, Philemon can effect the play's moral only in tandem with Arrianus, his antagonist, who turns from pagan spectator to Christian actor: it is Arrianus' more realistic role conversion which assures the spectator that salvation is actually within reach. Through the ideas of play-acting and play-watching, Bidermann illustrates the Jesuit view, not only of secular theater and society, but also of religion, human nature, and our appropriate role in life. Going beyond a scena vitae, which would merely focus on human performance, the play constructs a more complex theatrum mundi, which includes divine director and spectator. In terms of dramatic genre, Bidermann advocates tragicomedy , in terms of attitude, a contemptus mundi. As school theater, Philemon Martyr provides an antidote to the rigid Jesuit conception of education, activating the students through a playful version of pedagogy.
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Subrata Saha, Asoke Howlader, Arindam Modak,. "THEATER AND HEALTH EDUCATION: REPRESENTATION IN SELECT PLAYS OF MAHESH DATTANI." Psychology and Education Journal 58, no. 2 (February 1, 2021): 3982–88. http://dx.doi.org/10.17762/pae.v58i2.2668.
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Theater plays a crucial role to represent the life and manners of a particular society. It acts as an informal tool for developing consciousness and promoting empowerment through education. Contemporary theater in India is no exception to this. It has the efficacy to build critical awareness among common people in general and women in particular. It critiques the social inequality and opens up the scope for bringing consciousness about gendered violence prevalent in contemporary Indian society. From 1970s onwards, the emergence of urbanization and industrialization had offered various opportunities for people irrespective of gender differences. Yet, it could not suppress the ‘other side’ of violence in Indian society. Mahesh Dattani, a pioneer in the world of modern Indian English Theater, is highly regarded as a social critic of contemporary urban life and manners. He sincerely presents dysfunctional families, individual dilemmas and societal problems, and gender issues including forbidden issues in his plays. As a conscious dramatist, Dattani reveals childhood maltreatment in his plays which focus on physical and mental illnesses among victims. He tries to sensitize the common people by representing the impact of discrimination on health as it is seen to be fatal in women. The present paper intends to analyze the impact of gender bias on women’s health as represented by Mahesh Dattani in his plays – “Tara” and “Thirty days in September.” In doing so, it embraces the educational implication of dramas through theater.
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Pfaff, Richard W., and Gail McMurray Gibson. "The Theater of Devotion: East Anglian Drama and Society in the Late Middle Ages." American Historical Review 96, no. 4 (October 1991): 1184. http://dx.doi.org/10.2307/2165063.
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Stevens, Martin, and Gail McMurray Gibson. "The Theater of Devotion: East Anglian Drama and Society in the Late Middle Ages." South Central Review 8, no. 3 (1991): 92. http://dx.doi.org/10.2307/3189251.
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Whitaker, Elaine E., and Gail McMurray Gibson. "The Theater of Devotion: East Anglian Drama and Society in the Late Middle Ages." South Atlantic Review 55, no. 3 (September 1990): 105. http://dx.doi.org/10.2307/3200306.
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McCarthy, E. Doyle. "Astrology as Text and Drama: The Karmic Theater: Self, Society, and Astrology in Jaffna." Anthropology Humanism Quarterly 10, no. 4 (December 1985): 132–33. http://dx.doi.org/10.1525/ahu.1985.10.4.132.
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Srivastava, Kinshuk, and Suyanka Gupta. "ROLE OF MEDIA IN PROPAGATION OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3433.
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Drama and theater have probably been the first strong and vibrant mass media of mankind for centuries. Along with the changing times and society, its form and concerns also kept changing. In ancient times, classical theater was royal and folk theater was dictated. In the medieval period, Muslim-Mughal rulers developed and expanded almost all forms of arts. With the change of time and society, the medium of expression and the nature of literature and arts also change. Science made unprecedented progress in the modern period. New inventions took place. The printing press achieved immense success in making literature accessible and as a medium of information communication. Newspapers turned rumors into authentic information and played a very important role in creating a mass movement in our freedom struggle.
नाटक और रंगमंच सम्भवतः मनुष्य जाति का पहला और सदियों तक एकमात्र सशक्त एवं जीवन्त जन-माध्यम रहा है। बदलते हुए समय और समाज के साथ-साथ इसके स्वरूप एवं सरोकार भी लगातार बदलते रहे। प्राचीन काल में शास्त्रीय रंगमंच राज्याश्रित था और लोक-रंगमंच जनाश्रित। मध्यकाल में, मुसलमान-मुगल शासकों ने कलाओं के लगभग सभी रूपों का खूब विकास और विस्तार किया। समय और समाज के परिवर्तन से अभिव्यक्ति माध्यम और साहित्य एवं कलाओं के स्वरूप भी बदलते हैं। आधुनिक काल में विज्ञान ने अभूतपूर्व प्रगति की। नए-नए आविष्कार हुए। प्रिंटिंग प्रेस ने साहित्य को जन-सुलभ बनाने और सूचना-संचार के माध्यम के रूप में अपार सफलता प्राप्त की। अखबारों ने अफवाहों को प्रामाणिक सूचनाओं में बदल दिया और हमारे स्वतंत्रता-संग्राम में जनान्दोलन पैदा करने में अत्यंत महत्वपूर्ण भूमिका निभाई।
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Akimbek, A., and Z. Islambayeva. "NEW READING OF THE PLAY “ABAY” (on the example of the state academic Kazakh music and drama theater named after K.Kuanyshbayev)." BULLETIN Series of Philological Sciences 75, no. 1 (April 12, 2021): 200–205. http://dx.doi.org/10.51889/2021-1.1728-7804.33.
