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Journal articles on the topic 'Theater in literature'
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1
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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Tsihan, Xia. "INTERPRETATION OF MUSICAL GENRE IN THE WORKS OF R. IGNATIEV AND K. BREITBURG." Arts education and science 1, no. 2 (2021): 121–25. http://dx.doi.org/10.36871/hon.202102015.
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Theater in Russia has for a long time neither cultivated nor encouraged the pursuit of entertainment and commercial success. Perhaps that is why, the first attempts to integrate the musical into the Russian theater environment ended in failure. "My Fair Lady" by F. Loewe, staged at the Stanislavsky and Nemirovich-Danchenko Theatre, "Avtograd–1929", staged at the Satire Theater and the "Chicago" musical, after several performances, were removed from the repertoire or, like enterprise productions, ceased to exist. The purpose of this research is to determine the reasons for the growing popularity of the literary musical in Russia. The article examines the development of literary musical through the work of its outstanding representatives, composers R. Ignatiev and K. Breitburg. Scientific novelty of the work lies in the study of previously unpopular classical literature samples, which are the basis for the modern musical theatre genre.
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Neamțu, Carmen. "Genres of Cultural Journalism: Theatre Review." Cadernos de Literatura Comparada, no. 44 (2021): 227–38. http://dx.doi.org/10.21747/2183-2242/cad44a13.
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This paper focuses on cultural journalism and its main species. After a brief review of the main genres of the cultural writing press, I will dwell on the theater chronicle, trying to see what style of writing is circumscribed and what are the main steps in writing a theatre review. Based on my 23 years of experience as a journalist in the daily generalist and specialized cultural press (Cultural Magazine of the Romanian Writers' Union, ARCA), I dare to say that the secret of any theater review lies in the balance between the information transmitted and the journalist's comment, between the statement and the argument displayed. Being a personal judgement, therefor subjective, the article can rise dissatisfaction among directors, actors, set designers etc. who do not always resonate with the journalist's verdict. My paper will provide several personal examples of approaching the theater show, situations that I have faced over time, all to shed some light on writing the theater review. From a stylistic point of view, I will try to see how theatre review differs in the overall press coverage. The editorial style of the theater review could be circumscribed to the journalistic style, having at the same time an accentuated aesthetic dimension. This brings it closer to the language of literature.
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Misnawati Misnawati, Petrus Poerwadi, Apritha Apritha, Anwarsani Anwarsani, and Siti Rahmawati. "Kajian Semiotik Pertunjukan Dalam Performa Drama “Balada Sakit Jiwa”." PROSIDING SEMINAR NASIONAL PENDIDIKAN, BAHASA, SASTRA, SENI, DAN BUDAYA 1, no. 1 (May 22, 2022): 110–24. http://dx.doi.org/10.55606/mateandrau.v1i1.148.
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Performance Semiotics in Dramatic Performance is a study of the semiotics of theater or stage performances related to the theory of signs and sign systems in the performing arts called theater. Theater semiotics tries to understand the components of theater and establishes the assumption that everything within the framework of theater is a sign or sign. Theatrical performances are essentially a series of sign systems.
This study aims to: (1) reveal the process of creating and presenting the performance art of the Mental Ill Ballad Drama, (2) reveal signs related to the activities of the Mentally Ill Ballad Drama performance actors, (3) reveal signs related to the appearance of the Mentally Ill Ballad Drama performance actors Jiwa, (4) reveals signs related to the spatial aspect or place of the performance of the Mentally Ill Ballad and (5) reveals signs related to the non-verbal acoustic aspects of the Mentally Ill Ballad's performance.
This research was carried out at the Campus of the Indonesian Language and Literature Education Study Program, Department of Language and Arts Education, FKIP, Palangka Raya University, Central Kalimantan Province. The object of research is students who practice theater and perform theater. This study involved (1) lecturers who taught the Drama/Theatre Performance course, (2) drama/theatre arts workers, and (3) students who practiced and performed plays/theatre. Data collection techniques in this field research are observation, recording, recording, and interviews. The collected data will be analyzed using the theory of Performance Semiotics.
The performance semiotics contained in the performance of the drama Balada Illness, are: (1) signs related to the process of creating and presenting performing arts, (2) signs related to actor activities, (3) signs related to actor appearances, (4) signs related to spatial aspects, and (5) signs related to non-verbal acoustics.
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Dunkelberg, Kermit. "Confrontation, Simulation, Admiration: The Wooster Group's Poor Theater." TDR/The Drama Review 49, no. 3 (September 2005): 43–57. http://dx.doi.org/10.1162/1054204054742444.
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The Wooster Group's Poor Theater questions the state of contemporary performance by trying on the styles of a vanished group, the Polish Laboratory Theatre, dissolved in 1984; and a vanishing one, the Ballett Frankfurt, disbanded in August 2004 (half a year after Poor Theater had its first showing) and resurrected as the smaller Forsythe Company in 2005.
