To see the other types of publications on this topic, follow the link: Theater – Production and direction.
Journal articles on the topic 'Theater – Production and direction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Theater – Production and direction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Chebotarev, Sergey A. "Art of theater direction in the 20th–21st centuries." Neophilology, no. 28 (2021): 718–25. http://dx.doi.org/10.20310/2587-6953-2021-7-28-718-725.
Full textAbstract:
We analyze the cultural and historical development of art of theater direction in the 20th–21st centuries. We consider the features of director’s theater on the example of Anatoly Vasiliev’s theater, Mark Zakharov’s theater, Zhenovach’s theater, Pyotr Fomenko’s theater, etc. We note that throughout the entire period there is a transformation of the role of the director in the theater. We note that throughout the entire period there is a transformation of director’s role in the theater. The significance of the theater director – artist grows into more complex forms of his existence: the playwright – the organizer of the performance – the teacher and educator of the theatrical collective. We conduct an analysis of directing schools allow us to draw the following conclusions. Firstly, the Russian theater at the turn of the 20th–21st centuries managed to preserve its traditions even in the conditions of the most powerful computer and television boom. Secondly, the theater continued to occupy one of the leading places in the spiritual, moral and aesthetic edu-cation of society. Thirdly, the direction of domestic theater adopted and multiplied the best tradi-tions of realistic art, coming from K. Stanislavsky, V. Nemirovich-Danchenko, E. Vakhtangov, M. Chekhov, taking into account modern trends and interests of the audience. Fourthly, there was an active search for new forms in directing and acting, experimental theaters and studios were formed. Fifthly, a huge place in directing was given to the production of classics. We note that the period under review provided an opportunity to fully reveal the originality in directing and acting.
2
Batytska, Tetiana. "Aspects of Theatre Directing in the Maria Zankovetska National Academic Ukrainian Drama Theater during the 1990s–2010s." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(2) (November 29, 2023): 86–94. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294632.
Full textAbstract:
The paper examines the key features of the creative work of three stage directors of the Maria Zankovetska Theater during the 1990s–2010s: Fedir Stryhun, Alla Babenko, and Vadym Sikorskyi. The analysis of their landmark productions enables distinguishing the method of working on the theatrical production by each of them and outlines the thematic and conceptual range of both the artists’ works and the theater as a whole. The variety of artistic methods of stage direction during the period was studied, including the elements of psychological, poetic, and conditional theater in the terms of aesthetics, as well as the political, philosophical, and intellectual theater in relation to the concept, and the nature of the conservative and experimental theater in respect to the novelty of the implementation of stage solutions. It was identified that the creative image of the theater had been established by F. Stryhun and his artistic guidelines were dominant during the period, with his creative work oriented towards the social and cultural educational demands of Ukraine. Modern stage design and directing, presented by his colleagues A. Babenko and V. Sikorskyi, were less significant in the overall course of the theatre.
3
Shishkin, Andrei Gennadievich. "Repertory theater of production type – trends in the dialogue of cultures in modern music and theater culture (on the example of the Ural Opera Ballet Theater)." Культура и искусство, no. 5 (May 2021): 37–46. http://dx.doi.org/10.7256/2454-0625.2021.5.35614.
Full textAbstract:
This article reviews a new model of repertory opera theater of production type, which has emerged at the intersection of traditional repertoire and project, or production theaters: it represents a special channel of intercultural communication. Opera performance creates a space simultaneously in several dimensions – musical, verbal, and visual; it resembles a form of polylogue of the authors and stage directors of the performance, becomes a realization of the dialogue of cultures, and turns into a unique form of art involving the representatives of different cultural systems. This is proven by particular artistic experiences of the dialogue of cultures in modern opera on the example of Ural Opera Ballet Theater in Yekaterinburg and its projects “Satyagraha”, “The Passenger”, “The Greek Passion”, and “Three Sisters”. A number of important ideas of theoretical and historical culturology find practical substantiation: the paramount prerequisite for the effectiveness of any activity – the unity of theory and practice is realizes in the sphere of artistic culture. It is determined that within the framework of repertory theatre, production direction must take consider the time requirements that are solved in the field of the dialogue of cultures. The article demonstrates that the dialogue of cultures manifests as the dominant trend in the development of theatrical culture, allowing a more effective response of the creative process to the demands of time. It is proven that the work created in the process of the dialogue of cultures, which contains polyphony of voices, requires peculiar work with the audience, who is also engaged in dialogue with the performance.
4
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.
Full textAbstract:
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.
5
KOZAK, Bohdan. "RECEPTION OF MYKOLA SADOVSKY’S DIRECTING AT THE PEOPLE’S THEATER OF THE “RUS’KA BESIDA” SOCIETY (1905-1906)." Bulletin of the Lviv University. Series of Arts Studies 109, no. 21 (2023): 44–52. http://dx.doi.org/10.30970/vas.21.2023.12128.
Full textAbstract:
The article examines the activity of the director and prominent actor from EaStern Ukraine, Mykola Sadovsky, during his tenure as the director of the Ruskyi Narodnyin Teatr (Ruthenian People’s Theater) of the «Ruska Besida» Society in Lviv from May 1905 to May 1906. Through the lens of documents found in archives, the author attempts to clarify certain facts regarding M. Sadovsky’s work at the Ruthenian People’s theater. Special attention has been focused on his primary goal as the new director. It is noted that in a short period of time, he managed to unite prominent personalities, creating a well-performed ensemble of actors and elevating the professional skills of the company. Along with work on the professional level of actors, Sadovsky focused on improving their skills in the normative Ukrainian language, as not all Galicians were proficient in it. He also substantially broadened the repertoire of the theatr comparing to the previous years. A political conflict arose between Poles and Ukrainians, who demanded equal voting rights for representation in higher government bodies. Sadovsky and the theater were involved in the conflict too. Due to the political confrontation, Poles boycotted the performances of the Narodny Teatr. The Ukrainian «patriots» resorted to similar measures. All of this influenced the financial situation in the theater. The article analyzes the reviews of the theater’s activities, particularly under Mykola Sadovsky’s direction, in Ukrainian and Polish press. It is eStablished that the crytics wrote positively about the professional level of the acting company, especially they praised the performances by M. Zankovetska and M. Sadovsky. The negative reviews that also appeared in the pres were focused not on the quality of the productions or the actors’ performances but rather on the insufficient number of spectators in the hall and, as a result, a deficit in the box office. The article provides a liSt of the cities where the theater toured in Galicia in the time of Sdovsky direction.
6
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.
Full textAbstract:
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.
7
Koo, Tae-Hwan. "A Study on Teaching Methods of Theater Directing through the Theater Production Class." Journal of the Korea Entertainment Industry Association 12, no. 3 (April 30, 2018): 213–20. http://dx.doi.org/10.21184/jkeia.2018.4.12.3.213.
Full text
8
Balaban, O. I., O. M. Venher, and O. B. Opanasyk. "Market fundamentals of organization of work in the field of stage and audio-visual arts and production." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 200–214. http://dx.doi.org/10.34064/khnum1-53.12.
Full textAbstract:
Background. Survival and further development is an acute problem for any modern Ukrainian repertory theater. According to the Law (which is only a framework, since it does not answer all the questions that arise), repertory theaters are non-profit organizations and exist for budget funds. The latter are steadily declining and depreciating in the conditions of market relations exist in modern Ukraine. The purpose of the article is to consider and propose methodological approaches to the development and implementation of innovations in the organization of cultural institutions in the field of cultural industries, theater, film and television. Presentation of the main material. The modern development of society is extraordinary – it is filled with changes and transformations caused by the influence of such phenomena as globalization, cheap labor, a large number of competitors. The spread of information and nanotechnology, computer networks is causing changes in the structure of organizations and cultural institutions, in particular, a reduction in their size, which, in turn, predetermines innovation as a result of a creative search for original, non-standard solutions to various problems. Globalization today is not only fierce competition. It also affects the human capital of enterprises, in particular, transforms the concept of a permanent place of work. Technogenic civilization and the rapid change of information technology make cultural institutions need to work extraordinary in such relevant areas as technology, personnel and organizational aspects of business. The most important qualities of the modern cultural space, concerning cultural and educational institutions, creative industries, are openness of thoughts and the possibility to avoid stereotypes. As a result of the development of market relations in Ukraine, cultural institutions have economic freedom, respectively, freedom in choosing directions and guidelines for development, as well as of markets for activities, determining directions for using and attracting own funds, creating a competitive policy, etc. In the same time, the following threats were identified that are relevant for any modern Ukrainian repertory theater, namely: 1) the growth of the budget deficit of the country and the region, which can suspend the budget maintenance of theaters; 2) an increase in inflation; 3) economic instability; 4) political instability; 5) the growth of tax rates; 6) a decrease in the solvency of the audience; 7) low demand from the audience for theatrical services; 8) significant variability in the needs of the audience; 9) a high level of competitiveness of other theaters and cultural institutions; 10) changes in public values; 11) low social consciousness of the population. Due to these conditions, the solution of the problem of survival and development requires the search for new strategic approaches to the organization of activities and management of these theaters, which seems quite relevant. The possibilities are contained in the Law itself, which allows theaters to earn money through various types of commercial activities. Strategically, the most promising is production, which is used by almost all foreign non-commercial theaters. The opportunities provided by “The Law on Public-Private Partnership”, 2010, in the fields of tourism, re-creation, culture and sports can be included in support of such activities. The effectiveness and profitability of cultural institutions depends on the quality of management, as well as monitoring the implementation and quality of services. The high potential of cultural institutions with an underestimation of activity and inefficient management leads to insufficient funding for the development of cultural institutions, a lack of working capital, and low material interest of workers. This situation makes it necessary to constantly increase the budget line for the maintenance of institutions. But to increase the budget revenues of cultural institutions, it is possible to use crisis management technologies. The development of crisis management methods by the management company (with an emphasis on theatrical activities) will be aimed at: protecting intellectual property and patenting by type of activity, developing and applying franchising schemes in theatrical activities; constant monitoring of the theater audience in order to identify trends in the development of culture and demand from the audience; collecting and summarizing the practice of successful European theater projects and managerial decisions to create a system of training the managerial staff of cultural institutions; collecting and analyzing information about the interaction of theaters with the external environment, tracking new trends and market contradictions; creating the basis for adjusting the regulatory framework; increasing the profitability of theaters; development of areas related to the core business; attraction and use of various types of financing (budget, grants, commercial, credit, investment funds); reduction of the budget load and the transition from current financing schemes to the financing of theater projects and programs; the creation of new financial instruments for the development of the theater, including depreciation and accumulation of income; the search for opportunities for the management company to implement external financial management and carry out financial planning, control over improving the effectiveness of theater management; creation of systems of motivation and interest of the creative team of theaters; creative audit of theatrical productions and repertoire policy, assessment of the positioning of theaters and theatrical productions. Summing up the above, we can reach the statements: 1) the rapid reduction of budget support for modern Ukrainian repertory theaters may end with a complete rejection of it; 2) under such conditions, it will be appropriate to study the experience of organizing the activities of foreign non-profit theaters that successfully survive in market conditions; 3) this becomes possible through the use of a rather specific activity called “producing”; 4) modern Ukrainian repertory theaters will have to master it; 5) for this purpose, it seems appropriate to create a "production center" in the theater, which can be started as a startup; 6) this creates a new creative and production system that becomes productive.
