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Journal articles on the topic 'Theater Theater Acting'
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1
Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (February 2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.
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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität in Giessen. The aim is to provide insight into theatre-training processes in Germany and to explore how these relate to the national characteristics that have emerged since reunification. Steve Earnest is Associate Professor of Theatre at Coastal Carolina University in Myrtle Beach, South Carolina. His publications include The State Acting Academy of East Berlin (Mellen Press, 1999) and articles in Performer Training (Harwood Publishers, 2001), New Theatre Quarterly, Theatre Journal, and Western European Stages.
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Ivanshina, E. A., and V. V. Zyatkova. "ABOUT THE MEANING OF THEATRE “THE MASTER AND MARGARITA”." Bulletin of Udmurt University. Series History and Philology 30, no. 2 (May 7, 2020): 303–10. http://dx.doi.org/10.35634/2412-9534-2020-30-2-303-310.
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The article deals with the semantic field of the theater in "The master and Margarita", which extends to all novel chronotopes and can be structured as a two-level one. Considering different cases of theatricalization of space and different signs of theatricality in the novel, the authors correlate the real theater (theatre as a historical reality ) and the literary theater (the art of acting ) and actualize the confrontation of literature and historical reality in "The Master and Margarita". The text of the novel is considered as a model of counterculture, from the standpoint of which the author chooses those literary codes from which his own model of theatrical behavior is built. At the same time, special attention is paid to the actualization of the metaphor "theater - court" and the semantics of exposure, and the novel itself is an act of vengeance of the author and the implementation of his inner freedom. As an example of such an artistic concept of the relationship between art and life, the film "Once upon a time... in Hollywood" by Tarantino is considered.
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Alfirdaus, Moh mujib. "PENGEMBANGAN MODEL PEMBELAJARAN PEMERANAN BERORIENTASI TEKNIK CS PADA TEATER TRADISI." Buana Pendidikan: Jurnal Fakultas Keguruan dan Ilmu Pendidikan 14, no. 25 (March 7, 2018): 49–58. http://dx.doi.org/10.36456/bp.vol14.no25.a778.
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This learning model is the author's attempt to develop acting method in traditional theater through the Stanislavski's
technique, although the need for theater tradition performances and theater conventional realism performance is different. During this time the method of play in the theater tradition is still spontaneous, but the method of acting on the theater tradition must be measurable and can be studied in the academic field, hence, the author develops acting methods based on Stanislavski's technique as a reference in learning. An actor is a student for nature and pupil for anyone as long as the knowledge he earned is useful to develops his acting creativity. Therefore this Stanislavski's method becomes very influential to train the actor's intelligence, despite his need for traditional theater. Why is Stanislavski's method becoming important to be learned by actor candidate ?. Because the analysis used by Stanislavski's method is still very logical and reasonable, it did not rule out the effects of int elligence for anyone who applied it. This circumstance emphasizing the importance of Developing Stanilavski's technique-oriented Learning Model on Traditional Theater. In order for candidates who will perform for traditional and modern show, are expected to be ready with all the acting devices to employ. Therefore, this learning method need to be applied, especially in STKW Surabaya. The purpose of this research is developing a learning model for acting in the theater tradition. This research carried out by producing several outcome. First, a handbook of Stanislavski's method learning model for student. Second, a lecturer's handbook for an effective and efficient learning process
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Krutova, Marina S. "“An Actor Is a Priest in Buffoon’s Clothes”." Observatory of Culture 16, no. 3 (July 19, 2019): 278–89. http://dx.doi.org/10.25281/2072-3156-2019-16-3-278-289.
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The article raises the actual questions: if the theater can be Christian and who in that case the actor is — “a priest” or “a buffoon”. The purpose of this article is to consider the issue of “Christian theater” at different levels: historical, psychological, social. The article analyzes the issues of actors’ personalities formation and their religious searches. There are considered the conditions of Christian upbringing in families and faith preservation in the complex historical period of the Russian history of the late 19th — mid-20th century. The novelty of this study lies in the fact that it introduces into scientific circulation little-known manuscript materials stored in the Manuscripts Department of the Russian State Library: 44 autobiographies of recognized actors, which were published in 1928 in edited form by the writer V.G. Lidin; as well as some other unpublished documents. The sources show that actors brought up on Christian ideals followed them in their work, despite the difficult conditions of socio-political life in the country. Among them are well-known actors of the Moscow Art Theater, Moscow Art Academic Theater, State Academic Maly Theater, Vsevolod Meyerhold State Theater, Bolshoi Drama Theater, Vakhtangov State Academic Theater (and others): V. Kachalov, I. Ilyinsky, R. Apollonsky, L. Vivyen, G. Ge, A Koonen, A. Orochko, G. Martynova and other masters. The article also uses some little-known writings of the actors, their questionnaires on the psychology of acting, photographs, as well as manuscripts and published memoirs of their contemporaries (E.D. Golovinskaya, E.A. Korotneva, V.D. Markov, Yu. Panich), allowing to consider the issue of “Christian theater” from different sides.
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Sitorus, Eka Dimitri. "Unity In Diversity: Moving Indonesian Theater, Film, and Television Forward." Indonesian Journal Of Performing Arts Education 1, no. 1 (January 31, 2021): 1–10. http://dx.doi.org/10.24821/ijopaed.v1i1.4916.