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Xatamova, Nodiraxon Qosimjonqizi. "Elements of Theatre of Absurd in Uzbek Literature." European Journal of Higher Education and Academic Advancement 1, no. 2 (June 6, 2023): 232–34. http://dx.doi.org/10.61796/ejheaa.v1i2.191.
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Svich, Caridad. "On Unmaking Theater in Theatre." Theater 51, no. 3 (November 1, 2021): 57–59. http://dx.doi.org/10.1215/01610775-9402453.
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Wooden, Isaiah Matthew. "Macelle Mahala. Black Theater, City Life: African American Arts Institutions and Urban Cultural Ecologies." Modern Drama 66, no. 4 (December 1, 2023): 577–79. http://dx.doi.org/10.3138/md-66-4-rev7.
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Macelle Mahala’s Black Theater, City Life: African American Art Institutions and Urban Cultural Ecologies demonstrates how the Black theatre companies and institutions it explores have transformed their respective communities into important sites of civic and artistic engagement.
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Ахмедов, А. "Russian Drama on the Azerbaijani Stage in the Period of Independence: Analysis of Creative Trends." Nasledie Vekov, no. 4(32) (December 31, 2022): 72–80. http://dx.doi.org/10.36343/sb.2022.32.4.006.
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Автором выявляются основные тенденции, определявшие обращение театральных деятелей Азербайджана к произведениям русской классики и современной российской литературы в годы независимости (1991–2021). Научный обзор выполнен с опорой на сообщения электронных СМИ о театральных премьерах, критические статьи, а также исследования историков культуры и театроведов. Проанализированы наиболее яркие работы, созданные труппами азербайджанских театров по произведениям Ф. М. Достоевского, Н. В. Гоголя, А. П. Чехова, А. Н. Толстого, Ю. М. Полякова и др. Охарактеризованы особенности работы режиссеров над постановками, основанными на произведениях русских авторов. Отмечается, что эти спектакли, нередко наделенные азербайджанской национальной спецификой и колоритом, обеспечивали сохранение театральных традиций прошлого и встречались публикой с симпатией и интересом. Автор констатирует, что русская драматургия оказывает серьезное влияние на развитие режиссерского и актерского искусства в Азербайджане. The author identifies the main trends that determined the appeal of theatrical figures of Azerbaijan to the works of Russian classics and modern Russian literature during the years of independence (1991–2021). The study is based on electronic media reports about theatrical premieres, critical articles, as well as studies of cultural historians and theater critics. The methodology is a combination of ideographic, diachronic and historical-genetic methods. The author considers works of the teams of the Azerbaijan State Academic National Drama Theatre, the State Academic Musical Theatre, the Azerbaijan State Theater for Young Spectators, and the Yug Theater on the stage performances of the writings of Fyodor Dostoevsky, Yuri Polyakov, Nikolai Gogol, Anton Chekhov, Aleksey N. Tolstoy and others. The conclusions of theater critics about these performances are given. Of the regional theater groups, the author notes the activities of the Ganja State Drama Theater. He characterizes features of the directors’ work on productions based on the writings of Russian authors. The author states that Russian dramaturgy has a serious impact on the development of directing and acting in Azerbaijan, ensuring the preservation of theatrical traditions of the past; he also notes that the public met such performances with sympathy and interest. Regional theaters also showed interest in the work of Russian classics, in particular, they often turned to The Government Inspector by Gogol. The study has established that the performances the theaters of Azerbaijan conduct based on Russian classical works are intended for spectators of all ages, including children. These productions, often endowed with Azerbaijani national specificity and color, are truly unique works, which are a kind of a fusion of two cultures. The directors often “weaved” the work of the Russian playwright into the plot outline of the production together with the works of authors belonging to other national literary traditions – in this way the idea of multiculturalism was creatively realized. Very often performances were created by international creative teams. The author emphasizes that the appeal of Azerbaijani theaters to Russian drama during the years of independence not only serves to enrich their repertoire and develop theatrical art, but also, continuing the historical ties between the peoples of Russia and Azerbaijan, contributes to their further development.
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Rodriguez, Chantal. "Is One Octopus Enough?" Theater 49, no. 1 (February 1, 2019): 6–21. http://dx.doi.org/10.1215/01610775-7253739.
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Likening Latinx theater to many octopuses with many legs, Chantal Rodriguez reflects on the 2017 Encuentro de las Américas Festival, hosted in Los Angeles by the Latino Theater Company, which included the first international convening of the Latinx Theatre Commons. Rodriguez describes current and emerging trends in Latinx theater across the Americas as expressed over the course of two panel discussions and among small-group participants. Recounting how these geographically diverse conveners responded to questions concerning Latinx aesthetics, political activism, funding, festivals, and inclusion, Rodriguez unpacks the festival’s predominant question: “What can we do together that we can’t do alone?”