9
Gian, Carlo U. de Jesus, and Katrina P. de Jesus Ana. "Revitalizing Philippine Theater: A Framework for Theater as Creative Entrepreneurship." Asian Trade Association 10, no. 1 (June 30, 2023): 85–101. http://dx.doi.org/10.22447/jatb.10.1.202306.85.
Full textAbstract:
Purpose – Despite the rich culture of the Philippines, the country has not been able to create products, services, and experiences that sustainably cater to domestic and international markets. Instead of harnessing its creative force to drive economic growth, it remains a creative labor supplier. The country is envisioned to become “a major creative hub in the Asia-Pacific, with strong and thriving creative industries” (British Council, 2017). Performing arts, including theater, is a key creative industries sector. However, theater is beset with precarity and instability (Santiago, 2021). This study sought to analyze the challenges and opportunities for revitalizing theater as an industry. Design/Methodology/Approach – In this investigation, a critical review was employed. This methodology not only describes the phenomena, but also formulates a re-conceptualization based on an integrative review of old and current models. A comparative analysis of creative economy models was made between Philippine theater and theaters internationally. Findings – Philippine theater is not fully utilizing its economic potential because current models involve high production costs, need for highly specialized creative labor, and lack of enabling policies. Among the four creative economy models (Potts and Cunningham, 2010), Philippine theater may benefit from Model 3, the Innovation Model, which may evolve into Model 4. Mapping representative theater companies and genres across the models provides insights into directions for theater innovations. A conceptual framework for innovating Philippine theater through Creative Entrepreneurship is forwarded. Research Implications – The framework yields valuable insights for theater managers, educators, heritage and cultural advocates, tourism creatives, and entrepreneurs.
10
Joo, JangSeak, and HakRo Yoon. "Hong Haeseong and Tsukiji Little Theater." Institute of Humanities at Soonchunhyang University 41, no. 4 (December 31, 2022): 165–92. http://dx.doi.org/10.35222/ihsu.2022.41.4.165.
Full textAbstract:
Hong Haesung was the first professional director in Korea and deserves to be called the father of modern drama who established the actor training and theater production system. While studying in Japan, Hong Haesung joined the Sukiji Small Theater, which was established to professionally perform modern plays, studied acting and directing along with acting activities, and worked as an executive member. There have been many studies on Hong Haesung by domestic researchers so far, but there are few results of research based on records of Hong Haesung's acting activities and directing classes at the Sukiji Theater. Hong Haeseong worked as an actor at the Skijiso Theater for about 6 years, and during that time, he thoroughly learned the Skijiso Theater's theater production system, actor training system, and realistic directing techniques. After the death of Osanai Kaoru, he decided to return to Korea after the troupe was divided. After returning to Korea in June 1930, he was actively involved in the transplantation of modern theater to Korea through activities such as the Drama Arts Research Society. He participated in the establishment of the ‘Oriental Theater’, and as a director, established a framework for accepting Western modern plays and a theater production system. contributed greatly to the opening. This paper examines the actor’s theory and stage directing classes at the Sukijiso Theater, as well as the documents that received realistic directing techniques from Osanai Kaoru. the memoirs of the actors at the time, and the materials introduced in a collection of critical reviews published in newspapers and magazines, etc.
11
Bentia, Iuliia. "The Repertoire Strategy of the Kyiv Modern Ballet after the Full-Scale Russian Invasion to Ukraine: Tomorrow, DiscrimiNATION, and One Minute Before Christmas Ballet Productions." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(1) (April 22, 2024): 80–87. http://dx.doi.org/10.31500/1992-5514.20(1).2024.306910.
Full textAbstract:
After the beginning of the full-scale Russian invasion to Ukraine in February 2022, the Kyiv Modern Ballet Academic Theater stopped its activities for several months. However, already in 2023, the renewed company under the direction of choreographer Radu Poklitaru presented first performances of three ballet productions. Poklitaru’s ballet Tomorrow, set to the music of the second movements of Chopin’s First and Second Piano Concertos, continues the tradition of ballet Chopinianas: a twenty-minute-long, plotless composition tries to capture the sense of the future, of tomorrow, which in the first months of the Great War seemed lost forever. Twice as long and generally bigger, the ballet production DiscrimiNATION, set to music by George Frideric Handel (fragments from oratorios, operas and instrumental works) and piano Bagatelles by Valentyn Silvestrov, explores through dance various forms of discrimination, e.g., bullying, ageism, homophobia, social and media pressure, shrinking private space and rising social inequality. Developing the line of socially engaged theater, DiscrimiNATION, directed by Radu Poklitaru, is far from moralizing or direct political statement. The third production of the Kyiv Modern Ballet in 2023 was directed by Serhii Kon. One Minute Before Christmas is a family-friendly production, which, in the form of a ballet fairy tale, very close to today’s war reality, interprets the nature of evil and at the same time parodically reinterprets the previous productions of the theater, in particular, the ballets The Nutcracker and Swan Lake set to Tchaikovsky’s music (after February 2022, Kyiv Modern Ballet suspended all performances set to music by Russian composers, including those based on Russian literary works). The 2023 productions revealed three promising and at the same time contrasting trends in the repertoire strategy of the Kyiv Modern Ballet: “ballet essays,” plotless performances that reinterpret the neoclassical tradition of the twentieth century; social dance theater that sets itself specific tasks and tries to influence current public debates; and artistically persuasive and commercially successful productions for young audiences.
12
Afandiyeva, Nazrin R. "Turandot by Carlo Gozzi in the Russian theatre reception of the 1910-1920s." Imagologiya i komparativistika, no. 18 (2022): 154–67. http://dx.doi.org/10.17223/24099554/18/8.
Full textAbstract:
The article discusses the staging of the play Turandot by C. Gozzi in Russia in the 1910-1920s. The reasons why Russian directors turned to the play of C. Gozzi at that time were determined by the theatre aesthetics of the Silver Age, when the plots of the Italian comedy and its characters were perceived as a manifestation of a pure comedy aesthetics. The author analyses the productions by Fyodor Komissarzhevsky in 1912 and Evgeniy Vakhtangov in 1922 and concludes that Komissarzhevsky brought the comedy of masks closer to the comedy of characters, which resulted in an aesthetically contradictory rendition, while Vakhtangov rendered Turandot as an ironic fairy tale, in which actors did not play the characters, but the actors of a Venetian theatre troupe who played the comedy. Vakhtangov’s rendition of Princess Turandot premiered on February 28, 1922 at the Third Studio of the Moscow Art Theater. The author describes the cast, analyses the specificity of literary and stage interpretation of the play and reflects on Vakhtangov’s concept of the theater-holiday, the methods of “detachment”, stage grotesque, self-parody, and modernizing the improvisational text. The article also shows the critical reception of the production, drawin on the memoirs of the actor Boris Zakhava, who performed the role of Khan Timur in Vakhtangov’s production. In concludion, the author speaks about the influence of Vakhtangov’s production on the work of Evgeny Schwartz and directing of Svetlana Obraztsova and Georgy Tovstonogov. The author declares no conflicts of interests.
13
Barnes Lipscomb, Valerie. "“The play’s the thing”: theatre as a scholarly meeting ground in age studies." International Journal of Ageing and Later Life 7, no. 2 (April 12, 2013): 117–41. http://dx.doi.org/10.3384/ijal.1652-8670.1272a6.
Full textAbstract:
Addressing three current critical turns in gerontology, this article proposes the theatre as a fertile ground for various theoretical angles in age studies - including the performative on and off stage, the narrative in the script and the critical questioning of age and ageism in the multiple realities of performance. Beginning from a shared site in the theatre, researchers may be able to establish greater common ground, resulting not only in multi-disciplinary efforts but also in truly interdisciplinary work. With a foundation in performance studies, this article suggests promising directions for age studies and theatre scholarship by examining three aspects of theatrical production: a play script, Jan de Hartog’s popular The Fourposter (1951); a collaborative development of a script and production, Jeanette Mathewes Stevens’ 2010 senior drama ElderSpeak; and a performance, a 2011 song-and-dance revue staged by an established senior theatre troupe, the Sarasota Senior Theater.
14
Popova, Oksana. "Stage design of the modern Ukrainian director theater." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 127–31. http://dx.doi.org/10.32461/2226-0285.1.2021.238604.