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AbstractThe purpose of this article is to show how Indonesia has experienced a tremendous change in its approach to acting in the last 20 years, but it has not been for the better. The modern era of film and television has led to a misleading perception among the Indonesian people regarding the art of “acting,” thereby resulting in an unfavorable attitude toward the craft. This misleading perception stems from the effect of traditional Indonesian theater to its modern counterpart without any adjustments to cater to the millennial generation of Indonesians. The paper explores the roots of this misleading perception. It starts with the problem of applying Indonesian cultural policy, catering to such diverse artistic expressions in Indonesia, educating the artists, all the way to providing the specific educational infrastructure for the arts. The article provides examples of past theater and film productions to point out the problems of modern versus traditional acting styles, the challenges of translations of classic and contemporary western plays into the Indonesian language, the difficulties to apply such rigid interpretations by prominent Indonesian writer to contemporary Indonesian acting styles. The article shows that only by improving and implementing sound Indonesian cultural policy, developing and managing specific educational infrastructure for the arts, and creating a new acting method or re-considering the pre-existing ones, the Indonesian theatre, film, and television will be able to move forward.
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Demeshchenko, Violeta. "From Theater to Cinematography: Creative Search of Les Kurbas." Culturology Ideas, no. 18 (2'2020) (2020): 109–19. http://dx.doi.org/10.37627/2311-9489-18-2020-2.109-119.
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The article examines the artistic path and creative pursuits of Les Kurbas, the Ukrainian and soviet director, who undoubtedly remains an outstanding figure in the history of Ukrainian cultural life in the 1920s and 1930s. He was the founder of Ukrainian political theater, and later philosophical theater; also fruitfully worked in early cinematography. The article emphasizes the relevance of studying the creative work of the director, his original creative method of educating actors nowadays. In his own way, Kurbas became a standalone theatrical institute for young people, raised more than four dozen professional directors who later became theater managers and directors of Ukrainian theaters, teachers. The director created Ukrainian theater and cinema school of acting; his innovative artistic ideas still remain relevant today. He developed his own aesthetic-theatrical concept of conditional-metaphorical theater based on life itself. Being the man of art, Kurbas influenced the formation of stage constructivism in Ukrainian theatrical art. In addition to the positive memories of his contemporaries, we also encounter some legends, various testimonies and assessments of events of that time, which create a certain mythological space around the artist. Hence, today we need to carefully analyze numerous documentary evidence, facts, memoirs, literary and theatrical sources, as well as try to be objective in reconstructing events and reflecting on the fate and work of the director.
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Kuklinskaya, M. Ya. "Opera and “Director’s” Theatre of the 21st Century." Observatory of Culture 15, no. 3 (August 19, 2018): 272–81. http://dx.doi.org/10.25281/2072-3156-2018-15-3-272-281.
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The article raises the issues of interaction between modern direction and the musical text of opera. Researches of foreign and domestic scientists in the fi eld of theatre studies and musicology allow analyzing a musical performance as an independent text, in which there is an interchange between different types of art. The author focuses on the opera as a dialogue between music and theater. The author proposes three main forms of the dialogue for consideration: the director and the composer, the director and the viewer, the director and the actor. The article expresses the opinion that, in the process of interaction between the director and the opera text, some myths appeared and started to impede the development of this process and to cause confl ict situations while analyzing the fi nal results. Among those kinds of myths, the author reckons the idea of director-conceptualist as the destroyer of the composer’s idea, the unconditional defi nition of this idea, and the so-called “reverse logic” of feeling and action in musical theater. Observing the functioning of each of these myths on concrete examples, the author comes to conclusion on the necessity to “debunk” them for further successful development of musical theater. From this position, the article analyzes fragments from operas by Russian and foreign composers and their stage impersonations. In the dialogue “director—viewer”, two main ways of the participants’ interaction are defi ned: the theater as a form of escapism and the theater as a “catalyst” of intelligence. The author emphasizes the need to have both the ways, so that the viewer should be able to choose. The author considers the relations between the director and the actor to be the most positive for the modern theatre, which led to the emergence of a new type of performer on the modern opera stage: singerartist, who fully owns the acting technique of “internal action”. The article concludes that there is an ambiguous, but rather perspective and positive situation in the modern musical theater, which determines further ways of the genre’s development.
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Fedorov, Alexey A. "INNOVATIVE CODES OF THE LANGUAGE OF STAGE ART OF EUGENIY BAGRATIONOVICH VAKHTANGOV ON THE MATERIAL OF PERFORMANCES OF THE BEGINNING OF THE XX CENTURY." Interexpo GEO-Siberia 5 (July 8, 2020): 11–18. http://dx.doi.org/10.33764/2618-981x-2020-5-11-18.