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Jay, Jeff. "The Problem of the Theater in Early Judaism." Journal for the Study of Judaism 44, no. 2 (2013): 218–53. http://dx.doi.org/10.1163/15700631-12340373.
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Abstract Some scholars have characterized Jewish participation in Roman theatrical institutions as a departure from normative Judaism, while others have distinguished Jews in the diaspora, who attend the theaters, from Jews in Palestine, who criticize and reject them. Both of these narratives are inadequate because scholars have failed to analyze the sources in terms of the cultural and discursive dynamics of Roman theater-going in general. Critiques and accommodations of the theater are common among Jews who lived in both the diaspora and Palestine, for the nature of theatrical culture itself provided Jews with opportunities for vigorous dialogical give-and-take under a Roman imperium in which theaters and their shows were of utmost political and social importance.
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Gordeev, Petr N. "“We Are All Flying into the Abyss”: Correspondence of F. D. Batyushkov, L. V. Sobinov, and A. I. Sumbatov-Yuzhin in November – December 1917." Herald of an archivist, no. 1 (2023): 86–99. http://dx.doi.org/10.28995/2073-0101-2023-1-86-99.
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In the fonds of the Russian State Archive of Literature and Art and in the Manuscript Department of the Institute of Russian Literature of the Russian Academy of Sciences there is stored correspondence of F. D. Batyushkov (who on the days of the revolution held the position of the chief commissioner for state theaters) with commissioners for the Moscow Bolshoi and Maly Theaters L. V. Sobinov and A. I. Sumbatov-Yuzhin over November and December 1917. These letters, most of which haven’t been published previously or introduced into scientific use, show the attitude of the leaders of the Department of Theatres to the Bolsheviks coming to power and to the prospect of cooperation with them. All three correspondents assessed the October Revolution negatively and spoke of their possible resignation (Batyushkov most definitely, Sobinov and Yuzhin with some reservations), but later serious discrepancies emerged in their personal strategies. Batyushkov was an implacable opponent of the Soviet government, rejecting all cooperation with the “terrorists” Bolsheviks and their representative, People's Commissar of Education A. V. Lunacharsky. On these grounds, he wanted to rally the Department of Theatres, at the head of which he stood. Positions of Yuzhin and Sobinov were more complicated. Yuzhin, who headed the Maly Theatre, shared Batyushkov's critical view of the “dominant party,” moreover, he was outraged and shocked by the pogrom of the Maly Theater by the Red Guards during street fighting in Moscow. However, his whole life was dedicated to the Maly Theater and he doubted whether he had the moral right to leave his position at such a crucial moment. Sobinov, on the other hand, was never able to overcome his personal dislike for Batyushkov (formed long before the October Revolution in disputes over the “autonomous” rights of Moscow theaters and their heads). In the emergency of November – December 1917, when the Bolsheviks established their control over banks and money transfers were extremely difficult, Sobinov did not want to put himself in the chief commissioner’s shoes and blamed him for the lack of money for the Bolshoi Theater. In December 1917, when A. V. Lunacharsky began a direct attack on Batyushkov's position in the Department of Theatres, the Petrograd state theaters expressed their support to Batyushkov. In Moscow, the situation was different: because of Sobinov's grievance with the chief commissioner and Yuzhin's attempts to coordinate his position with Sobinov, the Bolshoi and Maly Theaters did not unequivocally declare their confidence in Batyushkov, weakening the latter’s position in his conflict with Lunacharsky. The correspondence of Batyushkov, Sobinov, and Yuzhin over November – December 1917 is an important source on history of the Russian theater, as well as for studying the period of the so-called “sabotage” of civil servants after the October Revolution.
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Gorham, John. "Teaching Dramatic Literature With Readers Theater." Speech Communication Teacher 3, no. 2 (February 28, 1989): 12. http://dx.doi.org/10.1080/29945054.1989.12289131.
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Babenko, Valeriia. "PREVENTION OF TRADITION, REGULARITY OF POSITIVE RECEIVES, DELL’ARTE CANONICAL CODE REVALUATION. COMMANDARY TRANSFORMATION OF COMMEDIA CIVILE RUSTICALE INTO COMMEDIA DELL’ARTE (ITALIAN DRAMATURGY)." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 63–69. http://dx.doi.org/10.28925/2412-2475.2019.1310.
