Relevant bibliographies by topics / Theater in literature

Contents

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

Academic literature on the topic 'Theater in literature'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Theater in literature"

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Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States." Text Matters, no. 9 (December 30, 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.

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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with his other project, the Second City. Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.
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Aziz, Adil, Shazia Ismail Toor, and Niza Qureshi. "CULTURAL RESILIENCE THROUGH THEATER: AN IN-DEPTH EXAMINATION OF DRAMATIC NARRATIVE COMMUNICATION IN THE POST-PARTITION ERA." Pakistan Journal of Social Research 04, no. 02 (June 30, 2022): 1320–27. http://dx.doi.org/10.52567/pjsr.v4i2.1333.

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In this research, an attempt has been made to find out what has been the state of the art of theater, which can play an important role in national development, after the creation of Pakistan. Historically, it has been proven that there has been a strong tradition of theater in this region. Considering the weaknesses and gaps that emerged from the literature review on this topic, the research methodology was adopted. The qualitative method has been used for the research. In-depth interviews of experts and written history of the theater are used as tools for the study. Due to ideological confusion, migration of theatre performers settlement problems, the economic situation, and the capitalist system, the theater could not be stable as a media organization. A few groups were formed later, but they are not guaranteed for the future. If the state wants, everything is possible. This is an important finding on the contribution of East Pakistan in performing arts such as theatre, which was part of Pakistan until the separation as the Bangla Desh, Pakistani historical literature is completely silent. Keywords: Theater; culture; drama; partition.
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Misirača, Marko. "50 Years of Drama from Bosnia & Herzegovina in Theater Festival of Bosnia and Herzegovina in Jajce: A Short History of Bosnian Theater Plays Through an Overview of Participation in the B&H Theater Festival in Jajce." Društvene i humanističke studije (Online) 6, no. 3(16) (July 27, 2021): 59–70. http://dx.doi.org/10.51558/2490-3647.2021.6.3.59.

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The text reviews the presence of Bosnian drama and prose literature on professional theater stages in BiH through performances that participated in the Theater Festival of BiH in Jajce in the last 50 years. Through an overview of the participation of performances at one of the most important state festivals, the presence of BiH plays in professional theaters in Bosnia is analyzed in the mentioned period - the treatment of BiH dramas by theaters as well as perceptions of them by the professional audience.
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van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.
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Cohn, Ruby. "Theater in Recent English Theater." Modern Drama 30, no. 1 (March 1987): 1–13. http://dx.doi.org/10.3138/md.30.1.1.

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Carlson, M. "All Theater Is Revolutionary Theater." Modern Language Quarterly 67, no. 3 (August 18, 2006): 416–18. http://dx.doi.org/10.1215/00267929-2006-010.

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Karpova, Nataliya L. "Literature and theater in logopsychotherapy." National Psychological Journal 51, no. 3 (2023): 191–200. http://dx.doi.org/10.11621/npj.2023.0319.

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Background. Fiction and art therapy methods are applied to increase the effectiveness of therapy for speech disorders. Objective. The article aims to show the use of bibliotherapy and performing arts in the restoration of impaired speech communication in stuttering on the example of family group speech therapy. Methods. Theoretical analysis of sources on the topic; analysis, comparison, generalization of research conducted in logopsychotherapy; dynamic psychotherapeutic diagnostics of Yu.B. Nekrasova; bibliotherapy; art therapy; family group logopsychotherapy. Results. A comparative analysis of approaches to the definitions of bibliotherapy and drama therapy in Russian and foreign studies is carried out. The forms of appeal to works of fiction and the art of theater in the process of social rehabilitation for a person with a stutter are considered. The role of stage speech in the normalization of speech mechanism and the specifics of methods of bibliotherapy and art therapy in family group logopsychotherapy are demonstrated. Logopsychotherapy is a system applied to restore impaired speech communication in stuttering children, adolescents and adults with the active participation of their parents and relatives. The forms of application of bibliotherapy (individual, individual-group, group) at different stages of logopsychotherapy are analyzed. The use of theatrical techniques in active group speech therapy is shown. Conclusion. Methods of bibliotherapy and art therapy in relation to the therapy of any mental disorder are adapted in order to solve a specific problem. In family group logopsychotherapy, when referring to bibliotherapy and theatrical art techniques, attention is directed to the word in the text and spoken communication of actors in order to achieve the freedom of stuttering to change mental states in different situations of spoken communication. Methods of bibliotherapy and art therapy contribute to the organization of intragenic behavior of all participants in logopsychotherapy to achieve results in speech and communication.
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Petrović, Miomir. "Theory of Freytag's pyramide and its applicability to modern literature." Drustveni horizonti 1, no. 2 (2021): 241–53. http://dx.doi.org/10.5937/drushor2102241p.