Full textAbstract:
The purpose of the article is to identify and analyze the leading directions in the development of stage design in modern domestic director's theater, as well as to explore the problem of director's search in stage design. Methodology. A systematic method was applied, aimed at theoretical and artistic, and practical comprehension of the main aspects of the process of solving a stage work in the complex of organizing stage action and stage space; the method of artistic-critical analysis in the process of studying the modern theatrical repertoire, made it possible to study the stage design of the domestic director's theater in the variety of its forms; the typological method, helped to systematize traditional and innovative approaches to the development and implementation of stage design, as well as to determine its features in modern Ukrainian theater; the method of figurative and stylistic analysis, thanks to which the specifics of the stage design of modern productions of Ukrainian theater directors have been identified and analyzed; the hermeneutic method helped to identify and interpret the meanings laid down by the director in the rhythm-chronotopic configuration of the stage design. Scientific novelty. The directing-staging and scenographic activity of the leading Ukrainian directors (B. Polishchuk, D. Kostyuminsky, S. Masloboyshchikova) has been investigated, the variable variety of approaches to solving stage design in modern Ukrainian drama theater has been revealed and their influence on the artistic structure of the performance has been characterized; the specifics of the design solution for a modern theatrical performance by Ukrainian stage designers, as well as production directors, have been determined. Сonclusions. The transformations of the functions and vocabulary of stage design in Ukrainian directing theater XXI century are directly related to changes in the visual aesthetics of modern theatrical art, the problems of interpretation of the literary source, and its stage embodiment. Taking over the functions of a theatrical artist, stage directors strive to create a unique author's environment for a dramatic situation, visualizing a literary text in the space-time continuum of presentation in accordance with the individual definition of the meaning of the production, in an effort to accurately illuminate their own concept. But in the production, carried out by theatrical artists, the dominant position is occupied by the image - the performance is a series of visual images, and visual symbols exert an emotional impact on the viewer, which is usually stronger than a dramatic text and acting.
15
Volkov, Andrey N., and Andrey V. Kochetkov. "ROBOTIC EQUIPMENT OF THEATER STAGES." International Journal of Advanced Studies 14, no. 1 (March 29, 2024): 85–105. http://dx.doi.org/10.12731/2227-930x-2024-14-1-206.
Full textAbstract:
Background. The topic of the article is timely. Many interesting and technically quite feasible ideas in equipping the stage were not implemented in the theater due to the lack of direct groundwork and limited time resources. Problem statement. Generalization of the latest experience in the field of theatrical machinery requires raising the issue to the level of an interdisciplinary scientific direction based on mechanics, mechatronics and robotics. Purpose. The need to implement the increasingly complex ideas of performance directors in a modern theater requires the improvement of demonstration equipment, primarily theatrical machinery based on new scientific achievements and modern technical means of mechanization and automation. Research methods. Special stage robots can have a very different appearance, for example, they can be zoomorphic or anthropomorphic, but while maintaining the style of constructivism, they can have a man-made appearance. Such robots can perform complex movements, while they usually have numerous moving parts with independent drives. To provide flexible motion control capabilities with a focus on spectator perception, it is required to use microprocessor control with coordination from central control computers. Results. When setting requirements for such a technique, the orientation towards visual perception is specific, which is also used in demonstration robotics. Based on the scientific generalization of previous and new experience in creating technical equipment for theatrical productions of large theaters, the paper describes and characterizes typical tasks of creating and working out a scientific base for creating modern and promising equipment for theatrical productions based on general principles and practical methods of mechanics, mechatronics and robotics.
16
Odesskaya, Margarita M. "СHEKHOV IS BEING STAGED BY “FOMENKI”: A TWENTY-YEAR PATH TO THE CLASSICS." Челябинский гуманитарий 66, no. 1 (May 3, 2024): 70–76. http://dx.doi.org/10.47475/1999-5407-2024-66-1-70-76.
Full textAbstract:
The article discusses three productions based on the plays of A.P. Chekhov at the theater of the Peter Fomenko Workshop. The purpose of this article is to show the process of precoding a literary text into the language of a stage text using the example of productions by three directors of one of the leading Moscow theaters of the 21st century. How far do directors go from the author’s text in their interpretation and adaptation of a verbal work to spectacular theatrical art? In Peter Fomenko’s Workshop, classics are treated with respect: the text is not reinterpreted, but carefully read, accents are placed so that the author’s voice from the past resonates in the present. They went to Chekhov in this theater slowly: at first there were “Sketches on the way to the performance” – this is how the master himself, Peter Naumovich Fomenko, designated the genre of his first Chekhov play based on “Three Sisters” (2004). The next performance of Chekhov’s “The Seagull” was staged 15 years later by Kirill Pirogov, an actor and follower of Fomenko. And in 2023, Ivan Popovski, a director from Macedonia, a student and also a follower of Peter Naumovich, staged Chekhov’s third play based on the play “The Cherry Orchard”. All three performances, whose stage life has stretched over almost twenty years, are very different. A metatextual reading characterizes Pyotr Fomenko’s production. Stylization is the main principle of organizing the stage text based on the play “The Seagull”. In the third performance, the role of the stage directions in the comedy “The Cherry Orchard” is updated and elevated to the level of a symbol. A metatextual reading characterizes Pyotr Fomenko’s production. Stylization is the main principle of organizing the stage text based on the play “The Seagull”. In the third performance, the role of the stage directions in the comedy “The Cherry Orchard” is updated and elevated to the level of a symbol. Аt the same time, they are united not only by the acting ensemble formed by the master, but also, in our opinion, the conceptual task of building harmony between the theater and the author’s text.
17
Quinn, Michael L. "‘Reading‘ and Directing the Play." New Theatre Quarterly 3, no. 11 (August 1987): 218–23. http://dx.doi.org/10.1017/s0266464x00015190.
Full textAbstract:
A director's ‘reading’ of the play – the hierarchical implications of which were discussed by Peter Holland in the preceding article – normally begins with just that: a reading, of the printed or typewritten text. Here. Michael Quinn discusses the various factors through which this initial acquaintance becomes a stage production carrying the stamp of the resulting perceptions – some of which go unrecognized, as much by the director as by those who evaluate his work. These may vary from preconceptions (or a lack of them) about the writer himself to the prevailing modes of the director's own work, or from such imponderables as the ‘lingering’ effect of objects on stage whose original function has been fulfilled to the ‘intertextuality’ always present when a play has a previous production history. The author argues not for the impossible elimination of such influences, but for their proper recognition, so that the director may be better aware of the reasons behind the choices he makes in translating a ‘reading’ into a production. Michael L. Quinn has previously published essays on Brecht and Roman Jakobson, and is currently serving as a play-reader for the San Francisco Magic Theater while preparing his doctoral dissertation on the theatre semiotics of the Prague school.
18
Jabbari Hafez, Mahmoud, and Mothana Mohammed Sharif. "Production mechanisms and their implications for Iraqi theater techniques." Al-Academy, no. 105 (September 15, 2022): 169–84. http://dx.doi.org/10.35560/jcofarts105/169-184.
Full textAbstract:
Theatrical production mechanisms were determined according to the extents of the theatrical performance, the directing plan, and the ideas that the theatrical performance seeks to convey to the audience. Accordingly, theatrical production mechanisms differ between one theatrical performance and another according to the requirements of each of them and the surrounding circumstances that accompany the production of theatrical performance, and in order to search for production mechanisms and their repercussions on the show. Theatrical The current research was divided into four chapters, namely (Chapter One - Methodology), which identified the research problem in the following question: What are the production mechanisms and their implications for the techniques of Iraqi theatrical performance? The aim of the research came according to the question of the problem, as well as the terminology was defined, while the second chapter (the theoretical framework) came in three sections (1- The concept of theatrical production mechanisms, 2- Management and planning in theatrical performance, 3- The production mechanism and techniques of theatrical presentation). As for the third chapter (research procedures) choosing a play (Silphon) and it was analyzed within the descriptive analytical approach, while the fourth chapter (results and conclusions) concluded the research with a list of sources.
19
Сологян, А. А., and В. Г. Касарова. "Advanced aspirations of the Russian intelligentsia on the eve of the 1905 revolution." Historical bulletin 7, no. 3 (May 6, 2024): 15–21. http://dx.doi.org/10.58224/2658-5685-2024-7-3-15-21.
Full textAbstract:
данная статья посвящена исследованию процесса зарождения и становления Московского Художественного Театра – первого, общедоступного, разумного, нравственного, с высокой просветительской миссией. История государства Российского, накануне первой русской революции 1905 года, предстаёт как единый процесс, в котором, наряду с социальными, экономическими, политическими преобразованиями, просматриваются вопросы связанные с развитием культуры Российской Империи данного периода. В работе анализируется участие театрально-прогрессивной интеллигенции на фоне внутренних проблем страны в конце XlX – начала XX века. Особое внимание сконцентрировано на постановке исторической пьесы А.К. Толстого "Царь Фёдор Иоаннович". В условиях реакционной политики царизма театр становится единственным средством общения передовой мыслящей интеллигенции и народных масс. В постреформенный период, в начале XX века начинают доминировать исконно российская драматургия и литература. Вся напряжённая идейно-политическая, нравственная, идеологическая борьба театральной интеллигенции освещается в объективных исторических позициях в преддверии величайшего революционного переворота. В конце XIX начала XX создаются театры различных художественных направлений, но именно Московский Художественный становится творческим организмом и определяет вектор направления искусства в Российской Империи. this article is devoted to the study of the process of origin and formation of the Moscow Art Theater – the first, publicly accessible, reasonable, moral, with a high educational mission. The history of the Russian state, on the eve of the first Russian revolution of 1905, appears as a single process in which, along with social, economic, and political transformations, issues related to the development of the culture of the Russian Empire of this period are visible. The work analyzes the participation of the theatrical-progressive intelligentsia against the backdrop of the country's internal problems at the end of the 19th century and the beginning of the 20th century. Particular attention is focused on the production of the historical play by A.K. Tolstoy "Tsar Fyodor Ioannovich". Under the conditions of the reactionary policies of tsarism, theater becomes the only means of communication between the advanced thinking intelligentsia and the masses. In the post-reform period, at the beginning of the 20th century, native Russian drama and literature began to dominate. All the intense ideological, political, moral, ideological struggle of the theatrical intelligentsia is illuminated in objective historical positions on the eve of the greatest revolutionary coup. At the end of the 19th and beginning of the 20th, theaters of various artistic directions were created, but it was the Moscow Art Theater that became a creative organism and determined the vector of the direction of art in the Russian Empire.