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The author of the article studies the peculiarities of comedy dell’arte, regularities of its poetic techniques. Particular attention is drawn to the style and genre of the dramatic works. The masks of dell’arte (mainly zan), having gone from the notion of a dual creature that is on the verge of a funny and terrible, profane and sacred («spirits and ghosts» of the cult of the crops of fertility, devils of the mysterious action), to the mask types of comedy del arte and further - masks-characters in the work of Goldoni, at the turn of the 19–20 centuries, turned into a symbol of the ancient theater, theater-balagan, the theater is extremely conditional and play, emphasizing the concept of «theatrical theater» in art. Mask dell’arte as the unity of the actor and the character actually ceased to exist, but it was in the traditions of this theater and its characters found inspiration for directors, poets, artists at the turn of the century. The main artistic means of comedy dell’arte are analyzed. The conducted research shows that the main aesthetic principles of commedia dell’arte are reduced to the aesthetic system, which contains three essential elements: firstly, the theater is kept by a professional actor, who completely gives himself to the theater; secondly, the influence of the theater is stronger because of the synthesis of arts: plastic, music, dance and words; and thirdly, the soul of the performance is an action. The methods used in the paper are mixed: close reading, historical data processing, analyses of interdisciplinary resources (literary gerontology, social gerontology, theatre studies). The innovative solution lies in the application of interdisciplinary approach to close reading of drama texts. The results can be practical for classes of Italian literature and study of culture, theatre.
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Guini, Eleni. "TEATRO POSDRAMÁTICO EN TIEMPOS DE CRISIS: TRES EJEMPLOS DE TEATRO DOCUMENTO Y TEATRO DE CREACIÓN." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 46 (June 29, 2021): 71–101. http://dx.doi.org/10.32621/acotaciones.2021.46.03.
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En el período que nos ocupa —desde 2010 hasta la actuali-dad— caracterizado como una época de crisis que todavía no ha aca-bado, debemos reflexionar sobre cómo se involucra el teatro en la crisis y actúa en paralelo, al emitir juicios, plantear preguntas y mantener un diálogo con la sociedad. El presente ensayo analiza tres creaciones tea-trales que presentan su trabajo en la escena griega y europea y que han obtenido un notable éxito. La elección del dúo de directores Azás -Tsini-coris, el grupo Station Athens de Marcopulu y el grupo Blitz, respondió a dos consideraciones: por un lado, su temática, que expone puntos co-munes como la emigración, la xenofobia, la violencia y la melancolía pro-vocada por la resistencia a un mundo cruel, y, por otro lado, sus textos, que proceden de la ficción y el documental, y que son fruto de la labor común de todo el grupo. La intertextualidad, la alegoría y el realismo del formato como documento, componen representaciones vertebradas, road movies sin desplazamiento, relatos tragicómicos de la violencia de los siglos XX y XXI, versiones de canciones con guiños bien reconocibles a la coyuntura de crisis actual. Actores amateurs y profesionales, inmi-grantes, ciudadanos de la calle, directores que cuentan con la tecnología como coprotagonista, transforman experiencias e ideas en un fecundo género metateatral.
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Bly, Mary. "Playing the Tourist in Early Modern London: Selling the Liberties Onstage." PMLA/Publications of the Modern Language Association of America 122, no. 1 (January 2007): 61–71. http://dx.doi.org/10.1632/pmla.2007.122.1.61.
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This article attempts to reconstruct a mental cartography of early modern London, the ensemble of material, social, and symbolic codes that made up the social architecture of the city. The article extends Steven Mullaney's work by giving scholars a more accurate understanding of the geography of London and its liberties, especially those that housed private theaters, such as Shakespeare's Blackfriars. I look in particular at the liberty of the Whitefriars, arguing that between 1600 and 1615, two theaters used the liberty's reputation to draw visitors to both the theater and the neighborhood in an early modern version of cultural tourism. The theater thrived on a symbolic economy, a commodification of local color that drew people to the district, from in and outside London. I bring theories of space and tourism into play when considering the complexities of how a theater commodifies its neighborhood in this manner.
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Shaari, Muhammad Affizy, and Yusmilayati Yunos. "HATTA AZAD KHAN’S THOUGHTS IN SCENOGRAPHY OF TRADITIONAL MAKYUNG THEATRE PRESENTATION IN MALAYSIA." International Journal of Education, Psychology and Counseling 8, no. 51 (September 27, 2023): 398–408. http://dx.doi.org/10.35631/ijepc.851028.
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The diversity of races and cultures in Malaysia each has its own characteristics and story behind it. One of them is the traditional Makyung theatre performance which originated from Pattani which was then part of the state of Kelantan before the Siamese-Pattani war in 1785. The Makyung performance is a performance that combines elements of acting, music, comedy and dance. This paper discusses Hatta Azad Khan's Thoughts in the Scenography of Traditional Mayung Theater Performances in Malaysia. The objective of this study is to identify the scenography elements used in Makyung performances, analyze the scenography elements highlighted by Hatta Azad Khan in traditional Makyung theatre performances and summarize the importance of scenography elements in the survival of traditional Makyung theatre performances. This study uses a qualitative method. It consists of several research steps from the literature research process with data collection and literature review through close reading and doing field research with Hatta Azad Khan. This study focuses on his thoughts who has expertise in the field of theater scenography. The results of this study will look at the elements of scenography in traditional Makyung theater performances in Malaysia, namely makeup, sets and props, lighting, sound, and new technology. In the long term, this study in scenography can be continued and utilized because the elements of this scenography undergo changes according to the current of modernization of the times in accordance with the tastes of society.