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Since the beginings, the theater has been often used for expressions of philosophical thought in the form of direct dialog. With theatrical positions it must be concluded that the theater often plays a part stands for para-theater operations and assigned to the limit when it became unclear whether this is a theater in general. However, the debate "for" or "against" engaged theater looks today more than out of place, since both have a clear opinion confirming the history of theater. If we look at the numerous theories of drama from a wider perspective, the perspective of the media, we immediately see that the theater aesthetics rests on the principles of mass communication, collective perceptions, interactions of the world scene and world audience and evoking event theater professionals cannot speak and not to talk, simultaniosly, about the world, society, the collective. It is clear that the dramatic literature has directly or indirectly involved, the nature of its invoices and creative means of expression.
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Schmidt, Christian. "Das Dispositiv der Andacht." Zeitschrift für Literaturwissenschaft und Linguistik 50, no. 3 (September 2020): 417–34. http://dx.doi.org/10.1007/s41244-020-00175-y.

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Zusammenfassung Der Beitrag schlägt mit dem ›Dispositiv der Andacht‹ ein Modell für ein Netz von Subjektivierungsstrategien vor, in dem sich geistliche Spiele vor der Zeit des Theaters verorten lassen. Er stellt die Prämisse der Alterität des mittelalterlichen Theaters zurück, um einen Zugriff zu gewinnen, der nicht leitend am Theater der Neuzeit orientiert ist. Die theater- und literaturgeschichtliche Perspektive, die dadurch in den Hintergrund gerät, lässt sich in den geistlichen Dramentraditionen der Frühen Neuzeit wieder einholen. Für eine Erfindung des frühneuzeitlichen Theaters aus der Perspektive des Spätmittelalters.
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Wang, Jingyao. "A Comprehensive Review of Research Literature on the Development of Childrens Drama in China -Using the Example of the Play Malanhua." Communications in Humanities Research 14, no. 1 (November 20, 2023): 329–34. http://dx.doi.org/10.54254/2753-7064/14/20230513.

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Childrens theater plays a significant role in the cultural landscape of theater and has a major impact on childrens education. In this study, the author uses a literature review method, focusing on the play Malanhua, to review the research progress in Chinese childrens theater, specifically in terms of script content, themes and so on. The research results on the innovation and development of stage design, characterization, and main theme of Chinese childrens theatre represented by Malanhua are summarized and concluded. With the changes in the times and the evolving societal needs, the perspective on children has also changed. Starting from the deep influence of political ideologies in the 1950s and 1960s to a return to nature in the 1980s, and then to catering to the market in the new century, these shifts have influenced the tendencies in character development, themes, script content and stage design in childrens theater. However, there are some tendencies that have remained constant, such as the increasingly successful fusion of Chinese traditional culture and Western culture in stage design, the understanding of the characters by the director and scriptwriter deepens in terms of character development, and the close connection between purpose and societal needs. Eventually, it was pointed out that deficiencies and limitations of research on childrens theater in China, like the lack of theoretical construction in childrens drama, the weak foundation of the history of childrens theater in China and so on.
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Dissertations / Theses on the topic "Theater in literature"

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Wilson, Timothy H. "The question of representation in Elizabethan literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0008/NQ38802.pdf.

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Rutherford, Cassandra. "Building theatres/theatre buildings : reinventing Mull Theatre." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5254/.

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Mull Theatre is a professional touring theatre company based on a small island off the west coast of Scotland. In 2008 the company relocated from a small converted cow byre which seated 42 people to a new purpose-built venue –Druimfin - on a different part of the island. The move was made possible through a grant from the Scottish Arts Council in 2006, which was awarded on the expectation that the new building would be a ‘production centre’ as opposed to a theatre. That is to say the emphasis in the design of the new space was to be placed on the production rather than the reception of the theatrical event. This stands in contrast to the expectation of many theatre attendees that the new space would continue as it had been – as a place to go and see a theatre production - but that it would do so out of a much larger, more comfortable and better equipped venue. Building Theatres/Theatre Buildings stems from a three year Collaborative Doctoral Award between Mull Theatre and the University of Glasgow, which was funded by the Arts and Humanities Research Council (AHRC). Using the partnership that emerged from this award, the thesis explores what was potentially lost and gained in the move in order to draw conclusions about the wider relationship between spaces of performance and the creation of theatrical meaning in relation to small and medium scale touring theatre. It also uses the company’s dual identity as a touring company with its own permanent building to extend the discussion and to examine the wide range of venues which currently form the rural touring circuit in Scotland. By bringing together primary fieldwork from a pivotal moment in the company’s identity alongside current dialogues regarding theatre space and touring theatre, this research provides new knowledge about this often overlooked theatre company, its buildings and its role within contemporary Scottish theatre and small scale rural touring.
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Libbon, Stephanie E. "Frank Wedekind's fantasy world : a theater of sexuality." Connect to resource, 2000. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1229696568.