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In the article was analyzed by the authors the staged performance of the tragedy of M.Auezov “Abay” from the repertoire of the state Academic Kazakh Music and Drama Theater named after K.Kuanyshbayev. It pays great attention to the value of Abai in the kazakh society and the importance of his work for each generation. The researchers, analyzing the stage and artistic solutions of the experienced director Alimbek Orazbekov, emphasize the search in acting games with convincing evidence. The article will focus on the most striking manifestations of the skills of Nurken Oteulov and Tlektes Meiramov in the role of Abai and the elder Abai. They comprehensively analyze the social realities of the time in which the poet lived, and contribute to the idea of a classic writer like Mukhtar Auezov. The authors did not ignore the fact that the theater team opened a new facet of the image of Abai, sought to prove his life position. Similarly, the games and statements of the creative ensemble are differentiated on the way to the artistic integrity of the performance.
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Anderson, Misty. "Women in British Romantic Theater: Drama, Performance, and Society, 1790-1840. Edited by Catherine Burroughs." Wordsworth Circle 32, no. 4 (September 2001): 272–74. http://dx.doi.org/10.1086/twc24044904.
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Dawami, Iqbal. "Drama Sebagai Media Dakwah." TASAMUH: Jurnal Studi Islam 10, no. 1 (April 2, 2018): 215–39. http://dx.doi.org/10.47945/tasamuh.v10i1.71.
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Realization of preaching does not only attempt to increase the understanding in behavior and perspective but also to aim the broader target. By the complicated problem of preaching, preaching must be role to aim toward implementation of Islam more overall and share the kinds of life aspect. The preaching media is used for religious teacher to convey the preaching’s messages must be appropriate with condition of society. This matter causes the media of traditional preaching still existing in the center of modern media for present day. One of the traditional preaching media is still used until present day as drama. By drama, preaching can have sent well by the words or face expression. Actualization of preaching’s mission through drama or theater is combination between the art and preaching, so that in developing to aim based on the rules of Islam. Hence, the using of drama as preaching media is really effective because through the locution, movement and action that bundle in a performance of drama so that the preaching’s messages can be sent to the society and it can be as spectacle and the a beneficial guide.
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Tydeman, William. "The Theater of Devotion: East Anglian Drama and Society in the Late Middle Ages.Gail McMurray Gibson." Speculum 66, no. 4 (October 1991): 875–77. http://dx.doi.org/10.2307/2864655.
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Chen, Xiaomei. "A Stage of Their Own: The Problematics of Women's Theater in Post-Mao China." Journal of Asian Studies 56, no. 1 (February 1997): 3–25. http://dx.doi.org/10.2307/2646341.
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Hu shi's play of 1919, The Main Event of One's Life (Zhongshen dashi), introduced spoken drama (huaju) to the modern Chinese stage, in imitation of the plays in the Western Ibsenesque tradition. Ever since then, May Fourth male playwrights such as Guo Moruo, Ouyang Yuqian, Chen Dabei, and others, in forming a tradition countering that of the Confucian ruling ideology, have treated women's liberation and equality issues as important political and ideological strategies (Chen 1995, 137–55). Female playwrights such as Bai Wei also depicted loving mothers and courageous daughters waging a fierce struggle against the patriarchal society, symbolized either by domineering and lustful domestic fathers or by new nationalist fathers already corrupted by the emerging revolution. The tradition on the part of both male and female playwrights of exploring woman as a metaphor for national salvation and a given political agenda was most fully articulated in the street theater that grew up during the period of the War of Resistance to Japan.
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Pluzhnikov, Victor. "«Forgotten name... Yakov A. Rosenstein»." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 90–105. http://dx.doi.org/10.34064/khnum2-16.05.