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The creative work presented at the International intramural and extramural festival competition of youth theater companies - “Prometheus of a Rukh” - “Spirit of Prometheus” became a threshold of the present article, devoted to the Year of theater in Russia and to the 100 anniversary from the date of the birth of the National poet of Bashkortostan, the playwright Mustaya Karim, and gained the diploma of the Winner of the First degree. In the present work, as part of the creative path, the practice and theorist of the field of art of Eugeniy Bagrationovich Vakhtangov, the language of fantastic realism as the language of artistic theatre is studied. The starting point of the research is to establish the elements of the language of conditional theater based on scenographic, acting and directing decisions in Vakhtangov's performances. For this purpose, the author makes a retrospective appeal to the director's performances. In the analysis of the chosen performances, the artistic deals with innovative instrumentation of Vakhtangov’s theatre language, which formed the director 's own understanding of the artistic style of the theatre as fantastic realism. Elements of the theatrical language of the most significant performances are considered: “Peace Holiday”, “Cricket on an oven”, “Eric XIV”, “Gadibuk” and “Princess Turandot”. Based on the sources in which the performances are described, the Vakhtangov theatre language (style) is analyzed. As a result, descriptive definitions of the concepts of Vakhtangov style and fantastic realism are given. Interfacing analysis with the basic provisions of the concept of fantastic realism, elements of the language of conditional theatre are combined into a single table, which is one of the main results of the work. The work is written within the framework of the project XI.170.1.2. (0325-2017-0013), № АААА-А17-117022250128-5.
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Park, Ho-Young. "1960's Acting Method of Experimental Theater." Journal of the Korea Contents Association 9, no. 11 (November 28, 2009): 184–91. http://dx.doi.org/10.5392/jkca.2009.9.11.184.
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Roberts, David. "Shakespeare, Theater Criticism, and the Acting Tradition." Shakespeare Quarterly 53, no. 3 (2002): 341–61. http://dx.doi.org/10.1353/shq.2003.0014.
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Watson, Ian. "Practical Aesthetics and the Formation of the Atlantic Theater Company." New Theatre Quarterly 24, no. 2 (May 2008): 189–200. http://dx.doi.org/10.1017/s0266464x08000158.
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The Atlantic Theater Company has been one of Off-Broadway's most successful theatre companies over the past twenty years, having won twelve Tony Awards, eight Lucille Lortel Awards, thirteen Obie Awards, and three Outer Critics Circle Awards. The company, originally founded in 1983 by the playwright David Mamet and the actor William H. Macy, has mounted over one hundred plays, many by new writers. Included among its successes are Martin McDonagh's The Lieutenant of Inishmore and The Beauty Queen of Leenane, Woody Allen's A Second Hand Memory and Writer's Block, the revival of David Mamet's American Buffalo, Celebration and The Room by Harold Pinter, Mojo and Night Heron by Jez Butterworth, and the new musical adaptation of Frank Wedekind's play Spring Awakening, which won the 2007 Tony for best new musical. But producing plays is only part of Atlantic's mission: it also runs the Atlantic Acting School, which operates both as a private conservatoire and an undergraduate training studio in conjunction with New York University. Its curriculum focuses on Practical Aesthetics, the acting technique developed by Mamet and Macy. Mary McCann, in conversation here with NTQ Contributing Editor Ian Watson, is a founding member of the Atlantic Theater Company and Director of the Atlantic Acting School, where she also teaches. She continues to act, having appeared in many of the company's productions, on Broadway, on television, and in several independent films. The conversation took place over two meetings at the Atlantic Acting School in New York City, on 25 April and 5 June 2007.
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Zimnica-Kuzioła, Emilia. "Acting Career and its Determinants in the Social World of Professional Theater in Poland." Konteksty Społeczne 8, no. 1 (November 20, 2020): 48–69. http://dx.doi.org/10.17951/ks.2020.8.1.48-69.
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The article is an attempt to answer the question about factors affecting the trajectory of an acting career. The author confronts the objective dimensions of a career with a subjective concept of success, clarified by the participants of the social world of theater themselves. The empirical basis of the work are free interviews conducted by the author with actors of Polish public drama theaters (in 2015–2017) and journalistic interviews with theater artists published in books and popular monthly magazines in the last two decades of the 21st century. All sources were subjected to qualitative content analysis. It shows that in addition to talent, which is the basis of an acting career, hard work is also important. The actors pay attention to personality aspects – charismatic people with a natural ability to attract attention have a greater chance of success. The cultural capital of the stage artist and social capital (the relevant role of linking artistic careers) are not without significance for the course of the acting career. Actors also say a lot about coincidence of events, but it is worth remembering that “you have to be good to be lucky”, you have to be more motivated and determined. The author also tries to answer questions whether awards actuate the course of acting career and whether migrations are an opportunity for creative progression.
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Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.
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Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.
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Katereva, Irina Evgenevna. "Modern Moldovan Theatre: A Return to the Origins." Ethnic Culture, no. 4 (5) (December 25, 2020): 11–16. http://dx.doi.org/10.31483/r-96534.
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The article examines one of the trends in the development of modern Moldavian theatre. Being complex and multifaceted phenomenon, it is generally influenced by the direction of society's development. At the present stage its development is based on the influence of two simultaneously existing and opposing directions. One is directed outwards, expanding the range of his contacts with theaters of other countries and reflecting the principle of transculturalism. Since the 90s of the previous century, the art of actors in the Moldovan theater, the specificity of their expressiveness appeals to the experience of world's theatrical art in all its integrity, where archaic and modernity, East and West, complementing each other, serve mutual development. Another vector of development, fundamental, is directed inward. It is connected with the deep processes that affected the dramatic art of Moldova. The theatre rushed to its inner support, to the origins, from the depths of which the national theatrical tradition grows and where myth, ritual, archetype reign inseparably. At the junction of archaic and modernity, the theatre is looking for an opportunity to reveal the spiritual space of the people, the world of ancestral archetypes, the authentic unconscious. Through the art of acting to express the enduring features of the soul, the «ethnic cosmos». Research methods: theoretical analysis, generalization of scientific researches, Internet materials, systematic analysis of theatrical practice. Author concludes that modern Moldovan theatre develops under the influence of two interrelated vectors of development, existing simultaneously and oppositely directed.