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Kent, Brad. "Matthew Franks. Subscription Theater: Democracy and Drama in Britain and Ireland, 1880–1939." Modern Drama 64, no. 3 (August 1, 2021): 375–78. http://dx.doi.org/10.3138/md.64.3.br2.
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Matthew Franks’s Subscription Theater: Democracy and Drama in Britain and Ireland, 1880–1939 argues that subscription reflected and nurtured the democratic impulses of the late nineteenth and early twentieth centuries, both challenged and contributed to the commercial theatre, and established the canon of modern drama.
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Bronson, Daniel R., and Philip Roth. "Sabbath's Theater." World Literature Today 70, no. 3 (1996): 693. http://dx.doi.org/10.2307/40042201.
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McPherson, David. "THEATER REVIEWS." Ben Jonson Journal 15, no. 1 (May 2008): 98–111. http://dx.doi.org/10.3366/e1079345308000102.
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Pardlo, Gregory. "Theater Selfie." Yale Review 111, no. 3 (September 2023): 10–11. http://dx.doi.org/10.1353/tyr.2023.a908666.
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Long, Khalid Y. "La Donna L. Forsgren, Sistuhs in the Struggle: An Oral History of Black Arts Movement Theater and Performance." Modern Drama 65, no. 1 (March 1, 2022): 122–25. http://dx.doi.org/10.3138/md-65-1-br2.
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La Donna Forsgren’s Sistuhs in the Struggle: An Oral History of Black Arts Movement Theater and Performance is a critical intervention in theatre studies, women’s studies, and Black studies, employing a narrative methodology to recover and centre the voices of Black women who built the Black Arts Movement.
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Bednarz, James P. "Jonson, Marston, Shakespeare and the Rhetoric of Topicality." Ben Jonson Journal 27, no. 2 (November 2020): 155–76. http://dx.doi.org/10.3366/bjj.2020.0282.
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The revival of commercial “private” theater by the Children of Paul's in 1599 and the Children of the Chapel in 1600 transformed the culture of playgoing in London at the end of the sixteenth century. It was during this period that John Marston at Paul's and Ben Jonson at Blackfriars attracted attention at these theaters by ridiculing each other personally and denigrating each other's work. In doing so they converted these playhouses into forums for staging ideologically opposed interpretations of drama. Rather than aligning themselves with each other against the “public” theater, as Alfred Harbage had assumed in his influential chapter on “The Rival Repertories” in Shakespeare and the Rival Traditions, Jonson and Marston's satire of each other's work used Paul's and Blackfriars to debate the question of the legitimacy of the drama they staged and the status of the writers who composed it. Their debate on what drama should and should not be constitutes one of the most significant critical controversies in early modern English theater. It constitutes part of the first significant criticism of contemporary drama in English. The point of this essay is to account for how, when Jonson began writing for the Children of the Chapel at Blackfriars in 1600, Marston at Paul's became one of his principal targets through personal invective framed as a series of generalized strictures excoriating the obscenity and plagiarism of contemporary private theater.
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Ivanshina, E. A., and V. V. Zyatkova. "ABOUT THE MEANING OF THEATRE “THE MASTER AND MARGARITA”." Bulletin of Udmurt University. Series History and Philology 30, no. 2 (May 7, 2020): 303–10. http://dx.doi.org/10.35634/2412-9534-2020-30-2-303-310.
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The article deals with the semantic field of the theater in "The master and Margarita", which extends to all novel chronotopes and can be structured as a two-level one. Considering different cases of theatricalization of space and different signs of theatricality in the novel, the authors correlate the real theater (theatre as a historical reality ) and the literary theater (the art of acting ) and actualize the confrontation of literature and historical reality in "The Master and Margarita". The text of the novel is considered as a model of counterculture, from the standpoint of which the author chooses those literary codes from which his own model of theatrical behavior is built. At the same time, special attention is paid to the actualization of the metaphor "theater - court" and the semantics of exposure, and the novel itself is an act of vengeance of the author and the implementation of his inner freedom. As an example of such an artistic concept of the relationship between art and life, the film "Once upon a time... in Hollywood" by Tarantino is considered.
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Vasiniuc, Tiberius. "Adolf de Herz și comedia de bulevard." Cercetări teatrale 4, no. 2 (April 25, 2024): 165–85. http://dx.doi.org/10.46522/ct.2023.02.11.