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Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other part was burned down during the hostilities; the third one was lost in the territories temporarily occupied by the fascists. The most important information was restored in the postwar years on the basis of personal documents of the musicians and memoirs of the contemporaries. The names of many other talented performers, who were not high ranked in the hierarchy of Ukraine musical culture, were forgotten. Research and publications analysis. Dealing with this article, the author relied on the research of three scientists. For example, the episode devoted to the history of the Kuban State Conservatory is based on the materials of the book by V. A. Frolkin, PhD in musicology, Professor of Piano Department of Krasnodar University of Culture and Arts. (Frolkin, 2006 : 70–89). The Kharkov period of Ya. Rosenstein’s activity is based on the article by E. M. Shchelkanovtseva, PhD in musicology, Department of Orchestral String Instrument of I. P. Kotlyarevsky Kharkov National University of Arts (Shchelkanovtseva, 1992 : 178–179), as well as the memoirs of conductor S. S. Feldman (Feldman, 2006). Ya. Rosenstein activities in T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR was described in research of Yu. A. Stanishevsky – Doctor in musicology, Professor. (Stanishevsky, 1981 : 533–534). The objective of this article is to create Ya. Rosenstein’s complete and non-biased biography, to analyze various aspects of his activity, and, as a result, to revive the name of a talented musician who was at the forefront of Ukraine musical pedagogy. This is the urgency and novelty of this study. Core material. Yakov A. Rosenstein (1887–1946) – a cello player, conductor, professor. In1907–1912 he studied at St. Petersburg Conservatory specializing in cello. Until February 1917, he had served as a cello player in the Royal orchestra of the Imperial Mariinskyi Theater. During the Civil War, he moved to Yekaterinodar (Krasnodar), where in 1918–1919 he was a director of Russian Musical Society Conservatory. October 1, 1920 witnessed the opening of Kuban State Conservatory. The university was funded from the budget of the People’s Commissariat for Education, so the training of all students was free. Ya. Rosenstein taught the cello class. But at the end of 1921, the Kuban Conservatory was deprived of state funding, and in summer of 1922 the university was reorganized into the Kuban Higher Technical School. (Frolkin, 2006 : 74–89). In autumn of 1923, Ya. Rosenstein moved to Kharkov, where he was a cello player in Russian State Opera orchestra. Later Ya. Rosenstein became a theater conductor. Also, he was engaged in pedagogical activity: in 1925 he became a dean of the instrumental faculty of Kharkov State Higher Music and Drama Courses, and in 1926 he became the head of the courses. According to E. M. Shchelkanovtseva, since 1927, Ya. Rosenstein had been teaching at the Music and Drama Institute (currently – I. P. Kotlyarevsky Kharkov National University of Arts) – Professor of cello class, chamber ensemble, orchestra class, conducting; in 1929 he became an Academic Director. (Shchelkanovtseva, 1992 : 179). Opera-symphonic conducting class at Kharkov Music and Drama Institute, which was opened in autumn of 1927, is a merit of Ya. Rosenstein. During 8 years, he had been training such conductors as: P. Ya. Balenko, M. P. Budyansky, I. I. Vymer, F. M. Dolgova, K. L. Doroshenko, D. L. Klebanov, B. T. Kozhevnikov, V. N. Nakhabin, V. S. Tolba and others. In 1926–1927, the Orchestra of Unemployed Musicians in Kharkov was transformed into the First State Symphony Orchestra of All-Ukrainian Radio Committee, which in autumn of 1929 was integrated with the Ukrainian Philharmonic. In 1929–1932 Ya. Rosenstein acted as a chief conductor. Then he was replaced by German Adler, a graduate of German Academy of Music and Performing Arts in Prague, and a world-famous conductor. In 1937, this musical group was the base for creation the State Symphony Orchestra of the Ukrainian SSR in Kiev (nowadays the National Symphony Orchestra of Ukraine). (Pluzhnikov, 2016 : 358). In 1935–1941 and 1944–1946 Ya. Rosenstein was a conductor of T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR. According to S. S. Feldman, there he brilliantly showed himself in the ballet performances “Swan Lake” and “Sleeping Beauty” by P. Tchaikovsky, “The Fountain of Bakhchisarai” and “The Prisoner of the Caucasus” by B. Asafiev, “Lilaea” by K. Dankevich and “Raymonda” by A. Glazunov (Feldman, 2009 : 102). In summer of 1941 the War began, and the theater troupe was evacuated to Ufa. In 1942–1944 the United Ukrainian State Opera and Ballet Theater was created on the basis of the Kharkov and Kiev theaters in Irkutsk. More than 650,000 people visited 785 performances conducted by N. D. Pokrovsky, Ya. A. Rosenstein and V. S. Tolba in Krasnoyarsk, Irkutsk and other cities! In June 1944, the theater troupe returned to Kyiv, and in 1946 Ya. Rosenstein died. He was buried at Baykove cemetery in Kyiv. Conclusion. The creative personality of Ya. A. Rosenstein, a cello player, conductor, teacher, one of the organizers of the First State Symphony Orchestra in Ukraine and the creators of the Kharkov school of orchestra conducting, deserves more attention on behalf of the scientists, musicians and all non-indifferent people. There is hope that Ya. A. Rosenstein’s memory will not be forgotten, and the name of this talented and noble person will take its rightful place in the annals of Ukraine and Russian musical culture.
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MacLean, Sally-Beth. "The Theater of Devotion: East Anglian Drama and Society in the Late Middle Ages by Gail McMurray Gibson." Comparative Drama 25, no. 3 (1991): 302–6. http://dx.doi.org/10.1353/cdr.1991.0039.
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Conceison, Claire. "Theater and Society: An Anthology of Contemporary Chinese Drama, and: The Chinese Other, 1850-1925: An Anthology of Plays (review)." Asian Theatre Journal 17, no. 1 (2000): 135–38. http://dx.doi.org/10.1353/atj.2000.0002.
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Lerner Febres, Salomón. "Memory of Violence and Drama in Peru: The Experience of the Truth Commission and Grupo Cultural Yuyachkani – Violence and Dehumanization." International Journal of Transitional Justice 14, no. 1 (December 16, 2019): 232–41. http://dx.doi.org/10.1093/ijtj/ijz032.
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ABSTRACT∞ The theater collective Yuyachkani, a Quechua word meaning ‘I am remembering,’ were not strangers to the history the Peruvian Truth and Reconciliation Commission was rediscovering when they offered to contribute to the transitional justice process. They had been following the violence in Peru through their various performances and felt highly committed to the process of truth seeking and the search for reconciliation. The performances of Yuyachkani do not seek to reproduce the facts. They do not commit the naive error of certain realist art efforts, to portray social violence per se in a supposedly concrete way. Their tools are rather the symbols through which culture is expressed. It is not a matter so much of reproducing the facts as of producing effects, to reveal and convey the tragedies of Peruvian society. Performance heightens the senses and opens our imaginations to the deep truths that have been lost among the facts.