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BARNETT, DAVID. "Resisting the Revolution: Heiner Müller's Hamlet/Machine at the Deutsches Theater, Berlin, March 1990." Theatre Research International 31, no. 2 (June 7, 2006): 188–200. http://dx.doi.org/10.1017/s0307883306002124.
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Heiner Müller directed Shakespeare's Hamlet together with his own The Hamletmachine as Hamlet/Machine in March 1990 at the Deutsches Theater, East Berlin. This article investigates the production's conception, its rehearsal and its execution against the backdrop of the fall of the Wall. Müller, a playwright whose dramaturgies actively resist reductive interpretation, sought to put Hamlet/Machine beyond the reach of an allegorical reading. Strategies in acting, staging and design were adopted to frustrate the ease with which Hamlet could have merely illustrated the historical changes taking place outside the theatre. On the other hand, Müller was also making theatre for his fellow GDR citizens and had to take account of their experiences, too. His political theatre relied on the combination of contradictory signs in performance that would activate the audience, forcing a confrontation with the material on stage on its own terms. Such an aspiration was, almost inevitably, revealed as utopian but was in Müller's view the only way for the theatre to challenge its immediate historical context.
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Pereyra, Soledad. "Intimidad, emoción y activismo político en el teatro posmigrante de Sasha Marianna Salzmann." mAGAzin Revista intercultural e interdisciplinar, no. 26 (2018): 14–27. http://dx.doi.org/10.12795/magazin.2018.02.
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As Pavis (2016) argues, intimacy has resurfaced under different forms and names in current theater. This article makes a general introduction to posmigrant theatre in Germany, breaks down some of these forms of intimacy and emotion in theatre studies, and then analyzes its presence and articulation in the monologues of two works by german-language playwright Sasha Marianna Salzmann (n.1985): Muttersprache Mameloschn (2013) and Meteoriten (2016). The examination of the monologues of Salzmann -who is one of the representatives of the so-called German Postmigrant Theatre- exhibits that intimacy in their works is not only about reversing the representational economy of the minorities in a multicultural society. The use of emotion in her theatre abandons its traditional association with the “pathos” and the “Impossibility of Acting” (DidiHuberman, 2013:26), and represents a form of political activism, which builds theatre as the smallest cell of a fairer society (Salzmann 2015).
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Enders, Jody. "Emotion Memory and the Medieval Performance of Violence." Theatre Survey 38, no. 1 (May 1997): 139–62. http://dx.doi.org/10.1017/s0040557400001873.
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When Constantin Stanislavski'sAn Actor Preparesfirst appeared in English translation in 1936, the Moscow Art Theater had already made a great impact on American theatre. Particularly influential in the Soviet director's theories of acting was his concept of emotion memory. InAn Actor Prepares, the young actor, Kostya, tries to understand how to access the “memory of life” rather than the “theatrical archives of his mind” and has an epiphany at the moment when he recalls and relives the violence of an isolated vehicular accident that had dismembered its victim:
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Esherick, Joseph W., and Jeffrey N. Wasserstrom. "Acting Out Democracy: Political Theater in Modern China." Journal of Asian Studies 49, no. 4 (November 1990): 835–65. http://dx.doi.org/10.2307/2058238.
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For two and a half months in the spring of 1989, China's student actors dominated the world stage of modern telecommunications. Their massive demonstrations, the hunger strike during Gorbachev's visit, and the dramatic appearance of the Goddess of Democracy captured the attention of an audience that spanned the globe. As we write in mid-1990, the movement and its bloody suppression have already produced an enormous body of literature—from eyewitness accounts by journalists (Morrison 1989; Zhaoqiang, Gejing and Siyuan 1989) and special issues of scholarly journals (Australian Journal of Chinese Affairs Nos. 23, 24; The Fletcher Forum of World Affairs 14.4), to pictorial histories (Turnley and Turnley 1989) and documentary collections (Han 1990; Wu 1989), and, most recently, textbook chapters (Spence 1990) and analytical works (Feigon 1990; Nathan 1990)—tracing the development of China's crisis. Despite a flood of material too massive to review in the present context, we still lack a convincing interpretive framework that places the events within the context of China's modern political evolution, and also provides a way to compare China's experience to that of Eastern Europe. Such an interpretation should help us to understand why massive public demonstrations spurred an evolution toward democratic governance in Eastern Europe, but in China led only to the massacre of June 3–4 and the present era of political repression.
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Peck, James, Peter Brook, David Cole, and Phillip B. Zarrilli. "The Open Door: Thoughts on Acting and Theater." TDR (1988-) 41, no. 2 (1997): 171. http://dx.doi.org/10.2307/1146634.
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YASUDA, Hiroshi. "Aspects of Acting in Eighteenth-Century European Theater." Comparative Theatre Review 12, no. 2 (2013): 174–76. http://dx.doi.org/10.7141/ctr.12.174.
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Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.
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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livshits) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.