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Najar, Daronkolae Esmaeil. "Pam Gems: Rethinking Her Life and the Impact of Her Plays on British Stage." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523487108676837.

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Wood, Jennifer Linhart. "Sounding Otherness in Early Modern Theater and Travel Writing." Thesis, The George Washington University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3587221.

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My dissertation explores how sound informs the representation of cross-cultural interactions within early modern drama and travel writing. "Sounding" implies the process of producing music or noise, but it also suggests the attempt to make meaning of what one hears. "Otherness" in this study refers to a foreign presence outside of the listening body, as well as to an otherness that is already inherent within. Sounding otherness enacts a bi-directional exchange between a culturally different other and an embodied self; this exchange generates what I term the sonic uncanny, whereby the otherness interior to the self vibrates with sounds of otherness exterior to the body. The sonic uncanny describes how sounds that are perceived as foreign become familiar through the vibratory touch of the soundwave that attunes a body to its sonic environment or soundscape. Sounds of foreign Eastern and New World Indian otherness become part of English and European travelers; at the same time, these travelers sound their own otherness in Indian spaces. Sounding otherness occurs in the travel narratives of Jean de Lèry, Thomas Dallam, Thomas Coryate, and John Smith. Cultural otherness is also sounded by the English through their theatrical representations of New World and Oriental otherness in masques including The Masque of Flowers, and plays like Robert Greene's Alphonsus, respectively; Shakespeare's The Tempest combines elements of East and West into a new sound—"something rich and strange." These dramatic entertainments suggest that the theater, as much as a foreign land, can function as a sonic contact zone.

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Grubbs, Anthony John. "Defending innovation : dramatic theory in practice in early modern Spain /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3162287.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2005.
Title from PDF t.p. (viewed Nov. 11, 2008). Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0194. Chair: Catherine Larson.
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Karr, Kasi. "Indoctrinated Spheres: Intergenerational Education and Gender Constructs in Githa Sowerbys Rutherford and Son." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450101317.

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Politte, Paul Edwin. "Contrapunteo: The Question of "National" Theater in Turn-of-the-Century Argentina and Mexico." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11196.

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This project explores the phenomenon of National Theater in both Argentina and Mexico, specifically reevaluating the former's exemplarity and the latter's "failure." I propose that Fernando Ortiz's notion of contrapunteo is useful when thinking about the tensions found in National Theater, and I deploy this understanding to argue that, contrary to critical opinion, the "frivolous" Mexican theater scene was a key factor in the Mexican Revolution.
Romance Languages and Literatures
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Pieschel, Alex. "Character in the cue space| An analysis of part scripts in Shakespeare's "Coriolanus" and "Julius Caesar"." Thesis, The University of Alabama, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1584499.

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This paper aspires to perform an analysis of Early Modern character by thinking of character as a formative process, spanning playwriting to part-learning to dramatic performance. My analysis, which will focus on Shakespeare's Coriolanus and Julius Caesar, dismisses any notion of the Shakespeare play as holistic or complete text. I draw from Tiffany Stern and Simon Palfrey's Shakespeare in Parts, which establishes a methodology for the analysis of "part" or "cue" scripts, texts that feature a single character's lines amputated from the larger play.

In the Early Modern period, an actor's "part" or "side" would have included his own lines and the cues he needed to know to enter the scene or begin speaking. The part would have been learned in isolation, so the actor would have relied on cues to understand how his role fit into the larger play. I argue that the function of isolated parts and cues, or the last three to five words of any character's lines, is currently underestimated in critical analysis of Shakespeare texts, especially in literary close readings that focus on "character."