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Hays, Michael. "Notes toward a History of Tragedy and the “Tragic”." boundary 2 47, no. 2 (May 1, 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 context, including their use value in the social and ideological framing of “life” in society or across societies. In times of cultural or intercultural conflict, including our own, the process of defining a theatrical genre can even become a tool, a weapon almost, in defining interpersonal value and human meaning as such.
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Haskell, Yasmin. "The Vineyard of Verse." Journal of Jesuit Studies 1, no. 1 (2014): 26–46. http://dx.doi.org/10.1163/22141332-00101003.
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This review of scholarship on Jesuit humanistic literature and theater is Latin-oriented because the Society’s sixteenth-century code of studies, the Ratio Studiorum, in force for nearly two centuries, enjoined the study and imitation in Latin of the best classical authors. Notwithstanding this well-known fact, co-ordinated modern scholarship on the Latin poetry, poetics, and drama of the Old Society is patchy. We begin with questions of sources, reception, and style. Then recent work on epic, didactic, and dramatic poetry is considered, and finally, on a handful of “minor” genres. Some genres and regions are well studied (drama in the German-speaking lands), others less so. There is a general scarcity of bilingual editions and commentaries of many “classic” Jesuit authors which would, in the first instance, bring them to the attention of mainstream modern philologists and literary historians, and, in the longer term, provide a firmer basis for more synoptic and synthetic studies of Jesuit intertextuality and style(s). Along with the interest and value of this poetry as world literature, I suspect that the extent to which the Jesuits’ Latin labors in the vineyard of the classroom formed the hearts and minds of their pupils, including those who went on to become Jesuits, is underestimated.
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Kryeziu, Sindorela Doli. "Language Development Through Drama in Preschoolers." European Journal of Language and Literature 5, no. 1 (April 30, 2019): 15. http://dx.doi.org/10.26417/ejls-2019.v5i1-189.
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The child develops as a whole, in all developmental areas. The overestimation or underestimation of any field is a mistake because the child does not develop once in the physical aspect, then emotional, intellectual, and so on. Therefore, the division between the fields is also largely formal. Just as the child's development is thorough, specific areas of development must also be seen as part of a whole, the effectiveness of which depends largely on the level of integration between them. One of the most important infrastructures of today's society of information is education, the main purpose of which is the preparation of creative and innovative people. Education has developed an integrated approach to early childhood education, which naturally combines the process of education, health care, education, child play, artistic education and professional care to their development. In this context, important steps were taken regarding preschool education such as in designing methods for pre-school education, drafting general standards of pre-school education and pre-school curricula / preparatory classes. In order to have a genuine linguistic development an important step is artistic education, which includes a wide range of activities. In this field are summarized all the activities that enable the child to communicate through visual presentation, musical sound, dramatic expression, audiovisual means, etc. Artistic education introduces children with elements of art, entertains and offers them opportunities to develop artistic "gift". Fields of art, which traditionally take place in the activities of preparatory classes, are music, applied art, graphics and drawing. An important place in artistic education has won the theater activity and mass media. Therefore, we will deal in our paper with their language development through drama.
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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 like Kobrin, whose writing and political views were strongly influenced by Russian populism. The play depicted a dramatic clash between two cultural models: an American banker as a “self-made man” and the Russian-Jewish intellectual and Zionist leader. It reflected the issues of inter-generational conflicts, Jewish assimilation and anti-Semitism in America. Kobrin portrayed representatives of conservative and liberal circles in American society and demonstrated different attitudes towards the tragedy experienced by European Jewry during the First World War. The depiction of the younger generation allowed Kobrin to show the American university milieu, the work of the settlement house movement and the educational institutions for the Jewish immigrants. The play touched upon the social, intellectual and political life on the Lower East Side.
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Hsieh, Hsiao-mei. "In the name of Shakespeare." Cultural China in Discursive Transformation 21, no. 2 (July 5, 2011): 319–29. http://dx.doi.org/10.1075/japc.21.2.09hsi.
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, also known as classical Chinese opera or sung drama, had been the major entertainment in the traditional Chinese society. In Taiwan, Beijing opera as ‘National Drama’ had long enjoyed resources far more than other xiqu genres. However, with the rapid transformation of socioeconomic structure, xiqu experienced drastic decline in audience in the face of Western culture. The call for a “modernized” xiqu became imperative. Under such circumstances, the Contemporary Legend Theater company (CLT) came to the fore. It was founded by a Beijing opera practitioner Wu and his wife Lin, a modern dancer. The debut Kingdom of Desire in 1986, adapted from Macbeth, stirred great excitement in Taipei, and later the play toured around the world. While displaying the legacy of xiqu performance, the couple aimed to go beyond the boundary of Beijing opera and search for a new genre that can reach a wider audience. Their subsequent productions are also adaptations of Western canonical plays, such as Medea, the Oresteia and King Lear. While the marketing strategy of the CLT often stresses jingles such as “When the East meets the West,” intercultural performance as such reveals a double consciousness of the performers, who see themselves through the eyes of the (Western) others. The paper attempts to discuss the meaning of Shakespeare in the CLT’s intercultural adaptations and further examine the politics hidden behind this phenomenon of intercultural adaptation in Taiwan. I explore if such seemingly self-orientalizing adaptation contains resistance to globalization.
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Kornienko, Alina. "Le Sous-Psychodrame : une nouvelle forme dramatique de Jean-Luc Lagarce." Studia Universitatis Babeş-Bolyai Dramatica 66, no. 1 (April 25, 2021): 199–215. http://dx.doi.org/10.24193/subbdrama.2021.1.11.