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Considered one of the first authors of boulevard comedies in Romania, A. de Herz is almost absent from the pages of the of Romanian literature history. Nevertheless, the theater history gives him an important place, through his light comedies, with great appeal to the interwar audience. If the plays of historical inspiration remained without an echo when they were published, the comedies "Păianjenul" (“The Spider”), "Bunicul" (“The Grandfather”), "Sorana", "Mărgeluş" (“Tiny Bead”) and "Încurcă-lume" (“The Fumbler”) have been performed on numerous stages in the country, including the National Theater of Bucharest and the National Theater of Craiova. An important chapter in his theatrical activity is the collaboration with C. Tănase and the “Cărăbuș” Theatre. In several plays he performed secondary roles, very well received by the public. With extensive journalistic activity at "Dimineața", "Adevărul", "Adevărul literar și artistic", "Rampa", "Convorbiri critice" etc., Herz was for a good period of time one of the well-known theatre columnists of that epoch. Often, in order to create a relaxed atmosphere for the audience, the author chose to explore current topics, but without great pretensions, full of mundane conversations and expressions with claims of aphorisms. Director of the National Theater of Craiova (1930-1935), A. de Herz prematurely ended his existence, leaving only a few pale traces of his entire creation over time.
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Gonzalez, Anita. "Seeking Critical Frameworks for Global Majority Theatre." Theatre Journal 75, no. 4 (December 2023): 511–17. http://dx.doi.org/10.1353/tj.2023.a922220.
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Abstract: The essay advocates for expanding theater studies publications to more effectively engage with global majority epistemologies as core methodologies for analyzing theatrical phenomena. Academic theatre classes often incorporate performance studies paradigms, but most theater programs remain centered around practice-based exercises for acting, directing, designing, and producing Eurocentric theater. Global majority ways of telling stories are either not taught to students or are integrated into curricula in carefully measured doses as alternative approaches to art-making. This essay encourages twenty-first century scholars to more astutely respond to cultural productions based upon vernacular and indigenous ways of theatrical storytelling, arguing that a significant step would be to incorporate more indigenous languages, and perhaps have the journal publish in multiple languages (with translation) to expand the readership. However, even foregrounding text-based performance may be limiting. Many of the aesthetics that underly arts production in global majority cultures are constituted outside of text-based paradigms; they use symbol, myth, sound, gesture, dance language, and music as poetic containers for delivering their messages. They also build from local epistemologies connected to spirituality, religion, or alternative beliefs about the rationale and intention of performance. This essay calls for more time and space devoted to critical analysis of theatre created and performed outside of standard theatre venues, as well as a more nuanced discussion of complex ecosystems that support artistic innovation.
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Lomelí, Karla, and Karina Gutierrez. "Examining the Intersections of Culturally-Relevant Pedagogies and Youth Literature in Theatre Performing Arts and Its Implications for a More Inclusive Learning Experience for BIPOC Students." Journal of Education and Culture Studies 6, no. 4 (November 29, 2022): p91. http://dx.doi.org/10.22158/jecs.v6n4p91.
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This work aims to examine the potential impact of theater guides based on the literary work of BIPOC authors and the culturally relevant pedagogical experiences rendered for students of color. We examine the ways that the exclusion of culturally relevant pedagogies in the creation of theater guides for BIPOC and non-BIPOC students hold the potential to further marginalize BIPOC narratives. We posit that standard approaches to the construction of theater guides of authors of color fails to center familial and cultural knowledge that centers the cultural authenticity of the literary work intended by the authors. This work acknowledges the historical exclusion of BIPOC voices in theatre performance and to that end, this work seeks to analyze how educational guides can work in tandem with Latina/o/x/e literature to center a more authentic experience of BIPOC communities. In this work we reimagine pedagogical practices that are 1) culturally competent and 2) bolster the intersectionality of the lived experiences of BIPOC communities in the educational guides of theatrical productions. This work will provide culturally competent two dramaturgical tenants for educators to consider.
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Saaduddin, Saaduddin, Sherli Novalinda, and Sherli Novalinda. "HOW EXPLORING BODY EXPERIMENTATION IN MODERN THEATER OF WEST SUMATRA: A TWO-DECADE STUDY (1990-2010) PRESENTED?" ISLLAC : Journal of Intensive Studies on Language, Literature, Art, and Culture 8, no. 1 (June 28, 2024): 124. http://dx.doi.org/10.17977/um006v8i12024p124-144.
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This article examines the emergence of body experimentation in modern theater groups in West Sumatra from 1990 to 2010, focusing on the motives behind using the body as a communicative medium in theatrical performances. The study aims to comprehend the conceptualization and factors contributing to the presence of innovative theatrical presentations. The literature review explores existing studies on Indonesian theater, particularly modern theater, and relevant works related to West Sumatra theater. Due to limited literature on West Sumatran theater, the study utilizes secondary data from journals, magazines, newspaper clippings, and the internet. The research employs a qualitative methodology, incorporating literature review, observation of selected theater groups engaging in body experimentation, and interviews with key figures. Data analysis involves transcribing interviews, selecting relevant information, categorizing data, and conducting a thorough analysis, revealing the evolution of body experimentation in West Sumatran theater. The discussion section delves into three key themes: the influence of traditional spirit on modern Sumatran theater, body exploration within modern theater groups, and the notable rise of body-centric theater in West Sumatra. The article emphasizes the interconnectedness of these themes and their impact on the dynamic theatrical landscape in the region. In conclusion, the research highlights the significance of body experimentation in West Sumatran modern theater, contributing to a broader understanding of evolving theatrical practices in Indonesia, offering valuable insights for scholars, practitioners, and enthusiasts interested in the dynamic intersection of tradition and innovation in performing arts.