20
Ryaposov, Aleksandr Yu. "M.A. Zakharov’s Play “Mystification”: Plot, Composition, Genre." Observatory of Culture 19, no. 2 (April 13, 2022): 193–200. http://dx.doi.org/10.25281/2072-3156-2022-19-2-193-200.
Full textAbstract:
The article is a special study, of a historical and theoretical nature, dedicated to the stage poetics of M.A. Zakharov’s play “Mystification” (1999) of the Moscow Lenin Komsomol Theater (now the Moscow State Theater “Mark Zakharov Lenkom”, hereinafter — Lenkom), that is the study of Zakharov’s production from the point of view of finding out what techniques and methods were used to carry it out. The subject of the study are the components of Zakharov’s directing methodology: the plot and the ways of structuring it; the decoration design of the stage and the capabilities for its transformation; the episodic structure of the action, the attractions, sideshows; the genre nature of the production; and other. In addition to the reconstruction and analysis of the Lenkom production from the point of view of the director’s technique used, the task of the research also includes determining the place and role of the play among Zakharov’s productions, which study the peculiarities of the Russian national mentality by means of the theater. The sources of the study are the director’s statements, reviews of the play, iconography, and personal impressions from watching the TV version of the play. The research methodology is based on the classical principles and approaches to performance reconstruction and analysis of the Leningrad (Gvozdev) School of Theater Studies, as well as on the method of contextual analysis. The Lenkom leader managed to create a compact, dynamic and spectacular stage fantasy based on Gogol’s texts, the purpose of which is to comprehend the Russian life at the turn of the centuries, and the director’s plot is to study the features of the Russian mentality as a factor determining the past and future of Russia. “Mystification”, together with the performances “A Barbarian and a Heretic” (1997) and “The Jester Balakirev” (2001), made up a stage trilogy, which summed up the gloomy results of the 1990s and quite clearly expressed the peculiar meta-plot of Zakharov’s productions of the beginning of the 21st century — the conditionality of the fate of Russia by specific qualities of the national mentality.
21
Montecchi, Fabrizio. "Creation processes in contemporary shadow theatre." Móin-Móin - Revista de Estudos sobre Teatro de Formas Animadas 2, no. 21 (December 20, 2019): 293–306. http://dx.doi.org/10.5965/2595034702212019293.
Full textAbstract:
Is there a particular form of stage writing and direction for contemporary shadow theatre? What are the processes involved in creation? What is the director’s role in designing and directing in shadow production? These are some of the questions that are dealt by Fabrizio Montecchi, according to his theatrical practice and his directing work and which falls within the merits of the most characteristic features of the shadow theatre.
22
Passos, Mateus Yuri. "The world in a bottle and the archeology of staging: audiovisual recording as registers of opera productions." Comunicação e Sociedade 31 (June 29, 2017): 39–56. http://dx.doi.org/10.17231/comsoc.31(2017).2603.
Full textAbstract:
This work focuses on the use of the audiovisual opera recording as a document to analyze contemporary stagings labeled by the German critics as director’s theater [Regietheater]. In director’s theater, Wagner’s total artwork project [Gesamtkunstwerk] achieves a turn in meaning, for the three artistic dimensions of opera – word, music and staging – become different texts. In this paper, we discuss the limitations of audiovisual recording as a register of director’s theater opera stagings, as well as filmic resources that allow for a reconstruction of the audiovisual text of such productions with solutions that are often quite distinct from those adopted on the stage. We are interested above all in problematizing the equivalence that is sometimes established between a staging and its recording – especially in the contemporary context of productions that frequently suffer considerable changes and are characterized by the unique aspect of each performance, always full of singular events and relatively autonomous regarding the general plan of the director. Thus, we will discuss problems and solutions of video direction of audiovisual recordings of stagings of the operatic cycle Der Ring des Nibelungen [The Ring of Nibelungo], by Richard Wagner (1813-1883).
23
Shchukina, Yuliia. "Oleksandr Ivashutych, a student of Les Kurbas, as a universal figure in the theater of musical comedy." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 345–57. http://dx.doi.org/10.34064/khnum2-19.20.
Full textAbstract:
Background. Analyzing the origins of the school of Kharkiv Academic Theater of Musical Comedy, we cannot ignore its founders. People’s Artist of the UzSSR O. Ivashutych was a director, head of the theatre (during the 1940s), drama actor from the year of its founding (1929) to 1971. Methods and novelty of the research. The research is based on historicalchronological, biographical, typological, and comparative methods with an element of performances and roles reconstruction. Not much is known about O. G. Ivashutych. The only encyclopedic reference about him (from the “Encyclopedia of Modern Ukraine”) does not shed light on the director’s method, indirectly giving an idea only of the acting range. The work of Yu. Stanishevsky (1970) on the first forty years of musical comedy theaters of Ukraine (“Colors of Ukrainian operetta”) has several useful elements of reconstructions of the roles in the early period of O. Ivashutych’s work. N. Yermakova’s (2012) monograph “The Berezil Culture…” contains facts and important assessments of O. Ivashutych’s activity as a member of the Berezil Art Association. The author of this paper has collected more than 30 articles in the funds of scientific libraries and Specialized music and theater library of Kharkiv, as well as in the archives of KhATMK, and for the first time the information about the work of O. Ivashutych is analyzed. In addition, the actresses who worked with O. Ivashutych were interviewed. Therefore, this study is the first to reveal and systematize peculiarities of the creative path of O. Ivashutych, an actor, director, head of Kharkiv Theater of Musical Comedy. The director made about 40 productions on the stage of Kharkiv Theater of Musical Comedy and in Central Asia, where he was later evacuated. As an actor, O. Ivashutych played more than 100 versatile roles. The article aims to identify and characterize the main stages of the creative path of O. Ivashutych as well as differences between his acting and directing in different aesthetic eras. Results. O. Ivashutych’s creative individuality leaned towards the tragicomedy of Charlie Chaplin and Maryan Krushelnytsky. As a student of Les Kurbas in the Berezil Art Association and a member of the director’s laboratory of this theater, Les Ivashutych mastered the method of the famous avant-garde company, Les Ivashutich mastered the stage method of the famous avant-garde company, skillfully building rhythm of a performance and a role, turning to circusize, grotesque sharpening of images. In his directing work on the stage of the Musical Comedy Theater, O. Ivashutych, as a pupil of “The Berezil”, sought to consistently develop two repertoire trends: the embodiment of the best European classics (often exclusive in the country salon repertoire) and Ukrainian works (musical comedies and operettas by M. Verykivsky, M. Lysenko, O. Riabov). In our opinion, during these years L. Ivashutych drew a dash line of the European repertoire in his theater: he presented unique in the history of Kharkiv Theater of Musical Comedy operettas “The Borgia’s Garter” by K. Kraus, “Jeanne Who Cries and Jean Who Laughs” by J. Offenbach, “Ball at the Savoy” by P. Abraham (1940), “The Marriage Market” by V. Jacobi (1947), “The Eagle Feathers” by F. Farkas (1957), “Fraskita” by F. Lehár (1959), “The Waltz King” by J. Strauss (1961) and the first productions of famous operettas “Rose Marie” by G. Stotgardt and L. Friml (1942), “The Circus Princess” (1947), “Zorika (Gypsy Love)” by F. Lehár (directed by O. Ivashutych in the year of the composer’s death). In addition, O. Ivashutych staged four performances based on the musical comedies of the classic of Ukrainian operetta O. Riabov. The only performance, which could directly reveal the methodology of “The Berezil” was a fantastic comedy “Viy” (1951). The director also impressed with frank theatricality in circus scenes from the Milyutin’s operetta “Circus lights the fires” – together with choreographer A. Gulesco he managed to set up the style related to “girls” from “The Berezil” revues. Conclusions. Olexandr Ivashutych’s acting naturally evolved from the avantgarde of the 1920s – early 1930s, when he created, in particular, an eccentric image of Orpheus in the production of J. Offenbach, to the realistically psychological roles of 1950–1960, performed in a soft comedic manner (Amadeus in “The Bat”, Rooster in “Akulini”, Underwud in “The Kiss of Cianita”). L. Ivashutych worked as a director only during the period of the theater of “socialist realism”, which resulted in the corresponding realistic principles of his productions. However, even in such circumstances the director appreciated and skillfully used bright elements of theatrical imagery (fantasticality in “Viy” by M. Gogol, choreography in the spirit of the revue in “Circus lights the fires”). O. Ivashutych’s activity in Kharkiv Theater of Musical Comedy was based on the significant personal culture of the artist and his worldview of an intelligent leader.
24
Tugbokorowei, Martins Uze E., and Tunde Obado Oliogu. "The Director’s craft in the Nigerian Educational Theatre: A Study of Henry Leopold Bell-Gam’s Directorial Approach." Global Journal of Arts, Humanities and Social Sciences 10, no. 9 (August 15, 2022): 20–33. http://dx.doi.org/10.37745/gjahss.2013/vol10n92033.