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"The Sub-Psychodrama: a New Dramatic Form by Jean-Luc Lagarce. It is exactly by a neologism of a “sub-psychodrama” that the playwright and French director Jean-Luc Lagarce (1957-1995) defined one of his plays. The similarities between psychodramatic practices and Lagarce’s dramatic works are obvious. As in the context of psychodramatic practice, Lagarce’s characters take on roles and identify with them from a carnal as well as linguistic point of view. The situation in which Lagarce’s characters meet is very close to that which is, among others, treated by psychodramatists: the dialogue is not initialized, the individuals are stuck in their reproaches and focus only on their own points of view. Lagarce’s characters use the theatricalization, the putting in voice of a dramatic text of one of them in order to launch the speech that awaited this moment of expression. The sub-psychodrama, while being a poetic and dramatic concept of Lagarce, reveals the dialogical malaise in the contemporary society that the sub-psychodrama quotes while highlighting the complex mechanisms of the intersubjective perception as well as the mechanisms of our individual and collective memory. Both reflective self-perception, which goes from oneself to oneself, and transitive perception, which goes from oneself to the other or from the other to oneself – in the context of a speech act. The sub-psychodrama presents itself, therefore, as a dialogical and perceptive field of battle where the spoken word is in search of its answer. The sub-psychodrama invented and developed by Lagarce puts the concept of paper beings – linguistic puppets – at the same level, while promoting the coalition of puppet theater and word drama. Keywords: Lagarce, contemporary French drama, word drama, psychodrama, sub-psychodrama. "
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O'Connell, Michael. "Gail McMurray Gibson. The Theater of Devotion: East Anglian Drama and Society in the Late Middle Ages. Chicago: University of Chicago Press, xvi + 252 pp. $34.95." Renaissance Quarterly 44, no. 1 (1991): 113–15. http://dx.doi.org/10.2307/2862410.
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Coldewey, John C. "Gail McMurray Gibson. The Theater of Devotion: East Anglian Drama and Society in the Late Middle Ages. Chicago: University of Chicago Press. 1989. Pp. xiv, 252. $34.95." Albion 23, no. 2 (1991): 299–301. http://dx.doi.org/10.2307/4050615.
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Yevsyukov, Yu S. "Characteristic features of the upbringing of modern actor." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 209–22. http://dx.doi.org/10.34064/khnum1-51.12.
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In the time of changing global norms and rapidly developing technologies, modern theatre constantly evolves, adopting new theatrical forms; many of these emerged at the turn of the twentieth and twenty first centuries. In this regard, it is appropriate to talk about the formation of the new creative individual, the modern actor in contemporary theatre. Higher educational institutions, for both theatrical and cinematic professionals, should be aimed to develop not only highly qualified and competitive experts, but also creative individuals. As society is constantly evolving both culturally and spiritually, a contemporary artist has to be prepared to mirror this and progress their own style in respect to these considerations. Therefore, in this article we draw attention to the key characteristics in educating the modern actor. The objective of the study is to answer some of the topical questions relating to students mastering of acting; an attempt was made, focusing on the most important components of the profession, such as the authenticity of playing, improvisation, inspiration, actor’s personality, to concretize the features of the creative image of the contemporary stage master and his theatrical teacher. The methodological basis of the study includes the works of M. Knebel, K. Stanislavsky, M. Chekhov, and a number of other outstanding practitioners and theorists in the performing arts space. It also references studies, articles and publications of modern theatre teachers: P. Bruck, A. Vasilyev, E. Grotovsky, N. Zvereva, D. Livneva, P. Pavi. The results of the research. The Ukrainian theatrical art has always been emotional, lyrical, and sincere. Such his features exist as if out of time. So it was in the era of Schepkin, Solenik, Rybakov, Kropivnitskyi and Staritskyi. These qualities also are characteristic of today’s performing style. Therefore, drama teachers primarily pass on knowledge of traditional psychological theater. However, not forgetting the values of traditional learning, they also master other teaching methods, introducing students in theory and practice to the modern theatrical process, thus adopting the global theatrical language. Compulsory and integral parts of modern theatrical education are various techniques of stage speech and vocal, psycho-technique, methods of control over mental processes. The article also examines the practical skills gained during drama and stage speech lesson and their importance emphasizes, as well as the role such fundamentals features of scenic art as trueness, persuasion of playing, improvisation and inspiration, also an actor’s individuality. It is necessary to conscious that authenticity, trueness of actor’s playing has a great power over the audience. Working on the authenticity of acting, a pedagogue should understand what a student thinks about, how he responds and what he feels while staying in a role of one or another character. The basis of live theatrical playing is also improvisation. The student must distinguish the improvisation onto a scripted line from the poorly rehearsed acting. For professional theatre, it is inappropriate to use the latter type of improvisation, because it can lead an actor away from the role and the stage director’s decisions and deteriorate the spectacle. Therefore, rehearsals should always precede improvisation. Another component typical for creative professions is inspiration. This is the emotional actor’s resource, which is characterized by a highly productive state and an intensity of emotions. Inspiration does not come on demand; it manifests through the love of one’s job, through some bright idea or sometimes it occurs spontaneously and cannot be studied and replicated at will. In addition, while studying, each of students should try to uncover his uniqueness, his individuality and learn to listen to self-own inner voice; he should look for his own interpretation of a particular role. Based on the above, we can draw some conclusions. A student studying acting today should aim to equally master the knowledge of classical acting techniques and understand all the intricacies of modern avan-garde and postmodernist theatre trends, the diversity of which places special demands on the education of a modern actor. A modern artist must skilfully apply in practice the knowledge gained in the learning process . He should freely navigate in various methods of acting, in drama as the primary basis of the performance. He should have an idea about inspiration, improvisation, acting individuality and authenticity of playing, about stage space and time. It would be an error for a contemporary artist to confine himself to the sphere of his profession exclusively, he should understand the connected nature of arts and the relationship between the theatre and other art disciplines. Various techniques of stage speech and vocal, emotive approaches and methods of controlling the inner world are compulsory and an integral part of modern theatrical education. The deeper a student learns the specificity and laws of these arts, the more interesting and professional his performance becomes. In turn, the modern theatre pedagogue while training students should upbringing such features as self-confidence of a student; a sense of responsibility and autonomy; aim for discovery of a student’s individual abilities; development of his taste and a sense of proportion; the ability to analyze and being equipped to distinguishing high art from vulgar and fake.