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Azizova, Amina. "The interaction of theater and cinematography in Uzbekistan culture in the first half of the xx century." Central Asian Journal of Art Studies 5, no. 4 (December 25, 2020): 94–104. http://dx.doi.org/10.47940/cajas.v5i4.257.
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The form, typology, essence and causes of the interaction between theater and cinema in the world is one of the priorities in the field, and a number of scientific studies have been conducted on the subject. In world experience, during the development of cinematography, it has been used the help of theatrical figures in overcoming the problems of acting, directing and dramaturgy. The study of theater and cinema as the main types of artistic worldview, in which the relationship between the two independent arts, exchanges of actors, process of interaction, individual characteristics were assessed, and it was considered as a new phenomenon. The article studies issues, causes and factors of influence of the same process in 1920–1930. The interaction of Uzbek theater and cinema, the study of creative ties, see it as a scientific problem has attracted attention in recent years. The article examines the role of Uzbek stage leaders in the development of screen art as a separate process, as well as the phenomenon of interaction between theater and cinema. The author explores a new creative life, a biography of a stage actor in cinema, opened for theater actors on the eve of the twentieth century. The art of filmmaking, which has been fighting for the actor for half a century, studies on facts that have attracted theater performers. Theatrical art has proven to be a model for cinematography in terms of decorating, makeup, music, lighting, and acting. Keywords: theater, actor, cinema, director, genre, image, type, role, phenomenon, screen art, character.
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Liubivaia, Irina. "The uniqueness of theatrical memoiristics of T. L. Shchepkina-Kupernik." Человек и культура, no. 4 (April 2021): 106–15. http://dx.doi.org/10.25136/2409-8744.2021.4.36299.
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The subject of this research is the memoir heritage of Tatiana Lvovna Shchepkina-Kupernik. The novelty is defined by the absence of works dedicated specifically to the theatrical memoirs of Tatiana Lvovna Shchepkina-Kupernik. This article examines her memoiristics as part of the history of Russian theater, which allows the researchers to determine the author's contribution to the Russian theater studies. The goal of this consists in drawing attention of the audience and researchers to the memoiristics of Tatiana Lvovna Shchepkina-Kupernik, as well as in describing the role of her theatrical memoirs within the Russian literary studies and the history of Russian theater. Analysis is conducted on the key peculiarities of the memoir heritage of T. L. Shchepkina-Kupernik: stylistic uniqueness, attention to details of the theatrical culture, mastery of sculptural portraits. The author also reveals fascinating rare facts about the prominent figures of art and theatrical events of the late XIX – early XX centuries. The conclusion is made that the memoirs of T. L. Shchepkina-Kupernik represent a rich source on the history of Russian theatre. The details of theatrical culture, in-depth analysis of acting, portraits of the outstanding figures of Russian and foreign culture – all these facts makes her memoir heritage an invaluable material that contributes to the study of the Russian theatrical art.
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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.
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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.
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Schwartz, Laura. "When life becomes art: A librarian’s experience acting the part." College & Research Libraries News 78, no. 6 (June 6, 2017): 319. http://dx.doi.org/10.5860/crln.78.6.319.
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In fall 2014, I was approached by a theater/dance undergraduate student who wanted to put on a play in the Fine Arts Library (FAL) at the University of Texas (UT)-Austin. Because we had done a variety of performing arts programming in our magnificent space, I was inclined to say yes. She had written and was directing a play that took place in a library. Being the liaison to the Art and Art History Department, I thought it prudent to bring the theater/dance librarian into the discussion.
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Smoljanović, Goran. "Dugovječne predstave u Kazalištu lutaka Zadar." Magistra Iadertina 14, no. 1 (May 20, 2020): 9–18. http://dx.doi.org/10.15291/magistra.2955.
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The author applies the aesthetics of reception (Hans Robert Jauss), which refers to literary texts, to puppet shows. This paper examines performances from Zadar Puppet Theater, which have long been held in repertoire. The plays Little Red Riding Hood (1952) and How Long is a Tale (1996) were selected. Little Red Riding Hood was produced at a time when puppet theater was an imitation of acting theater, and the play How Long is a Tale arouse during the era of postmodern puppetry when the screen disappeared and the puppet could be created from any material.
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Marchenko, Herman. "Vsevolod Meyerhold’s Biomechanics and Boris Zakhava's Educational Work." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 58–74. http://dx.doi.org/10.36340/2071-6818-2020-16-4-58-74.
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The article deals with two different approaches to training actors. One of them is Stanislavski’s system, and the other is Meyerhold’s biomechanics. Konstantin Stanislavski and Vladimir Nemirovich-Danchenko are reformers of the Russian theater. As the Art Theater founders, they understood that the emergence of a new drama would require a completely different approach to working with actors and a different design of the stage space. With regard to new performances, it became possible to pose critical social questions related to everyday life before the viewer. Therefore, it was logical that the director's profession became very important. Working on his system, Stanislavski paid great attention to the need for an actor’s comprehensive development. Many wonderful actors who attended his acting school were among the students of this great theater director. Vsevolod Meyerhold was one of them. However, the latter chose his direction and began to engage in staging performances actively and search for new means of expression, having come to an absolute convention on the stage. Meyerhold created his method of working with an actor, known as biomechanics, in the theatrical environment. The principle of this approach is the opposite of Stanislavski's system. With all the difference in views on the theater, in the early stages of Meyerhold's independent practice, Konstantin Stanislavski offered him the opportunity to cooperate, which led Vsevolod Meyerhold to the Studio on Povarskaya Street in Moscow. Evgeny Vakhtangov was another student of Stanislavski and Nemirovich-Danchenko. At the request of Stanislavski, Vakhtangov was engaged in educational work in the studio of Moscow Art Theatre. Unlike Meyerhold, he thoroughly mastered the system and then created his theatrical direction called fantastic realism. Vakhtangov's legacy was preserved thanks to the activities of his students, among whom was Boris Zakhava. He turned to Meyerhold for help and spent several seasons with the master, gaining invaluable experience, including revealing the features of biomechanics in practice. Boris Zakhava remained faithful to Vakhtangov’s principles and continued his teacher’s work at the Shchukin Theater Institute.