The textual space that Palfrey and Stern label the "cue space" continues to be underestimated, I imagine, because critics still view this space as an overly speculative construct. It is true that we cannot speak concretely about what an Early Modern actor would or would not have done, but we can highlight the implications of a potential performance decision. Cues, sites of stability surrounded by malleability, are ripe with potential performance decisions. By drawing from a methodology grounded in an understanding of parts and cues, we may more clearly contextualize the combative collaboration between actor and playwright through which character is formed.

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Smith, Terry Donovan. "Text and performance : semiotic analysis for dramaturgy and the development of production concepts /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/10226.

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Books on the topic "Theater in literature"

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Little, Jean. Theater. Austin, Tex: Steck-Vaughn Library, 1990.

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America, Boy Scouts of, ed. Theater. Irving, Tex: Boy Scouts of America, 2005.

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Roca, Núria. Theater. Hauppauge, NY: Barron's, 2004.

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University of South Carolina. Dept. of Foreign Languages and Literatures., ed. Theater and society in French literature. Columbia, S.C: Dept. of Foreign Languages and Literatures, College of Humanities and Social Sciences, University of South Carolina, 1988.

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Kohen, Gabriela. The theater. [Torrance, Calif.]: Laredo Pub. Co., 1992.

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Chrisp, Peter. A Greek theater. Austin, Tex: Raintree Steck-Vaugh Publishers, 2000.

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Sjåvik, Jan. Historical dictionary of Scandinavian literature and theater. Lanham, MD: Scarecrow Press, 2006.

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Ehlers, Katrin. Mimesis und Theatralität: Dramatische Reflexionen des modernen Theaters im 'Theater auf dem Theater' (1899-1941). Münster: Waxmann, 1997.

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Morley, Jacqueline. Shakespeare's theater. New York: P. Bedrick Books, 1994.

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May, Robin. Looking at theater. London: M. Cavendish, 1989.

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Book chapters on the topic "Theater in literature"

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Jay, Paul. "Transnational theater." In Transnational Literature, 179–94. Abingdon, Oxon ; New York, NY : Routledge, 2021. |: Routledge, 2021. http://dx.doi.org/10.4324/9780429286667-9.

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Marcus, Sharon. "The Theater of Comparative Literature." In A Companion to Comparative Literature, 136–54. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444342789.ch10.

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Broder, Lesley. "9/11 Theater." In Transatlantic Literature and Culture After 9/11, 141–58. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137443212_9.

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Kilbane, Aimee. "Theater of the underworld." In "Gypsies" in European Literature and Culture, 217–33. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611634_12.

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Jew, Kimberly May. "(Multi)Ethnic Absurdist Theater." In The Routledge Companion to Absurdist Literature, 398–407. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003422730-47.

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Perrello, Tony. "The Jacobean Theater of Horror." In The Palgrave Handbook to Horror Literature, 127–38. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97406-4_10.

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Grossman, Julie. "Musical Theater and Independent Film." In Literature, Film, and Their Hideous Progeny, 126–43. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137399021_7.

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Kim, Ungsan. "The Poet and the Theater." In The Routledge Companion to Korean Literature, 488–502. New York: Routledge, 2022. http://dx.doi.org/10.4324/9780429328411-50.

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Yeager, Suzanne M. "Racial Imagination and the Theater of War." In A Companion to British Literature, 81–96. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118827338.ch6.

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Weltman, Sharon Aronofsky. "Theater, Exhibition, and Spectacle in the Nineteenth Century." In A Companion to British Literature, 68–88. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118827338.ch80.

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Conference papers on the topic "Theater in literature"

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Yusnilita, Nopa, Januarius Mujiyanto, Mursid Saleh, and Dwi Anggani Linggar Bharati. "Using Readers’ Theater for Building Students’ Motivation in Learning Literature." In International Conference on Science and Education and Technology (ISET 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200620.112.

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Tanner, Samuel. "Improv Theater and Racial Scripts in Education: A Systematic Literature Review." In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1882305.

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Constanceanu, Veronica-Alina. "The Dramaturgy of Some Prose Writers." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.05.

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The dramatic text is primarily written to be played, the relationship between the text and the possible reader being secondary. The relationship with the director and the viewer is important. Dissecting the dramatic text must take into account its particularities. In this article we will focus on the writings of two novelists who also wanted to be playwrights. Novelist and screenwriter, indisputable star of post-war Romanian literature, Titus Popovici was also present in theaters with only two plays. Ştefan Agopian’s connection with the theater is accidental, he dramatized one of his books, but the text was not never performed on a stage.
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Bryleva, Natalia. "CHINESE XIQU THEATER ON THE PAGES OF DREAM OF THE RED CHAMBER: THE PHENOMENON OF “HOME THEATER” IN THE QING PERIOD." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.15.