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Glosemeyer, Robin. "Yale Drama Theater." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2439. http://dx.doi.org/10.1121/1.4781766.
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Kastleman, Rebecca. "16Performance, Theater, Drama." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 303–23. http://dx.doi.org/10.1093/ywcct/mbz016.
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Abstract The year 2018 was an especially fruitful and wide-ranging one for theater and performance studies. Several major monographs deepened discussion in established subject areas within the field, while new methodological approaches emerged, opening fresh directions in scholarship. This review focuses on four major areas of conversation that shaped the field in 2018: 1. Expanding Performance Aesthetics; 2. Economic and Material Contexts of Performance; 3. Enacting Public Justice; and 4. Performance on the Move.
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Admink, Admink. "ТОВАРИСЬКИЙ РУХ ЯК ЧИННИК КУЛЬТУРНО-МИСТЕЦЬКОЇ КОМУНІКАЦІЇ У ПОЛІЕТНІЧНОМУ СЕРЕДОВИЩІ МІСТА (НА ПРИКЛАДІ СТАНІСЛАВОВА ПЕРШОЇ ПОЛ. ХІХ – ПЕРШОЇ ТРЕТИНИ ХХ СТ.)." УКРАЇНСЬКА КУЛЬТУРА : МИНУЛЕ, СУЧАСНЕ, ШЛЯХИ РОЗВИТКУ (НАПРЯМ: КУЛЬТУРОЛОГІЯ), no. 31 (March 15, 2020): 15–22. http://dx.doi.org/10.35619/ucpmk.vi31.213.
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Репрезентовано динаміку поширення товариського руху у Станіславові (нині Івано-Франківську) в контексті поліетнічного середовища міста другої пол. ХІХ – першої третини ХХ ст. Досліджено практику низки українських, польських, єврейських громадсько-просвітницьких товариств, серед яких «Просвіта», «Рідна школа», «Руська Бесіда», «Союз українок», «Каменярі», «Фрогсін», «Гаскала», «Лютня», «Гармонія клейова» та інших, які виявилися активними комунікаторами у музично-мистецькій сфері. Охарактеризовано широкий спектр діяльності цих організацій в таких аспектах: заснування хорів, оркестрів, аматорських театральних гуртків; навчання диригентів для гуртків; відкриття освітніх курсів для режисерів і диригентів; влаштування драматичних вистав і концертів; організація конкурсів драматичних гуртків та хорів; відкриття навчальних закладів різного рівня і напрямів діяльності; проведення різнопланових лекцій і семінарів; започаткування бібліотек з музичною і драматичною літературою тощо.
Ключові слова: товариство, культурно-мистецька комунікація, поліетнічне середовище, Станіславів.
The article presents the dynamics of social movement in Stanislaviv (now Ivano-Frankivsk) in the context of the multi-ethnic environment of the city in the second half of the ХІХ th – the first third of the ХХ th centuries. The practice of numbers of Ukrainian, Polish, Jewish public-educational associations, including «Enlightenment», «Native School», «Russian Conversation», «Union of Ukrainians», «Kamenari», «Frogsin», «Gaskala», «Lyutnya», «Glue Harmony» and others who have proven to be active communicators in the music and arts field. A wide range of activities of these organizations is described in the following aspects: foundation of choirs, orchestras, amateur theater groups; training of conductors for circles; opening educational courses for directors and conductors; arranging dramatic performances and concerts; organization of competitions for drama groups and choirs; opening of educational establishments of different level and directions of activity; conducting various lectures and seminars; setting up libraries with music and drama literature and more.
Key words: society, cultural and artistic communication, multiethnic environment, Stanislaviv.
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Panasiuk, Valerii. "«La Traviata» remastered. G. Verdi’s opera in the stage interpretation by V. Nemirovich-Danchenko." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 63–82. http://dx.doi.org/10.34064/khnum2-21.04.