Full textAbstract:
Directing involves the art and craft of coordinating the artistic and non-artistic personnel in a production in order to creatively and effectively communicate to the audience the intended meaning of a play. Dramatists, actors, and theatre managers have all attempted to direct or manage the process of coordinating play production over the years, but it wasn't until 1874 that the Duke of Saxe Meiningen entered the picture and assumed official responsibility as a director in guiding the affairs of the stage business as we now know it. In this study, the directing style of South South Nigerian educational theater director Henry Leopold Bell-Gam is evaluated. Henry Leopold Bell-Gam directed plays on stage (land) and in the water, according to the study, which used the qualitative research methodology with a focus on the literary/analytical, historical, and sociological methods. The Laissez-Faire method is used by Henry Leopold Bell-Gam to direct his plays. He employs the laissez-faire method, which allows the actors to be at ease so that their greatest work may shine in a production. The study found that in the course of employing or performing his directorial responsibilities, he runs into a number of difficulties, including insecurity in the aquatic environment and scheduling conflicts. The study makes several recommendations, including the need for more research in the field of directing with regard to educational theatre directors in Nigerian universities, the need for scholars to consider Henry Leopold Bell-Gam's works as viable ones that will inspire further scholarly investigation, and the need for the government to encourage, support, and fund aquatic productions as a means of socio-cultural integration, tourism attraction, and economic boost, particularly for people.
25
Khibadullina, A. S. "Art journalism: film art in the socio-cultural paradigm." Bulletin of L.N. Gumilyov Eurasian National University. JOURNALISM Series 142, no. 1 (2023): 112–20. http://dx.doi.org/10.32523/2616-7174-2023-142-1-112-120.
Full textAbstract:
The article talks about one of the new directions in the development of modern journalism - art journalism, as well as about the place and development of "film journalism" in providing information within this direction, cinema. Today's film production is available not only in cinemas, but also on TV, tablets and the Internet. Therefore, it is important to take into account the development of modern film production and different methods of studying the film genre, as well as the function of cinema art in the socio-cultural space. The influence of modern technologies on film production is recognized as an urgent issue. In society in general, no one can limit a person's inner spiritual need and taste. As demand grows, the requirements and tasks for teleworking grow. Television equipment is also being developed taking into account the requirements. Since it is impossible to separate the history of television from cinematography, there is a need to consider film journalism from a theoretical and practical point of view. Therefore, it is necessary to know the theoretical foundations of working with information in the development of art journalism as one of the directions of industry journalism, the development of cinematography. It is known that speech in cinema and on television forms the culture of speech in society, so it is important from a practical point of view to pay attention to the use of the possibilities of cinema, theater and new media and consider the way of a comprehensive study of screen culture
26
Martin, Jennifer. "Surviving in Vancouver / 2: New Direction at Tamahnous." Canadian Theatre Review 63 (June 1990): 29–33. http://dx.doi.org/10.3138/ctr.63.006.
Full textAbstract:
When Tamahnous Theatre’s artistic director Kathleen Weiss announced her resignation in the spring of 1989, there was much speculation as to who would be her successor. Then in its 17th year of production, Tamahnous had established an international reputation for experimental work with hits such as The Haunted House Hamlet, Last Call! A Post Nuclear Cabaret and Billy Bishop Goes to War. The board of directors felt that it was important for the new artistic director to carry on the Tamahnous tradition of innovative, non-traditional theatre. And although the search was Canada-wide, it was hoped that the successful candidate would already have strong ties with the Vancouver theatre community.
27
Shutko, Serhii. "Contemporary Music Directing — Innovation or Adventure?" Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 203–16. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251822.
Full textAbstract:
The author considered the problem of the artistic integrity of the opera in terms of finding ways to renew the musical theater of Ukraine, caused by socio-cultural challenges of today. The article clarifies the fragmentary nature of scientific research on the issue with the priority of musicological aspect and insufficient research of theatrical aspects, which requires a new comprehensive understanding of the director's concept in musical theater.The problem of artistic integrity of opera performance in the conditions of search ways to update the musical theater of Ukraine caused by sociocultural challenges of the present is considered. The article clarifies the fragmentary nature of scientific investigations of the problem with the priority of musicology and insufficient research of theatrical aspects, which requires a new comprehensive understanding of the director's concept in musical theater. The methodology of research key moments of the chosen subject is outlined: modern directorial approaches to creation of artistic integrity of opera performance — structural and functional; the concept of training musical theater directors in the realities of today — systems analysis; vectors of renewal of directorial approaches to the interpretation of works — semiotic. The purpose of the research is formulated — to determine the director's concept of creating the artistic integrity of opera performance in the context of updated synthesis of means of expression of different arts, based on harmonious artistic and research training. The main components of directorial content in solving art work in accordance with the modern possibilities proposed by the theater stage are analyzed. Director's approaches, techniques, means of expression aimed at an organic combination of different arts and achievements of science to find a new synthesis in the embodiment of opera performances are revealed. It is proved that in modern researches of the artistic integrity of the opera performance the mainly musicological aspect is revealed. The analysis of directorial incarnations of operas reflects the achievements of scientific thought at the end of the last century and needs to be reconsidered from the standpoint of the present. The study of directorial interpretations of opera performances in Ukraine makes it possible to state the existence of problems both at the stage of conception and during its implementation, which is due to aesthetic approaches of the end of the last century. The importance of universal training of a musical theater director, able to combine all the components of artistic synthesis into a complete performance with the help of a production team and creative staff, is revealed. Renewal of directorial approaches in the interpretation of operas involves the use of original techniques with the synthesis of traditional and innovative means of expression. The scientific novelty of the research is to establish causal links between integrative artistic and research, research training of the specialist and his ability to produce the latest original ideas in the context of staging. Prospects for further scientific explorations of key aspects of the typology of modern opera directing in the socio-cultural realities of today are predicted.
28
Ichim, Traian. "The Innovative Element in the Genre of Opera or the Modernity of Artistic Expression in the Contemporary Lyric Theater." Studia Universitatis Babeş-Bolyai Musica 69, no. 1 (June 10, 2024): 211–20. http://dx.doi.org/10.24193/subbmusica.2024.1.15.
Full textAbstract:
This paper examines the evolutionary process of moving from traditional styles to pioneering directions in the opera genre. This phenomenon expressed itself in a mixture of styles and forms of language, in the integration of different types of artistic means of expression. Another issue would be related to the nature of the lyrical tradition, its need for preservation and continuity, and the extent to which innovation is tolerated in opera to ensure that artistic works do not cross genre boundaries. It is a new phenomenon for contemporary actors and audiences, the one present in the theater today. By examining the evolution of the art of opera, it was possible to identify the general pattern of development of innovative opera and to argue that artistic integration is the source of diversity on stage and the basis of innovation in opera production. For this purpose, a cultural-historical and historical-artistic approach was used. The academic novelty of the study consists, first of all, in the complex analysis of the sources related to the translation of meta-language in lyrical art, and secondly, the incorporation of these sources in the academic circulation as important and significant for the recognition of the reform of the opera genre. Keywords: opera performance, opera direction, traditions, innovations, synthesis of arts, meanings.
29
Valeriia, Liubchenko. "“SUICIDE” ON THE KHARKIV STAGE: MUSIC AND STAGE READING BY S. PASICHNYK – H. FROLOV." Aspects of Historical Musicology 24, no. 24 (October 13, 2021): 199–214. http://dx.doi.org/10.34064/khnum2-24.11.
Full textAbstract:
Statement of the problem. The article examines the theatrical heritage of Les Kurbas, the founder of Shevchenko Kharkiv Academic Ukrainian Drama Theatre (originally called «Berezil»). Les Kurbas is the reformer of the Ukrainian theater; his theatrical ideas demonstrate a new understanding of the synthesis of the arts. He concentrated his creative aspirations not only on acting, but also on all components of the performance, in particular on music. The paper examines methodically the application of the basic principles of Les Kurbas Theatre – the co-authorship of the director and composer – in Kharkiv theatre. The article also studies the works by H. Frolov – talented Kharkiv composer. The critical legacy dedicated to the works of Les Kurbas does not fully illuminate the uniqueness of his views regarding directing and the originality of the musical language in the genre of dramatic performance (CherkashynaHubarenko, 2002; Hordieiev, 2003; Yermakova, 2012; Labinska, 2012). There are a number of works devoted to the issues of music in theater (Kurysheva, 1984; Kozyurenko, 1986; Tarshis, 2010; Matsepura, 2013; Lesakova, 2017; Oseeva, 2019; Kovalchuk, 2017; Nurtazin, 2013; Spagnolo, 2017). The novelty of our research. The paper investigates musical component in the current practice of Shevchenko Kharkiv Academic Ukrainian Drama Theatre and creative method of its leading composer H. Frolov. The aim of the article is to reveal the interconnection of music with the stage elements of the performance. The study of the stage play “Suicide” in Kharkiv Drama Theater required the implementation a number of scientific approaches: historical and genetic, studying the modern function of music in the analyzed dramatic performance in Kharkiv Drama Theater, the origins of which go back to Kurbas “Berezil”; a comparative analysis, revealing the ways of preserving old traditions in modern performance; genre analysis, investigating the embodiment of the comedy dell arte in the musical scenes; stylistic analysis, revealing the composer’s thinking in making the director’s decision regarding stagecraft. The presentation of the main material. The article analyzes a musical component in the stage performance “Suicide” based on the play by Nikolay Erdman (1928), reinterpreted by our contemporaries – the stage director Stepan Pasichnyk and the composer Henadii Frolov. The work reviews the production itself and the acting troupe. The article outlines the inheritance and development of the traditions in Les Kurbas Theatre regarding the mutual work of the composer and director, aimed at the organic fusion of the stage action and musical accompaniment of the performance. Conclusions. Dramaturgical and genre-compositional analyzes of the performance detected such distinctive features of the individual style of H. Frolov as: musical organization of the stage with one intonation, which, depending on the drama, can be flexible and transformative, acquiring new meanings and qualities and thus making the musical development monothematic; unity of the figurative and semantic layers of music with the director’s concept of the performance; transformation of genre features of tragic farce and commedia dell’arte.