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Sales Baviera, Joana. "Sis peces teatrals reaparegudes del teatre valencià." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 17 (May 31, 2021): 187. http://dx.doi.org/10.7203/scripta.17.20910.
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Resum: Durant el període del s. xix, el teatre valencià representat pel gènere de sainet, anomenat per molts estudiosos obreta de fer riure, va tindre una repercussió molt marcada. Però no el teatre culte, que per circumstàncies, entre les quals es trobava la mancança d’una normativa lingüística, ortogràfica i gramatical, no va arribar a ser una de les prioritats dels escriptors noucentistes valencians. Llavors, trobem com el sainet escrit amb el seu registre col·loquial, és el gènere literari que representa l’anomenat teatre valencià de l’època. Gràcies a llegats i col·leccions, els investigadors han anat classificant i recopilant aquestes obres que formen part de la nostra literatura. En aquest estudi donarem a conèixer sis peces teatrals corresponents al segle esmentat. Aquestes peces, les quals han romàs desaparegudes, les hem pogut extraure gràcies al llegat d’un dels teatres més importants que ha tingut la ciutat de València, el Teatre Russafa.Paraules clau: teatre valencià, sainet, Teatre Russafa, ValènciaAbstract: During the period of the 19th century, the Valencian theater represented by the genre of one act play, called by many scholars a work of laughter, had a very marked repercussion. But not the cult theater, which due to circumstances, among which was the lack of linguistic, orthographic and grammatical regulations, did not become one of the priorities of the Valencian xix century writers. Then, we find how the one act play written with its colloquial register, is the literary genre that represents the so-called Valencian theater of the time. Thanks to legacies and collections, researchers have been classifying and compiling these works that are part of our literature. In this study we will present six plays corresponding to the aforementioned century. We have been able to extract these pieces, which have disappeared, thanks to the legacy of one of the most important theaters in the city of Valencia, the Theater Russafa. Keywords: valencian theater, one act play, Russafa Theater, Valencia
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Gede, Yoga Kharisma Pradana, Nyoman Surya Wijaya, and I. Gusti Ketut Purnaya. "Representation of Cross-Cultural Relations in the Bali Agung Theater at Taman Safari & Marine Park Bali : A Discourse in Balinese Tourism Performing Arts." Mudra Jurnal Seni Budaya 39, no. 3 (July 4, 2024): 415–24. http://dx.doi.org/10.31091/mudra.v39i3.2813.
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This article aims to understand and explain the discourse on cross-cultural relations in the Bali Agung Theater at Taman Safari & Marine Park Bali. The Bali Agung Theater at Taman Safari & Marine Park Bali is an innovative Balinese performance art for tourism purposes at Taman Safari & Marine Park Bali. As a Balinese tourism performing art, there is a representation of cross-cultural relations in performance scenes featuring typical Chinese arts. The narrative discourse of the Bali Agung Theater was developed by actors based on the folklore of traditional Balinese society. The main problems: 1) What are the forms of cross-cultural relations in the Bali Agung Theater at Taman Safari & Marine Park Bali?; 2) What is the discourse on cross-cultural relations in the Bali Agung Theater at Taman Safari & Marine Park Bali?. The cross-cultural discourse analysis in the Bali Agung Theater at Taman Safari and Marine Park Bali was completed using qualitative methods. Primary data was collected through observations at the Taman Safari and interviews with actors at the Bali Agung Theater. Data achievements are complemented by secondary data collection from literature studies. All data were analyzed using knowledge-power relations theory and structuration theory. The research results show that: 1) Taman Safari & Marine Park Bali displays discourse on cross-cultural relations through Balinese cultural acculturation at the Bali Agung Theatre. Cultural acculturation can be seen in art in the form of props and dance movements; 2) The discourse on cross-cultural relations in the Bali Agung Theater consists of cultural heritage discourse, educational discourse, and violence discourse. This theatrical discourse centers on Kang Ching Wei, King, and Dewi Danu.
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Eriks Cline, Lauren. "The Long Run of Victorian Theater." Victorian Literature and Culture 48, no. 3 (2020): 623–31. http://dx.doi.org/10.1017/s106015032000025x.