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The historical evidence of the XX – the beginning of the ХХІ century musical theatre proves that the drastic interpretation as “a coherent artistic project” can include creating a new text for a libretto, which is aligned to fundamentally important provisions of the director’s concept. It was true for G. Verdі’s “LaTraviata” theatrical performance implemented on the stage of the State Musical Theatre named after People’s Artist of the Republic V. Nemirovich-Danchenko (1934). Due to their provocative approach and radicalism of breaking with wellestablished traditions the ideas of the stage producers (directors, a conductor, an artist and a librettist) are in tune with the guidelines of the modern interpreters of opera classic. Consequently, that far away experience becomes relevant nowadays. Considering it, one can enable solve certain problems in condition when the new ideological principles and innovative art directions are spread. There is an urgent necessity to define the principles of coping with a libretto as an integral part of a holistic director’s vision on the example of “LaTraviata” staging implemented by V. Nemirovich-Danchenko (1858–1943), who was one of the most prominent reformers of both drama and musical theatres in the XX century. So, the aim of this article is to analyze the libretto for the opera “La Traviata” by G. Verdi created by V. Inber using the research approaches of theater studies and literary theory and to define the principles of working with the verbal text as with the part of a holistic director’s conception implemented by V. Nemirovich-Danchenko. The results of the research. Taking into account the guiding directions of the Soviet ideology, the producers obviously over accentuate the social component of the conflict. As a result, “the scenic situation is exacerbated” and consequently “Violetta’s social characteristics” are adjusted; being originally a demimondaine, the main heroine turns into an opera singer, whose tragedy makes the class conflict obvious. The total redefining of the conflict, transferring the place of the action (Venice) and the time (the 1870s), and characters’ social tagging enables implementing another fundamentally important provision – an aesthetic one. The visual identity of the 1870s is strongly associated with the impressionists’ images, Venice is identified with a carnival and relevant artistic attributes (the third act of the play). Focusing on the certain “painting archetype of the epoch”, the set designer (P. Williams) created the suitably matched environment for scenic playing. The innovative approach provided by the director’s concept is implemented within the libretto text by means of updating the stage narrative itself. The author of the libretto, Vera Inber (1890–1972) does not emphasize the opera singer’s destiny, but pays attention to the main character’s relations with the bourgeois society. The latter observes the lifetime conflicts development of one of the artistic bohemia’s representatives with a great deal of interest, but without any compassion. That fact justifies using the new scene – the stage, which enables applying the principle “a theatre within a theatre” (also in the sphere of the artistic design). This approach is naturally combined with the use of the “heraldic construction” in V. Inber’s libretto. In the process of realizing the stage narrative, a separate plot situation is repeated in a small-scale version. The mindset to double and complicate the narrative is carried out in the libretto. Due to that fact, a new conflict (social in its origin and provided by the authors of the director’s vision) development is enabled. The relevant literary allusions in poetical text (although obviously shallow) are set to create a meaningful artistic prospect. In the turning points, the storylines development in V. Inber’s libretto coincides with F. М. Piave’s libretto drama collisions: happy lovers; their happiness, destroyed by Alfred’s father; having an argument and the heroine’s death. The key distinction of a new version is the refusal to use Violetta’s disease as the character’s feature and the plot component, which determines the tragic ending. That is why the fourth act becomes fundamentally different, unlike the original one. Being ignored by the bourgeois environment, Violetta secludes herself from the society and abandons her successful career. The singer informs her coactors (who appear on the stage later) about that fact in the letter. Implementing the principle “a theatre within a theatre” consistently, V. Inber treats the entire final set (especially the heroine’s death) as the last scene of the theatrical performance. Thus, the inevitability of the tragic resolution of the conflict between the artistic personality and the bourgeois society is proved. It facilitates realizing dramatically vital guidelines of a director’s general vision, which becomes determinant in the process of staging G. Verdі’s masterpiece. Conclusions. The practice of rewriting librettos in the first decades of XXI century acquires a new relevance. First, creating a new libretto resolves all the disagreements between a conception of the production team and the original verbal text nowadays. Mostly those contradictions emerge in the process of changing the locality, in which the action proceeds and the time of the plot. Secondly, one of the most burning problems of the ХХІ century musical theatre, concerning the performance language choice, is resolved. Performing an opera using the audience’s native language promotes full-fledged communication between the actors and the spectators. Thirdly, the necessity for rewriting librettos supposes involving the prominent masters of the word, especially poets. Thus the effective dialogue between different national cultures is put into practice and the active circulation of the previous centuries classic (including the opera one) in the socio-cultural sphere is insured.
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Hidaka, Takayuki, and Leo L. Beranek. "Drama Theater of the New National Theater (NNT), Tokyo, Japan." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2439. http://dx.doi.org/10.1121/1.4781835.
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Fokin, Aleksandr. "Ilya Surguchev's theater in the history of Russian foreign theater." KANT Social Sciences & Humanities, no. 3 (July 2020): 40–51. http://dx.doi.org/10.24923/2305-8757.2020-3.5.
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Drama is defined as the main phenomenon of Ilya Surguchev's creative biography. ON this basis, the main chronology of his life and work during the period of emigration is presented. Biographical and historical-functional methods of literary research are used. The plays of the 1910s and 1940s, their themes and problems are characterized. An overview of the main premiere performances based on Surguchev's plays in theaters in Russia and Europe is presented. Questions of I.D. Surguchev's poetics of drama are raised; the prevailing genres, plots, themes, and stylistic dominants are highlighted. The role of Surguchev in the history of the theater of the Russian abroad is determined.
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Stalter-Pace, Sunny. "Underground Theater." Transfers 5, no. 3 (December 1, 2015): 4–22. http://dx.doi.org/10.3167/trans.2015.050302.