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Dwojnych, Anna, and Katarzyna Kuczkowska-Golińska. "The Theater Plays the Body. Replication of the Canon of Beauty among Young Actresses in the Theater." Qualitative Sociology Review 14, no. 2 (August 28, 2018): 78–94. http://dx.doi.org/10.18778/1733-8077.14.2.05.
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The article presents the results of our independent qualitative research conducted in Polish theater circles. In-depth interviews have been conducted with fourth-year female students of acting faculties from four state theater schools and with lecturers working at these faculties. The aim of the study was to answer the question whether the theater has currently become a place where bodily images are being standardized and beauty canons reproduced. The research material gathered allows for the formulation of the following conclusions: 1) studying at a theater school significantly impacts the perception of one’s own body, 2) there is a widespread belief among the students concerning the importance of the body (and the beauty thereof) in the profession of an actor, which results in subjecting the body to some regimes, often destructive ones, 3) the pressure to have a perfect body is so strongly internalized in the theater circles that it becomes imperceptible to those who yield under this pressure.
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Budaeva, T. B. "Svetlana A. Serova on Life, Science and Chinese Traditional Theater." Journal of the Institute of Oriental Studies RAS, no. 1 (11) (2020): 186–97. http://dx.doi.org/10.31696/2618-7302-2020-1-186-197.
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The names of specialists in Russian Sinology associated with independent research area are rare. This short list includes Svetlana A. Serova, a sinologist, theater historian, and theater expert, who devoted her academic endeavor to Chinese traditional theater. Deep historical roots of the Chinese theater, specifics in the simultaneous coexistence of dozens of its regional varieties, completely different from Western aesthetic views, stage embodiment and perceptions of this theatrical art — these are just some of the common features inherent in the genre of traditional theater. In Svetlana A. Serova’s seven monographs Chinese theater consistently appeared in its most diverse forms. Among them are genres of Beijing musical drama Jingju and Kunshan drama Kunqu (both became popular nationwide), acting skills and stage art, creative views of playwrights who influenced the development of Chinese theater as a whole, historical retrospectives up to the ancient ritual origins of the theater, parallels with Western theater, etc. It is obvious, that even the most objective and impartial scientific work is the result of not only professionalism, but also the personality of the scientist, his worldview. But when we deal with such a subtle and ephemeral matter as art, the author involuntarily steps at the avant scène, being forced to pass all the material through himself. Therefore, our interest in a researcher of such magnitude as Svetlana A. Serova is dictated not by a common interest, but rather by a need to understand her life values, providing additional opportunity to obtain more holistic view of her heritage.
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Lee, Ji-Eun. "Musical Acting Method Using Presentational Acting - Focused on Brecht’s Epic Theater Theory." Journal of the Korea Entertainment Industry Association 12, no. 8 (December 31, 2018): 105–14. http://dx.doi.org/10.21184/jkeia.2018.12.12.8.105.
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Holmes, Shannon. "Acting the Song Performance: Skills for the Musical Theater." Voice and Speech Review 12, no. 3 (May 10, 2018): 369–78. http://dx.doi.org/10.1080/23268263.2018.1468299.
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Rogers, Amanda. "Emotional Geographies of Method Acting in Asian American Theater." Annals of the Association of American Geographers 102, no. 2 (March 2012): 423–42. http://dx.doi.org/10.1080/00045608.2011.596390.
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Christie, William. "Res Theatralis Histrionica: Acting Coleridge in the Lecture Theater." Studies in Romanticism 52, no. 4 (2013): 485–509. http://dx.doi.org/10.1353/srm.2013.0000.
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Dennis, Barbara. "Acting Up: Theater of the Oppressed as Critical Ethnography." International Journal of Qualitative Methods 8, no. 2 (June 2009): 65–96. http://dx.doi.org/10.1177/160940690900800208.
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Katz-Fishman, Walda. "A People's Theater on Skid Row." Monthly Review 68, no. 9 (February 7, 2017): 58. http://dx.doi.org/10.14452/mr-068-09-2017-02_7.
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In Acting Like It Matters, James McEnteer gives a compassionate account of John Malpede—actor, activist, and co-creator of the political theatre troupe the Los Angeles Poverty Department (LAPD)—and of the Skid Row community that is the organization's heart and soul. The story of Malpede and the LAPD is one of life as art and art as life, and its protagonists are the dehumanized homeless citizens of Los Angeles and their compatriots in cities across the United States and the world, who represent a growing part of today's global working class pushed out of the formal economy.Click here to purchase a PDF version of this article at the Monthly Review website.