30
Shevchenko, Elena N. "YOUNG DIRECTING ON THE KAZAN STAGE." Челябинский гуманитарий 66, no. 1 (May 3, 2024): 77–84. http://dx.doi.org/10.47475/1999-5407-2024-66-1-77-84.
Full textAbstract:
The article is devoted to the young generation of directors working on the Kazan stage. These are those who have entered the profession over the past ten years. Among them there are already established masters such as Ilgiz Zainiev, Aidar Zabbarov, Timur Kulov, Ilsur Kazakbayev, a director from Bashkiria who is actively working in Tatarstan. There are also those who are at the very beginning of their career, but have already attracted attention with interesting productions and projects – Lilia Akhmetzyanova, Bulat Gataullin, Bulat Minkin and others. These young artists are successfully implemented in the multicultural environment of Tatarstan. Ilgiz Zainiev heads the Tatar Puppet Theater “Ekiyat”, working with both its Tatar and Russian troupes. His portfolio includes numerous productions in the Tatar drama theaters of Kazan and other cities of the republic: Almetyevsk, Atnya, Menzelinsk, Naberezhnye Chelny, performances in the Kazan Russian Youth Theater and the Naberezhnye Chelny Puppet Theater. Aidar Zabbarov is a director in demand by Russian theaters. In his native republic, he works mainly in the Tatar theaters of Kazan, Almetyevsk, Atnya, while simultaneously being the author of productions at several Russian theater venues. Timur Kulov also successfully cooperates with both Tatar and Russian theaters of the republic. Ilsur Kazakbayev works mainly in national theaters – Bashkir and Tatar. Lilia Akhmetzyanova is the director of the Kazan Russian Youth Theater and at the same time the author of productions at the Kazan Tatar Youth Theater named after G.Kariev and at the venues of the Living City Foundation for the Support of Contemporary Art. These and other directors largely determine the appearance of today’s theatrical Kazan. The purpose of this article is to identify the features of the author’s style of young directors who have especially vividly declared themselves on the Kazan stage, and through the individual try to consider something in common – the qualities inherent in the new generation of directing as such.
31
Jones, Nesta. "Looking at Lear: the Voice Work and Direction of Cicely Berry." New Theatre Quarterly 35, no. 02 (April 15, 2019): 135–49. http://dx.doi.org/10.1017/s0266464x19000058.
Full textAbstract:
Since her death on 15 October 2018 at the age of 92 many tributes have been paid to Cicely Berry, and no doubt more will follow. Her legacy is assured, however, through the many actors, directors, and young people she encouraged, inspired, and transformed during her long and illustrious career as Director of Voice (and subsequently Advis ory Director) of the Royal Shakespeare Company, and other organizations where she shared her practice internationally, often with the assistance of translators in order to work in the language of the host communities. Moreover, her words and a myriad of examples of exercises on voice and text processes remain in print and on digital media for the benefit of future generations.1 In this article, Nesta Jones focuses on one specific piece of work and moment in time. Cicely Berry had directed a touring production of Hamlet for the Education Department at the National Theatre in 1986, with Tim McInnerny in the title role; then, two years later, came the production appraised in detail here – King Lear for the RSC, first staged at The Other Place in Stratford-upon-Avon in 1988, and at the Almeida Theatre, London, in 1989. Nesta Jones recently retired as Professor and Director of Research at Rose Bruford College ot Theatre and Performance, and was previously Reader in Theatre Arts at Goldsmiths, University of London.
32
Vakhmistrova, Svetlana I. "S. Mamontov and V. Telyakovsky as two fields of attraction in the fate of F. Chaliapin1 and the Russian opera theater." Historia provinciae – the journal of regional history 5, no. 1 (2021): 146–82. http://dx.doi.org/10.23859/2587-8344-2021-5-1-4.
Full textAbstract:
Using meaningful historical material, the article explores the parallels of the creative careers of such great developers of the Russian opera of the late 19th – early 20th centuries as F. Chaliapin, S. Mamontov, and V. Telyakovsky. It was the period of rapid development of innovative stage direction, vocal art, and stage design. The outstanding organizers of theater business S. Mamontov and V. Telyakovsky were at the heart of that creative seething. Being representatives of different social strata (the merchant class and higher nobility), they attracted vivid talents and opened them the way of the private and state opera, respectively. The flourishing of operatic art led to a completely new level of performance. F. Chaliapin and a number of other outstanding representatives of Russian opera began their careers at that time. S. Mamontov’s Private Opera which played a significant role in the development of Russian operatic art was founded in 1896. The repertoire of this theater consisted of works by Rimsky-Korsakov, Mussorgsky, and Borodin. Innovative approaches to the opera performance which was considered as a living synthetic phenomenon integrating the concepts of production and stage design were implemented on the Russian stage for the first time. In its productions, Mamontov’s Private Opera used the principles of realism, which corresponded to the spirit of the works performed. Meanwhile, the development of Russian opera during this period was taking place against the background of complex social relations which aggravated many contradictions both in the life of the society as a whole with its differentiation into metropolitan and provincial life, and in the life on the stage with its specific very mobile interpersonal communications. The article focuses on the careers of S. Mamontov, F. Chaliapin, and V. Telyakovsky. Each of them made an invaluable contribution to the development of Russian opera. From the perspective of the historical culturological approach, the article examines the complicated relationship between the prominent Russian philanthropist and theater director Savva Mamontov, the flexible administrator Vladimir Telyakovsky, and the outstanding opera singer Feodor Chaliapin, and their influence on the formation of the personality of an opera performer and on the development of operatic art in Russia as a whole. The article presents abundant documentary evidence of the peculiarities of their relationship which ultimately determined the vector in the development of the Russian opera theater.
33
Vasyanovych, H., and T. Blahova. "LES KURBAS ARTISTIC AND PEDAGOGICAL SCHOOL IN THE DEVELOPMENT OF CHOREOGRAPHIC EDUCATION IN UKRAINE." Aesthetics and Ethics of Pedagogical Action, no. 24 (December 26, 2021): 107–21. http://dx.doi.org/10.33989/2226-4051.2021.24.255908.
Full textAbstract:
The article substantiates the relevance of the artistic and pedagogical heritage of the outstanding Ukrainian director of the XX century, a theater teacher, a thinker, and a founder of the national modern theater Les Kurbas, and his influence on the development of choreographic education in Ukraine. His stage-creative and pedagogical contribution to an actor’s plastic culture formation is analyzed. It has been found that the master’s achievements are formed into a coherent pedagogical system and a separate paradigmatic direction of theater education. The significance of the ‘Berezil theater school’ phenomenon in the formation of concepts of national choreographic pedagogy is studied. The complex of innovative artistic and aesthetic principles of work with future stage art performers, introduced by L. Kurbas, is characterized.
It is proved that Berezil art and pedagogical system created by L. Kurbas, in general, caused innovative changes in the choreographic training of actors and directors in the first third of the XX century. It significantly adjusted the training content, defined strategic guidelines in the formation of theoretical and practical principles of professional choreographic education. Firstly, in determining the essential features of the updated model of actor training, the status of dance as an integral part of acquiring the basics of professional skill was significantly strengthened. The formation of choreographic training content in theater universities was influenced by the choreographic and pedagogical ‘Berezil’ achievements in the areas of expanding the content of the course ‘Stage Movement,’ active implementation of the principle of unity of theoretical training with practical study of ‘Fundamentals of Acting.’ Secondly, the large-scale educational work of the Berezil association had primarily a pedagogical meaning, played a significant role in educating a wide range of amateur actors, coordinating the activities of its branches. The heads of Berezil’s peripheral studios synthesized innovative creative ideas in the field of choreographic education along with the theatrical vertical, involving working and rural youth in their understanding.
The study summarizes the leading trends of the master’s educational activities in the field of actor and director professional training by means of expressive stage movement. Among the promising key principles of the concept of choreographic education of actors and directors, formed by L. Kurbas, the deep ideological orientation, cultivation of new aesthetics of stage movement, integration of production and educational objectives, practice-oriented content, emphasis on self-improvement are singled out.
34
Anderson, Martin. "London, English national Opera: ‘The Handmaid's Tale’." Tempo 57, no. 225 (July 2003): 39. http://dx.doi.org/10.1017/s0040298203220246.
Full textAbstract:
Poul Ruders's opera The Handmaid's Tale is hardly an unknown quantity: its world-première production in Copenhagen in 2000 was recorded by da capo (8.224165–66) in a three-CD set that received justly loud encomia. But the UK stage première, transferring the Danish production for a run at the English National Opera that began on 3 April, revealed – in a way that the recording obviously could not – what a superior piece of theatre it is: music, libretto, direction, stage design, costumes and lighting all coalesce to thrilling effect. A depressing number of operatic productions sacrifice musical integrity to directorial whim, so it's deeply heartening to report that, for once, everything pulled dedicatedly in the same direction, with outstanding results: it has been years since I've seen something this good.
35
Berlova, Maria S. "A literary duel between Catherine II and Gustav III: The dramatic works of the monarchs during the Russo-Swedish war (1788–1790)." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 27–45. http://dx.doi.org/10.35852/2588-0144-2023-1-27-45.
Full textAbstract:
Russian Empress Catherine II and Swedish King Gustav III were not only relatives (cousins), but also related by an adherence to the ideas of enlightened absolutism, a love for philosophy, literature, and theatre. Both monarchs were playwrights actively engaged in the production of their plays. During the Russo-Swedish War (1788–1790), Catherine II wrote the play, “Woeful Knight Kosometovich” (1788), a pamphlet on Gustav III that was staged as an opéra comique at the Hermitage Theatre in January of 1789. In his turn, Gustav III composed the musical comedy “Alexey Mikhailovich and Natalia Naryshkin” (1789), that idealized the Russian tsar and was staged at the Royal Dramatic Theatre in January of 1790. By Catherine II’s appeal to Russian folklore in her play and Gustav III’s appeal to the 17th-century Russian history in his comedy, each monarch contributed to the creation of the political myths that formed the rulers’ images, promoted their state ideology, and indicated the direction of their national theatres’ further development. These dramatic works of Catherine II and Gustav III deserve special attention because they refer to particular people and circumstances, which contemporary spectators easily identified. The detailed stage directions of the royal playwrights allow one to consider their different directing styles. The author contrasts the approach of stage direction usage by Catherine II and Gustav III and draws the conclusion that the Swedish King shows more experience and foresight than the Russian Empress as a stage director.