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The Dream of the Red Chamber by Cao Xueqin, being the pinnacle of Chinese classical literature, has been studied and commented on for several centuries. Being a recognized encyclopedia of old Chinese life, this novel provides the reader with numerous information about various aspects of the life of the aristocracy of Qing China. The theme of the theatre is one of the most interesting aspects of traditional culture, reflected in the pages of “Hongloumen”. The novel provides information about the peculiarities of the social status of actors, the composition of theatre troupes and their varieties, repertoire, the ways of organization of performances, the management system of troupes, etc. There are not so many “opera scenes” in the Dream of the Red Chamber, but they cover a wide range of the existence of musical drama. Based on this information, it is possible to identify the specifics of “house troupes” in the Qing period, to consider the role, functions and influence of opera productions on the characters of the novel, to trace the fate of the actors. The novel Dream of the Red Chamber is an inexhaustible source of knowledge about the traditions and cultural features of imperial China.
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Postolache, Inga. "Premises of the appearance of the Romanian musical: pages of history." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.13.

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The musical is a genre of the musical theater of non-academic orientation, which syncretically combines literature, theater, music, dance, scenography, light design, thus creating a show for audiences of all ages. The purpose of the article is to analyze the premises of the appearance of the musical on the Romanian stage, as well as to reveal the first attempts to create the national musical.
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Molnar, Angelika. "CONTEMPORARY HUNGARIAN PRODUCTIONS OF MAXIM GORKY'S PLAYS “AT THE BOTTOM”." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3692.rus_lit_20-21/49-52.

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The text of the paper presents the most important modern productions of Maxim Gorky's drama “At the Bottom” (The Lower Depths) on the Hungarian theater stage. The author examines new solutions with the help of which Hungarian scriptwriters and directors theatrically implement a verbal work. The play is present in the repertoire of Hungarian theaters to this day, as one can feel the spiritual kinship between Russian and Hungarian people, the commonality between Russian and Hungarian life, the urgency of the problem of the impossibility of getting from the bottom of society to the top. The popularity of “At the Bottom” is also explained by the fact that Gorky transforms Chekhov's model, endowing it with eternal philosophical content, thesis, and the transfer of conflict to the social plane. Hungarian theatrical art is based on the realistic presentation and execution of the text. However, there are also more daring, modernized performances with radical staging solutions, for example, the rejection of certain scenes or the addition of new ones. The focus of the review is on those modern interpretations that have chosen the “golden mean”.
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Dong, Xiao. "POPULARITY OF STANISLAVSKY IN CHINA." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.26.

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Konstantin Sergeevich Stanislavsky is the most influential theater director of the Soviet era in the first half of the 20th century. The system he created, which is based on the “art of experiencing”, had a profound impact on the performing arts of the 20th century. Since it was introduced into China in the 1940s, it has played a very important role in the development of contemporary Chinese drama performance art in the 1950–1960 years. In the 1960–1970, Stanislavsky was criticized in China. Since the late 1970s, although Stanislavsky has been vindicated in China, his importance has correspondingly weakened with the popularity of Brecht. It can be said that the encounter of Stanislavsky in China is a typical example, reflecting acceptance and interpretation of Russian Soviet literature and art in China. To some extent, this tendency obscures the real value of Russian Soviet literature and art. It is a problem worthy of reflection.
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Duarte, Madileide de Oliveira. "The third bank of the river and interfaces between short stories, theater and soap operas." In VI Seven International Multidisciplinary Congress. Seven Congress, 2024. http://dx.doi.org/10.56238/sevenvimulti2024-017.

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The aim of this research was to present possible interfaces between the short story A Terceira Margem do Rio by João Guimarães Rosa; the play Terceira Margem , directed and performed by Carlos Lagoeiro; and the soap opera Pantanal , a 1990 version, written by Benedito Ruy Barbosa, directed by Jayme Monjardim, Carlos Magalhães, Marcelo de Barreto and Roberto Naar. The methodology was based on the comparison of existing literature, both bibliographic and digital, combined with my qualitative interpretation, through interfaces, in the intersemiotic field. Main results: 1) narrative adaptation, between the short story and the theater, was achieved through the director/actor's monologue, wooden puppets and their speeches, canoes and the symbolism of the river; 2) approximations between the short story and the soap opera: a) narratives involving the supernatural - Juma (a jaguar-woman), the mysterious guitarist Trindade and the old man of the river and his transformation into the snake Sucuri; b) setting between scenarios; c) the characters' speeches; d) the waters of the São Francisco River and the Rio Negro and their re-significations for each narrative (the short story, the theater and the soap opera).
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Fischer, Andre. "New transmedia design for traditional film festivals." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.