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Ishak, Ismaliza. "TRANSFORMATION APPRECIATION OF MONODRAMA "LADY SWETTENHAM" AND "GREEN LIGHT"." International Journal of Creative Industries 1, no. 1 (September 15, 2019): 15–26. http://dx.doi.org/10.35631/ijcrei.11002.
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This article is aimed at analyzing the transformation method applied by two selected monodrama actors, Sabera Shaik in monodrama theater "Lady Swettenham" and Shahrul Mizad Asyaari in the monodrama theater "Waiting for the Green Light". This study takes into account some of the transformation methods used for conveying appreciation and visually inspiring the audience. Through the survey method of secondary and premature data and directly involved in the spectacle, the illustration is clearly detailed through scientific analysis in the performance of monodrama acting. These two presentations can illustrate the success of the transformation method and are indirectly made between the basic recommendations to the solo acting method. Using the Imitation theory approach by Albert Bandura and method acting (Stanislavski) this approach can be used as a benchmark for non-realistic acting representation.
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Cornford, Tom. "Reconstructing Theatre: the Globe under Dominic Dromgoole." New Theatre Quarterly 26, no. 4 (November 2010): 319–28. http://dx.doi.org/10.1017/s0266464x1000062x.
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In this article Tom Cornford examines the policy of extending and adapting the permanent stage of Shakespeare's Globe for each new production, as pursued by Dominic Dromgoole since the beginning of his tenure as Artistic Director in 2006. The article responds initially to John Russell Brown's equation in NTQ 102 of a particular kind of ‘intimate’ acting with ‘small theatres’. Cornford resists this conflation of acting and building, seeing in it a tendency to obscure both the role of reconstructed theatres to challenge contemporary notions of the ‘rightness’ of theatre spaces and the role of directors and actors to convert their apparent problems into opportunities. He explores the transformation of the Globe since 2006, using interviews given by Dromgoole and the directors working with the Globe's research team to critique the theory underpinning the ‘permanently temporary’ alterations to the theatre, and takes the evidence of performances to examine their use of the space in practice. Cornford offers a selection of staging solutions to the apparent ‘problems’ identified by Dromgoole and his team, and proposes an alternative model of reconstruction: not the rebuilding of the theatre, but the constant reviewing of theatre practice, including training. Tom Cornford is a freelance director and teacher of acting for the Guthrie Theater/University of Minnesota BFA Program, the Actors' Centre in London, and Globe Education at Shakespeare's Globe. He was, until recently, Artist in Residence at the CAPITAL Centre in the University of Warwick, where he is undertaking PhD research.
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TOMA, Florin. "THE CONVENTIONAL APPROACH OF DRAMATIC SITUATIONS TO THE DISADVANTAGE OF THE ORGANIC APPROACH FROM A HUMAN PERSPECTIVE." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 4, no. 1 (December 7, 2020): 123–28. http://dx.doi.org/10.26520/mcdsare.2020.4.123-128.
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This study aims to present some arguments that would highlight the difference in the approach of a dramatic text from a literary, conventional perspective and from an organic, violently subjective one. The analysis of drama from an acting perspective involves a set of difficulties and peculiarities resulted especially from its dual nature, because it is in the same time literature (fiction), as well as theater (action, show). The completion of a dramatic text involves, most often, its transformation into a show, but also into a processually-objective reality through the actor's creativity. The logical mechanisms typical to the acting creation process can often be inhibited by the need to exert self-control, due to a pattern of thinking extensively promoted in contemporary society, and that mostly aims success instead of encouraging an honest journey of self-discovery through theatre
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Tulyantsev, Andrey. "Dnipropetrovsk Ukrainian academic youth theater in the contemporary sociocultural context." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 5–15. http://dx.doi.org/10.33287/222013.
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The purpose of this article is concentrated by researcher into revealing of the particularity for modern theater on the example Dnipropetrovsk Ukrainian academic youth theater. The author studies performances for young people that the theater has in its repertoire. The dialogue between the theater and the audience has its own scientific interest for the author. The author uses the most effective methods of scientific research. The author has a need to understand the peculiarities of the style of acting and directing. It is also necessary to understand the general style of the theater. This position is significant, because there is a specificity in the interpretation of theatrical performance. Scientific novelty. This article has its own peculiarity. The author aims to determine for the first time the main provisions of the activities of the Ukrainian academic theater for youth from the Dnieper. To achieve this goal, the author of the article makes an analysis in which there is a specific meaning of the theater's activities, the subject of this research. Theater is analyzed as an artistic value. The author assesses the state of the collective as a theater historian. The activity of the theater is analyzed in the context of the functioning of modern theater culture. This is what makes it possible to understand the features of the historical phenomenon. It combines the present with the past. It aims to understand the perspective of contemporary theater time in the future. Methods. The performances of this theater have the characteristics of a synthetic genre. These performances have the ability to explain the nature of the interaction between theater and music. Therefore, research methods are based on the synthesis of various areas of scientific activity. In which there are various scientific disciplines. Specifically: the structural system of the history of the theater, the use of analytical methods in the analysis of drama, direction, skill of actors, singing, orchestra work, scenography. The author explores their analogies and connections, what unites them and what is opposition. Conclusions. The performances of the Ukrainian academic theater for young people from Dnipro are of different genres. The principles of the dialogue between the theater system and the audience, which exists in mutual exchange, are revealed in these performances. The author notes the real mutual cooperation between the theater and the audience. At the same time, there is an addition of one dramatic tradition to another. You can also observe how professional directors worked with the texts of the plays. The fact of how the structure and style of the performance is changing is significant. The academic professional artistic transformation of vocational performances in modern society is essential relevant.