36
Mojžišová, Michaela. "Peter Konwitschny, Opera and Theatre Director Shaping the Profile of the Bratislava Opera of a New Millennium." Slovenske divadlo /The Slovak Theatre 65, no. 3 (September 1, 2017): 266–82. http://dx.doi.org/10.1515/sd-2017-0015.
Full textAbstract:
Abstract The paper examines the work of the acclaimed German opera and theatre director Peter Konwitschny at the Opera of the Slovak National Theatre. The authoress bases herself on an analysis of the productions of Eugen Onegin (2005) [Eugene Onegin], by Tchaikovsky, Puccini’s Madama Butterfly (2007) and Bohéma (2013) [La bohème], Janáček‘s Vec Makropulos (2015) [The Makropulos Affair], and Halévy‘s Židovka (2017) [La Juive], all of which, save for Janáček‘s opera, the Opera of the Slovak National Theatre has borrowed from foreign theatre scenes. The authoress makes a stocklist of the basic principles of Konwitschny’s direction signature and his contribution to theatre production, as well as to the artistic ensemble of the Bratislava Opera.
37
Podmaková, Dagmar. "Alexander Dubček Twice – An (Un)Known Side of Him." Slovenske divadlo /The Slovak Theatre 66, no. 3 (September 1, 2018): 242–66. http://dx.doi.org/10.2478/sd-2018-0015.
Full textAbstract:
Abstract The authoress, using two visual works, i.e. theatre production #dubček and film Dubček (both 2018), compares two different approaches to and forms of the work with the personality of Alexander Dubček against the backdrop of the reforms and political upheaval in Czecho-Slovakia1, in 1968. Theatre production #dubček (Aréna Theatre, Bratislava, direction Michal Skočovský) has three levels. The first one is acting game having the form of a rehearsal of a new text about the politician Alexander Dubček; its component part is the projection of period archival film shots. The second level involves the actors stepping out of characters and commenting on Dubček’s attitude and on historical events. The third level entails monologue scenes, in which actors reveal their personal attitudes via narrated stories at the time of normalization2 which had a negative impact on the lives of hundreds of thousands of people. In the film Dubček (Slovak-Czech co-production, direction Ladislav Halama), through Dubček’s reminiscing the past, political events interweave with the scenes from the life of Dubček’s family. Although both the works employ period image documentary material and fiction, they fail to create a dramatic conflict and they are illustrative for the bigger part.
38
Serov, Iurii Eduardovich. "Music for the ballet “The Twelve” by Boris Tishchenko in the context of the revival of Russian symphonic style of the 1960s." Человек и культура, no. 4 (April 2021): 59–72. http://dx.doi.org/10.25136/2409-8744.2021.4.36269.
Full textAbstract:
The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939–2010). The article analyzes the composer's first major ballet based on the poem “The Twelve” by A. Blok, which was requested in 1963 by the outstanding Soviet choreographer L. Yakobson for production design in the Kirovsky Theater in Leningrad. The author examines such aspects of the topic as Tishchenko's innovative role in the revival of Russian symphonic style in the second half the XX century, interrelation between music and poetry in the orchestral compositions of B. Tishchenko, as well as strong influence of the literary concepts upon the development of his symphonic style. Special attention is given to the topic of B. Tishchenko's succession of the great Russian symphonic tradition. The main conclusion lies in the thought that B. Tishchenko's ballet “The Twelve” is the first truly contemporary ballet performance in the Soviet musical theater. The author’s special contribution to this research consists in comprehensive examination of the works of the prominent Russian composer that have not receive due attention of the musicologists. The novelty lies in demonstration of the important role of Boris Tishchenko in the overall process of the revival of the Russian symphonic music of the 1960s on the example of the ballet of his early period. Developing his original artistic concepts, Tishchenko symphonized the ballet performance, paving the way for many Soviet composers in this direction.
39
Rodiņa, Ieva. "Režisors Eduards Miks. Brīvdabas lieluzvedumu prakse 20. gadsimta 30. gados." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 215–22. http://dx.doi.org/10.37384/aplkp.2023.28.215.
Full textAbstract:
Director, actor, theater pedagogue Eduards Miks (1893–1943) is a less-studied person in the history of Latvian theater, whose creative work is mainly related to the practice of large-scale open-air large-scale performances in the city of Ogre in the 1930s. The purpose of the article is, firstly, to present the creative biography of Eduards Miks, and, secondly, to analyze his large-scale open-air productions in the context of Latvian 1930s theatre practice. The open-air productions of Eduards Miks can be divided into two groups. Firstly – large-scale productions related to the carnivalization tendency, which begin with a theatrical procession, turning the whole city into a stage and preserving the principle of the theatricalization of life in the organization of the performance as well. The second group – musical productions, in which the actors of Riga theaters are engaged in the title roles, and local art life enthusiasts – in the mass scenes, creating complex mise-en-scenes and impressive mass scenes. Analysis of archival and periodical sources and historical-genetic and semiotic research approach are used. The article states the known facts of Eduard Miks’s life and creative biography, analyzes the most significant open-air productions of the director, as well as compares the directing tendencies of the open-air productions of Eduards Miks to the overall 1930s Latvian theatre practice.
40
Looby, Robert. "Stage Directions and the Insistent Narrator in Brian Friel." Style 56, no. 4 (November 2022): 374–91. http://dx.doi.org/10.5325/style.56.4.0374.
Full textAbstract:
ABSTRACT This is a study of the covert narrator in Brian Friel’s plays and is part of a growing interest in narratology in theater. The covert narrator is revealed to readers by means of stage directions, divided into two types: those that can reach the audience and those that must stay with the reader. The character of the covert narrator is revealed principally in directions that are impossible to carry out, which contain free indirect discourse and which editorialize—things only readers can fully appreciate but which are still relevant to the production of the play since the covert narrator is in effect a character in the play. The article presents a close reading of plays from virtually all stages of Friel’s career to demonstrate that it is at those points when communication between on-stage characters breaks down that the covert narrator comes closest to revealing his hand.
41
Xu, Yexiaxin. "Social Media Marketing Strategy in Chinese Musical Theatre Industry." Communication, Society and Media 6, no. 4 (October 21, 2023): p15. http://dx.doi.org/10.22158/csm.v6n4p15.
Full textAbstract:
The usage of social media in the context of musical theatre marketing continues to grow. More and more musical theatre production companies in China are using social media tools such as Weibo to provide various services and interact with customers. In an effort to help understand how the current musical theatre industry conducts social media marketing and the future development direction, this paper describes a case study which applies content analysis to examined posts on Weibo sites of five top musical theatre production companies: Seven Ages, Shanghai Culture Square, Musicals, Focustage, and Amazing Musicals. The results provide insights into the characteristics of social media marketing strategies of musical theatre production companies and changes after covid-19 pandemic. The study results add to the rapidly evolving field of social media within the musical theatre industry marketing context. Moreover, it advocates for an active role for the musical companies to explore and actively participate in the customer and musical fan communities on social media.
42
Pogrebnіak, Galyna. "Topical Issues of Modern Directing Education." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 2 (December 22, 2022): 189–98. http://dx.doi.org/10.31866/2617-2674.5.2.2022.269526.
Full textAbstract:
The purpose of the research is to identify the problems of training directors in the field of audiovisual art and production; to outline the prospects for modernization of the educational process in higher educational institutions of artistic direction in Ukraine. The research methodology is based on the methods of scientific analysis, comparison, and generalization. Analytical and systematic methods were used to study the art historical aspect of the problem. The empirical method was used to observe and study the educational process and production practice in the Kyiv National I K. Karpenko-Kary Theatre, Cinema and Television University, Kyiv National University of Culture and Arts, and Kyiv University of Culture. The scientific novelty of the study is that the problem of directing education in Ukraine in the context of the state support programs functioning time became the subject of a special study for the first; the concept’s content of “directing education” as specific integrity and unity of interrelated elements is argued; the worldview principles of training directors in the field of audiovisual art and production are singled out and characterized; the expediency of using communicative methods in the educational process of training directors is proved. Conclusions. Familiarization with the materials presented in the article expands the arsenal of knowledge about the specifics of providing quality educational services in higher education institutions of artistic direction in Ukraine and enables their use in pedagogical practices.
43
Lindovská, Nadežda. "Ján Jamnický’s Ten Days with Soviet Theatre." Slovenske divadlo /The Slovak Theatre 65, no. 2 (June 27, 2017): 121–41. http://dx.doi.org/10.1515/sd-2017-0008.
Full textAbstract:
Abstract Art was perceived in the Soviet Union as a part of ideology and propaganda aimed not only at the domestic environment but also at foreign countries. State cultural policy was presented through a series of magnificent meetings and shows, to which also participants from abroad were invited. In the 1930s Moscow was the venue of several theatre festivals, which were attended by Czechoslovak theatre makers. In 1936 it was also attended by Ján Jamnický, the novice theatre director of the Slovak National Theatre in Bratislava. The Slovak theatre maker saw a lot of inspiring productions and experienced the initial period of a campaign aimed at suppressing the freedom of artistic expression. He became a witness to the twilight of Russian theatre avant-garde. The present paper describes the theatre experiences of Ján Jamnický in the Soviet Union and their impact on his life, production and style of direction. It points to a series of overlooked facts which are necessary for a complete understanding of the historical and artistic context of Soviet theatre and Jamnický’s journey.