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This article begins from the premise that modern American drama provides a useful and understudied archive of representations of mobility. It focuses on plays set on the New York City subway, using the performance studies concept of “restored behavior” to understand the way that these plays repeat and heighten the experience of subway riding. Through their repetitions, they make visible the psychological consequences of ridership under the historical and cultural constraints of the interwar period. Elmer Rice's 1929 play The Subway is read as a particularly rich exploration of the consequences of female passenger's presumed passivity and sexualization in this era. The Subway and plays like it enable scholars of mobility to better understand the ways that theatrical texts intervene in cultural conversations about urban transportation.
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Žmak, Jasna. "Linguistics, poetics, theater and drama." Zbornik Akademije umetnosti, no. 7 (2019): 147–57. http://dx.doi.org/10.5937/zbakum1907147z.
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Eligator, Ronald T., David W. Kahn, and Nicholas Edwards. "Recent drama theater design experience." Journal of the Acoustical Society of America 128, no. 4 (October 2010): 2274. http://dx.doi.org/10.1121/1.3507953.
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Margolin Lerman, Zafra. "Making Science Education Accessible to All." Aula Abierta 46, no. 2 (July 25, 2017): 13. http://dx.doi.org/10.17811/rifie.46.2.2017.13-16.
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ABSTRACTMany students shy away from science. In order to attract students into studying science, creative methods for teaching and learning were developed for all levels of education, from primary school to university, and from formal to informal settings. These methods utilize the students’ talents, hobbies, interests and cultural backgrounds. Equal access to science education is a human right that belongs to all [1, 2]. If we do not guarantee science education to all, we will form a two-class society divided not by royalty and status, but by knowledge of science. The centerpiece for this method is the development of student projects, which help them to remember and understand abstract scientific concepts. An old Chinese proverb says: “I hear and I forget; I see and I remember; I do and I understand.” These students’ projects take advantage of seeing and remembering, doing and understanding.Through this process, students are active learners, instead of being passive observers. To demonstrate their understanding of scientific concepts through their projects, the students use a media of their choice, from drawing, dance and drama (no tech) to computer animation (high tech). Projects can also take the form of paintings, sculptures, songs, films, and scripts for theater. These projects are used as alternative assessment methods where the whole class is involved in the assessment process. In order for this method to be successful, workshops for teachers as well as parents must be conducted. This way, the students will be taught in a creative way in school and through the joint involvement of teachers and parents, students will be encouraged to pursue chemistry. After all, “it takes a village to raise a child,” as the African proverb states.
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Margolin Lerman, Zafra. "Making Science Education Accessible to All." Aula Abierta 46 (July 25, 2017): 13. http://dx.doi.org/10.17811/rifie.46.2017.13-16.
Full textAbstract:
ABSTRACTMany students shy away from science. In order to attract students into studying science, creative methods for teaching and learning were developed for all levels of education, from primary school to university, and from formal to informal settings. These methods utilize the students’ talents, hobbies, interests and cultural backgrounds. Equal access to science education is a human right that belongs to all [1, 2]. If we do not guarantee science education to all, we will form a two-class society divided not by royalty and status, but by knowledge of science. The centerpiece for this method is the development of student projects, which help them to remember and understand abstract scientific concepts. An old Chinese proverb says: “I hear and I forget; I see and I remember; I do and I understand.” These students’ projects take advantage of seeing and remembering, doing and understanding.Through this process, students are active learners, instead of being passive observers. To demonstrate their understanding of scientific concepts through their projects, the students use a media of their choice, from drawing, dance and drama (no tech) to computer animation (high tech). Projects can also take the form of paintings, sculptures, songs, films, and scripts for theater. These projects are used as alternative assessment methods where the whole class is involved in the assessment process. In order for this method to be successful, workshops for teachers as well as parents must be conducted. This way, the students will be taught in a creative way in school and through the joint involvement of teachers and parents, students will be encouraged to pursue chemistry. After all, “it takes a village to raise a child,” as the African proverb states.
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Prokopovych, Lada. "Theatrical component of protests against Covid-quarantines: socio-philosophical reflection." Grani 24, no. 2 (February 28, 2021): 101–9. http://dx.doi.org/10.15421/172118.
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The socio-political life of society presupposes communication between the authorities and the people, and the people with the authorities. This communication can be carried out in various forms, including with elements of theatricality (play, performance, artistry, costumes and sets, drama, direction, etc.). The Covid-19 pandemic has largely changed the socio-political life of different countries, but has not canceled the desire of people to theatricalize this life. This is evidenced, in particular, by the protests against the Covid-quarantines, which added new techniques and subjects to the repertoire of the political “theater”. The purpose of this study is to identify elements of theatricality in protests against Covid-quarantines and to interpret them in a socio-philosophical aspect. The methodological strategy of this study is based on the concept of theatricality of socio-communicative manifestations of culture. This concept allows us to comprehend the essence and forms of existence of social reality in the dynamics of their changes with a change in the cultural (political, socio-economic, informational, etc.) context. As a result of the study, it was found that many protests against quarantine restrictions are characterized by theatrical component withe elements such as play, performance, costumes and scenery, corresponding drama, etc. This is due to the fact that any protest action (whether it be a mass meeting or an individual protest) is a public event addressed to a specific audience to which a specific message needs to be conveyed. However, it was found that in protests against lockdowns, the theatrical component manifests itself in different ways at different stage of the pandemic. During the first wave, elements of costumed performances and comic antics prevailed in them, but for the second wave mass rallies became characteristic, most of which end in clashes with the police. There is much less theatrical content in these actions. This indicates that the theatrical component of the protest action lasts only as long as there is hope for a dialogue with the authorities. When the people do not receive answers to their questions, they begin to use other forms of communication with the authorities.