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It's March 2020 as I write this, and the theaters are closed. Broadway is dark, and the Globe is once again shut due to a plague. Perhaps “self-isolation” is a strange condition under which to be thinking about crowded Victorian playhouses. As I make dates to watch movies with friends hundreds of miles away on the Netflix Party app, the media environment in which I pursue entertainment has perhaps never felt more dissimilar to that of nineteenth-century theatergoers. But, then again, maybe the photos of empty auditoria and deserted streets are the best demonstration of the space that public culture has taken up in our lives. The vacuum shows us that what's missing mattered. And if scholars of Victorian theater have shared a primary goal, it's to insist on how deeply the collective experience of playgoing influenced the everyday practices and beliefs of the period—even when theater and drama may not always appear on Victorian syllabi or conference programs. This essay considers three recent studies in Victorian theater—The Cambridge Companion to English Melodrama (2018), edited by Carolyn Williams; The Drama of Celebrity (2019), by Sharon Marcus; and Everyone's Theater: Literature and Daily Life in England, 1860–1914 (2019), by Michael Meeuwis—to register the force that theatrical performance exerted on Victorians and to explore how that force could change our sense of the field. By dwelling with archives and objects that might otherwise get classed as cultural “ephemera,” these studies push us to acknowledge that the run of Victorian theater hasn't ended. In the collective pause before a moment of intense feeling, or in a contradictory attachment to a public figure who is both imitable and extraordinary, they find a repertoire of spectator behavior from which many of our own modes of attention derive.
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Nijemčević Perović, Marija. "Doprinos pozorišne pedagogije razvoju kompetencija nastavnika nemačkog jezika u inicijalnom obrazovanju." Узданица 18, no. 1 (June 2021): 269–85. http://dx.doi.org/10.46793/uzdanica18.1.269n.
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This paper examines the contribution of theatre pedagogy, implemented in the initial education of German language and literature students, to the development of teaching competencies defined in strategic documents. The target group of the research consisted of German language teachers who were members of the Academic Theater of German Students during their bachelor and master studies. A semi-structured group discussion was used as the data collection technique, while the data analysis and interpretation theater pedagogy methods, they should be integrated into the curricula of study programs dealing with the education of future foreign language teachers. were performed using a qualitative research method. The results have shown that theatre pedagogy contributes to the development of professional, psychological, didactic and mod- erational-mediational skills of future teachers of German as a foreign language. Having in mind the spectrum of teaching competencies that are developed through the application of
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Serdechnaya, V. V., and D. N. Zhatkin. "Problems of Russian Theatrical Reception of Shakespeare in Criticism of Yuli Eichenwald." Nauchnyi dialog 13, no. 1 (January 30, 2024): 256–73. http://dx.doi.org/10.24224/2227-1295-2024-13-1-256-273.
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The problem of this study lies in evaluating the methodological approach of Yuli Eichenwald (1872—1928) as a theatrical critic and theorist, specifically his writings on Shakespearean productions both in Russia and abroad. Known primarily as a literary critic, Eichenwald also wrote about theater, but his works in this area have been largely unexplored. The aim of this study is to shed light on Eichenwald's principles of theatrical criticism. The material used consists of little-known articles by Eichenwald on theater theory and Shakespearean productions from 1903 to 1927. The research employs hermeneutic and comparative methods. The findings reveal that Eichenwald demonstrates a literature-centric position in his articles on theater, according to which theater is merely an illustration of literary works. He increasingly uses productions as a pretext to discuss Shakespeare, often without mentioning the actors or directors. Eichenwald’s perception of theater as a mediator, as an auxiliary device between the play and the reader, leads to his rejection of the concept of directorial theater and the denial of the director as the author of the production. The authors conclude that Eichenwald’s theatrical criticism is a logical outcome of literature-centric judgments about theater, from Aristotle to Hegel, where theater is considered as part of literature.
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Russo (book author), Mauda Bregoli, and Julius A. Molinaro (review author). "Renaissance Italian Theater." Quaderni d'italianistica 7, no. 1 (April 1, 1986): 133. http://dx.doi.org/10.33137/q.i..v7i1.11021.
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Wilde, Lisa A. "SHAW'S EPIC THEATER." Shaw 26 (January 1, 2006): 135–42. http://dx.doi.org/10.2307/40681736.
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Wilde, Lisa A. "SHAW'S EPIC THEATER." Shaw 26 (January 1, 2006): 135–42. http://dx.doi.org/10.5325/shaw.26.2006.0135.
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Rimanelli, Giose, and Michael Vena. "Italian Grotesque Theater." World Literature Today 76, no. 1 (2002): 204. http://dx.doi.org/10.2307/40157189.
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Gross, Kenneth. "AN IMAGINARY THEATER." Yale Review 87, no. 3 (September 20, 2010): 56–69. http://dx.doi.org/10.1111/j.1467-9736.1999.tb00034.x.
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MOORE, LORRIE. "THEATER IN REVIEW." Yale Review 95, no. 1 (January 2007): 197–202. http://dx.doi.org/10.1111/j.1467-9736.2007.00281.x.
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McCOURT, JAMES. "THEATER IN REVIEW." Yale Review 95, no. 4 (October 2007): 175–84. http://dx.doi.org/10.1111/j.1467-9736.2007.00352.x.
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Luchting, Wolfgang A., and Heidrun Adler. "Theater in Lateinamerika." World Literature Today 66, no. 4 (1992): 694. http://dx.doi.org/10.2307/40148650.
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