44
Smart, Billy. "Three Different Cherry Orchards, Three Different Worlds: Chekhov at the BBC, 1962–81." Critical Studies in Television: The International Journal of Television Studies 9, no. 3 (September 1, 2014): 65–76. http://dx.doi.org/10.7227/cst.9.3.7.
Full textAbstract:
Unlike the theatre, there is no established tradition of plays being revived (new productions made from existing scripts) on television. The only instance of this mode of production in Britain has been the regular adaptation of classic theatrical plays. The existence of three separate BBC versions of Chekhov's The Cherry Orchard (1962, 1971, 1981) creates a rare opportunity to trace developing styles of direction and performance in studio television drama through three different interpretations of the same scene. Through close analysis of The Cherry Orchard, I outline the aesthetic and technological development of television drama itself over twenty years.
45
Stuart, Ian. "Revisiting ‘The Sea’: Bond's English Comedy in Toulouse." New Theatre Quarterly 15, no. 2 (May 1999): 178–82. http://dx.doi.org/10.1017/s0266464x00012859.
Full textAbstract:
Edward Bond's The Sea was first presented at the Royal Court Theatre under William Gaskill's direction in 1973, and later confirmed as a modern classic in its revival in 1991 at the National Theatre– where it was claimed that it could only have been written by an Englishman. But, as La Mer, it was chosen to open the Thėâtre de la Citė in Toulouse, where Bond scholar and editor Ian Stuart saw Jacques Rosner's production in October, and here reports on the resultant meeting between an English comedy and ‘French serenity’.
46
Titova, Halyna. "The Opera "The Barber of Seville" by Giocchino Rossini in Domestic Paradigms." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 217–32. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251823.
Full textAbstract:
The article reveals the stage interpretations of G. Rossini's "The Barber of Seville" on the Kyiv opera stage in the second half of the 20th — early 21st centuries by the directors Mykola Smolych (1944) and Dmytro Smolych (1955), Dmytro Hnatyuk (1979), (1990), A. Solovyanenko (2019). The author clarifies the relevance of the appeal to opera in the socio-cultural realities of today, substantiates the request of the audience of the information technology era on the chosen topic and the need to rethink the work at the beginning of the Romantic era in accordance with modern theater scene possibilities. The available musicological research of the opera drama "The Barber of Seville" in the context of the creative heritage of G. Rossini is mentioned in the article. A significant gap in the existing works on this topic is the fragmentary nature of scientific investigations of directorial interpretations of the composition in the musical theaters of Ukraine. The methodology of research of key aspects of opera is chosen: directorial incarnations of the specified period in the conditions of Ukraine — retrospective, interpretive; comparison of different domestic paradigms in the interpretation of the work — genre-stylistic, comparative; directions of development of domestic directing in the context of world tendencies — system analysis. The compositional construction of productions, their difference and proximity in relation to the original compositional source are analyzed. Individual approaches to the director's vision are revealed as well as features, principles of directing tasks and conceptual solutions to the reproduction of artistic images in the play. The performers of the parties in different stage incarnations are outlined. The personal directorial accents of the directors in the interpretation of "The Barber of Seville" on the Kyiv opera stage of the second half of the 20th — the beginning of the 21st centuries are determined, taking into account the specifics of theatrical aesthetics of the times of performances. The existence of certain "models", "examples", "paradigms", which were transformed under the influence of external and internal factors, is proved. The first two productions were embodied in the Ukrainian language against the background of traditional abbreviated musical material, simplifying the musical and stylistic structure of the opera buff. The last production is distinguished by a return to the original musical material — the opening of most bills and performance in Italian. The directions of development of domestic directing in the context of world tendencies are determined: original synthesis of traditional and innovative staging approaches in authentic versions of operas; the possibility of combining different styles, genres, forms in modern versions of opera in the context of postmodern aesthetics. The ways of further research of the chosen subject through the prism of synthesizing the experience of domestic and foreign directing with the use of stage design and innovative art technologies are predicted.
47
Troiani, Sara. "Ettore Romagnoli, rievocatore of ancient Greek drama." Classical Receptions Journal 16, no. 1 (January 1, 2024): 56–72. http://dx.doi.org/10.1093/crj/clad029.
Full textAbstract:
Abstract The Italian classicist Ettore Romagnoli (1871–938) is mostly remembered as a popularizer of ancient drama through his work as a translator for and artistic director of classical performances at the Greek theatre of Syracuse (1914–27). His theatrical productions were inspired by a programmatic aesthetic approach to the study of classical culture called ‘artistic Hellenism’, which aimed at making the Graeco-Roman classics accessible to a broader audience, as well as renewing Italian prose theatre by referring to the example of the ancient chorodidaskalos. This article aims to describe Romagnoli’s attempt to promote his aesthetics in the staging of Greek drama within the cultural framework of Fascism. Even after his dismissal from the artistic direction of the National Institute of Ancient Drama, which he helped to establish in 1925, Romagnoli strove to find the financial support for his project of a ‘Fascist Institute of Classical Drama’. This Institute never became a reality and was probably intended to compete with the classical productions staged at Syracuse, which in the thirties were undergoing a shift in terms of aesthetics and production management according to the new Fascist politics about theatre matters.
48
Bennett, Susan. "Radical (Self-) Direction and the Body: Shawna Dempsey and Lorri Millan’s Performance Art." Canadian Theatre Review 76 (September 1993): 37–41. http://dx.doi.org/10.3138/ctr.76.008.
Full textAbstract:
In the traditional hierarchy of theatrical production, the director functions as a medium through which the textual body comes to exist on and by the physical body of the performer. As “the afterimage of processes set in motion” during rehearsal, performance includes the invisible presence of the director (Letzler Cole 2).1 It is also the apparatus which affords real, live – that is, visibly present – bodies (the audience) the privilege to gaze at the embodied text, to read, decode, and judge its possible meanings. Wherever we might locate ourselves (our bodies) in this creative process, we are almost certainly unable to control all its bodies or all its meanings (actual and potential). But, as Susan Bordo reminds us, the body is “a medium of culture” (13) and cultures insist, in protection of their own vested interests, that, as such, the body – with its very particular powers to mean – be monitored and controlled. As Michel Foucault has persuasively argued, control is produced by a discipline which “increases the forces of the body (in economic terms of utility) and diminishes these same forces (in political terms of obedience)” (History of Sexuality 138). Since the act of performance is also an act of desire (for, among other things, a willing and collective body identified as audience), cultures have, throughout history, been vigilant as to how such desire can be staged and how its performing bodies might be contained within a matrix of economic utility and political obedience. The traditional hierarchy of theatrical production is one such manoeuvre and the director has, in the twentieth century at least, been afforded the authority of surveillance. What Foucault calls the “panoptic modality of power” operates in the discipline/production of theatre as the director’s prerogative (Discipline and Punish 221).
49
Levitskaia, Alla. "Development of the potential of viticulture and wine tourism in ATU Gagauzia." University Economic Bulletin, no. 41 (March 30, 2019): 7–14. http://dx.doi.org/10.31470/2306-546x-2019-41-7-14.
Full textAbstract:
Formulation of the problem. Winemaking in ATU Gagauzia is a strategic industry. The share of wine-making in the total industrial production of ATU Gagauzia is 60 per cent. The wine-making potential is represented by 16 wine-making enterprises. However, not all of them are ready to accept tourists and develop wine tourism. Setting the task, the purpose of the study. The study aimed to identify the heritage of wine tourism in the ATU Gagauzia, with the main aim of elaborating development strategies for the wine tourism potential and ensuring a sustainable regional development. Presentation of the main material (results of work). Viticulture and wine tourism (enotourism) is currently a promising and profitable direction for the development of rural tourism in rural areas. It includes not only learning the technology of growing grapes, wine production, but also learning the history, culture, and traditions of the region. The wine tourism, as part of rural tourism, directly contributes to the development of regional economic. In the EU policy, the development of enotourism plays an important role in the development of wine-makers services and employment growth in rural areas. Factors contributing to the development of wine tourism in ATU Gagauzia are: a special combination of climatic and soil conditions creates a favorable terroir for winemaking; high industry concentration of production and a wide assortment line of wine products; availability of development potential associated with viticulture and viniculture tourism: rural, environmental, gastronomic and ethnographic. Conclusions. There are three main strategic goals of development of the potential of viticulture and wine tourism in atu Gagauzia: development of tourist destinations of Gagauzia based on active wineries; formation of attractions (hotel and restaurant business, museums, folk crafts, concert organizations, and theater) around "zones of attraction" - wineries; promoting the emergence and development of network interaction of the main players of tourism development.
50
Cantrell, Tom. "Directing actors in continuing drama." Critical Studies in Television: The International Journal of Television Studies 13, no. 3 (August 21, 2018): 297–314. http://dx.doi.org/10.1177/1749602018781312.
Full textAbstract:
This article examines how three directors approach working with actors in one of the most exacting creative contexts – long-running television. Via new interviews with three directors of the flagship BBC continuing drama, EastEnders (1985–), this article explores their approaches in the context of the time constraints in production which preclude rehearsal and where directors and actors alike must work with great speed and precision. The three directors interviewed, Sophie Lifschutz, Kate Saxon and Rebecca Gatward, all trained in and have significant experience of theatre. This article thus explores the elements of their theatre training and experience that translated to their television work with actors, elements that required remodelling, and what was completely new to them and thus can be classified as medium specific. ‘Emotional action’ and ‘physical action’ emerge as key terms in the directors’ work, and the article explores how these directors worked to afford the actor creative space within such a formidable shooting schedule. With reference to Stanislavski’s writing on the ‘Method of Physical Action’ and the theatre technique of ‘actioning’, this article brings to light the hidden processes of television direction and locates the directors’ approach to working with actors as a creative labour which is a significant meaning-making component in continuing drama.