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The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced and consumed. The convergence of media made porous the boundaries between what are conventionally called video, cinema, theater and performance. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. To understand the potential of transformations, the study investigates in depth the experience of MixBrasil Festival, largest LGBTQIA+ cultural event in Latin America, created in 1993, showcasing multiple formats and techniques (cinema, theater, music, literature). With digital content being programmed since 2018, in 2020 it expanded its online exhibition to four different digital platforms. The study is carried out concurrently with the monitoring of MixBrasil and other film festivals held in Brazil, considering what strategies are being adopted and how they will stand out as innovative - or just replications of the traditional movie theater model. It also aims to identify processes, paths and perspectives for the sector considering that the old template for launching films used since the 1950´s might no longer be applicable to the current state of the industry. Facts and trends that are forcing these events to face a crisis of identity and questioning the viability of a (still) prestigious circuit. Platformization implies the adoption of online functionalities integrated at economic and infrastructure levels which fully affects the organization strategies of festivals. Therefore, a change in the way of thinking the place of film festivals in the industry chain is in progress: as a possible space for capturing data from the public to support future curatorships and permanent actions which would make them more dynamic and relevant. Associated with this process is the notion of attention economy and the reorientation of users as active producers of culture, in the way they can affect the hybrid future of festivals. Metrics recurrently used like engagement, geolocation, retention and abandon rates are necessary to identify obstacles and potentialities that the new scenario presents. The research is raising additional questions about the behavior and expectations of different age groups, the motivations of audiences for attending festivals. It also investigates why although movie theaters are closing, distributors keep restrictions on festival theatrical screenings. This is a unique opportunity to reflect on perspectives for audiovisual festivals in order to capture viewers' attention, reposition their relevance to society, get the (re)cognition of different audiences and forge new experiences.
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TÜRK, Osman. "DETECTION OF FOREIGN WORDS IN THE STORY OF EFRUZ BEY." In II. INTERNATIONAL RESEARCH SCIENTIFIC CONGRESS OF HUMANITIES AND SOCIAL SCIENCES. Rimar Academy, 2022. http://dx.doi.org/10.47832/ist.con2-4.

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Ömer Seyfettin, who is one of the important representatives of Turkish literature, has produced works in many fields such as novel, poetry and theater, especially story. In addition to his literary personality, he is one of the rare personalities who make his presence felt in the fields of culture and art. When you look at all this, Ömer Seyfettin; He was a storyteller, poet and intellectual. He left behind tens of pages of works, each of which is the pearl of the Turkish language, after his short life of thirty-six years. In the study, Efruz Bey, who is in the stories of the author, is discussed. The words in the work have been determined in terms of their origin, and the uses of these words have been concretized with examples. The words in the text were then classified according to the languages they were found in. Dictionary study word frequency studies are studies that reveal the frequency of use of words used in a language. Dictionaries are resources that contain the words of a language alphabetically, including idioms and example sentences of that language
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Reports on the topic "Theater in literature"

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Бережна, Маргарита Василівна. The Traitor Psycholinguistic Archetype. Premier Publishing, 2022. http://dx.doi.org/10.31812/123456789/6051.

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Film studies have recently begun to employ Jung’s concept of archetypes prototypical characters which play the role of blueprint in constructing clear-cut characters. New typologies of archetype characters appear to reflect the changes in the constantly developing world of literature, theater, film, comics and other forms of entertainment. Among those, there is the classification of forty-five master characters by V. Schmidt , which is the basis for defining the character’s archetype in the present article. The aim of the research is to identify the elements of the psycholinguistic image of Justin Hammer in the superhero film Iron Man 2 based on the Marvel Comics and directed by Jon Favreau (2010). The task consists of three stages, namely identification of the psychological characteristics of the character, subsequent determination of Hammer’s archetype and definition of speech elements that reveal the character’s psychological image. This paper explores 92 Hammer’s turns of dialogues in the film. According to V. Schmidt’s classification, Hammer belongs to the Traitor archetype, which is a villainous representation of the Businessman archetype.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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