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Zlotnikova, Tatiana S. "Civilizational and Mental Discourses of the Russian Theatre as an Identity Code." Observatory of Culture 16, no. 1 (March 26, 2019): 4–15. http://dx.doi.org/10.25281/2072-3156-2019-16-1-4-15.
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The Russian theatre of the last centuries is a distinctly formed identity code, possessing certain content (social and moral) and formal (artistic and aesthetic, including those genre and verbal) features. The purpose of this article is to justify the presence of the Russian theater as an identity code, of which we believe there are two discourses — civilizational and mental.Drama is defined as a borderline civilizational code of the Russian theatre. This is both a kind of literature that has developed dynamically, paradoxically, creating an outstanding repertoire for the theater, and the definition of a life situation that characterizes theatricality as a specific feature of Russian identity. The civilizational discourse of the Russian theatre manifests itself through the paradoxes of conflict in psychological drama. The unique (mentally deterministic) cultural dimension of the Russian drama forms a logical chain: time, space, and a person lost in time and space. The drama comes into the person’s life not only as a kind of literature, but also as a situation of their existence.Russian directing is defined as a mental/specific and, at the same time, civilizational/universal code. The civilizational discourse in the Russian, as well as the world theatre represents the paradox associated with the institutionalization of director’s profession as an embodiment of the demiurgic beginning and the sphere of self-realization of individual peculiarities of a creative personality (which can be seen in the experience of V. Meyerhold and E. Vakhtangov, G. Tovstonogov and Yu. Lyubimov, and many of the existing directors of today).An actor in Russia is more than an actor; paraphrasing the well-known formula, we pay attention to the characteristic of mental identity code inherent in acting. The triad of playwright—director—actor undoubtedly forms the basis of the Russian artistic tradition and affirms the importance of professional intentions and the cultural and philosophical meaning of creative activity of each of the three authors of a theatrical work. The actor in this chain is the final link.The civilizational discourse, based on the universals of cultural practices, is associated with transformation of styles, methods, eternal matters, reflecting primarily in drama. The mental discourse, fully specific, is associated with local themes (acting) and paradoxical receptions of world practices and influence on them (directing).
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Lange, Zechariah. "Bridges Don’t Make Themselves: Using Community-Based Theater to Reshape Relationships: Rethinking the Idea of Abundance in ABCD." Societies 10, no. 3 (July 21, 2020): 54. http://dx.doi.org/10.3390/soc10030054.
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Community-based theater has a variety of manifestations, and the plurality with which these manifestations are occurring is increasing. As such, the diversity and complexity derived from these social sites of public engagement requires further understanding. This article is based upon a multi-case study of two community-based theaters: one in Middle Appalachia, and the other on the Gulf Coast of Florida. Together these sites of performative expression are acting as social interventions for differing reasons within their respective contexts. Through intensive and communicative processes, the theaters provide examples of how co-created performances at the community level simultaneously catalyze relationships and alter how relationships are experienced to engage community members in discussion and performances. As a complex behavioral interaction, the two theaters simultaneously manifest dimensions of ‘abundance’, as well as expand upon normative conceptions of asset-based community development. Through process and contextual modeling, the work provides in-depth exploration to these interpersonal endeavors to assist in how socio-cultural differences as well as narrative reconstruction co-join to enact the individuality of identity across working groups as an overall discursive process.
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Stefańska, Anita. "Ja przez teatr, czyli o teatrze terapeutycznym dorosłych aktorów z niepełnosprawnością intelektualną i o pewności siebie w działaniu." Studia Edukacyjne, no. 57 (June 15, 2020): 77–88. http://dx.doi.org/10.14746/se.2020.57.6.
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Support for stage creativity and acting in theater therapy is to encourage participants, i.e. adults with intellectual disabilities, not so much to demonstrate theatrical skills and aesthetic sensitivity, but to discover something new in themselves, important for health and psychosocial well-being. In the therapeutic theater, building a spectacle involves overcoming personal limitations and challenging oneself. The potential benefit of this process may be gaining confidence, an important state in the area of social relations. The article aims to indicate the conditions for raising the level of self-confidence of adults with intellectual disabilities who participate in theater therapy and to indicate the consequences harmful for interpersonal relationships, while self-confidence is associated with more negative attitudes towards other people.
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Goodman, Jane E. "Acting with One Voice: Producing Unanimism in Algerian Reformist Theater." Comparative Studies in Society and History 55, no. 1 (January 2013): 167–97. http://dx.doi.org/10.1017/s001041751200062x.
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AbstractScholars of democracy from Tocqueville to Habermas have long considered the proliferation of so-called voluntary associations as a sign of a flourishing civil society and as central to the rise of democratic modernity. I contend that the Algerian theatrical and musical associations of the reformist period anticipate another kind of civic history: a history of displays of unanimism in public life. I am interested in how and why Algerians learned to produce public displays of agreement for particular audiences (including themselves) at particular historical moments. I emphasize three factors that contributed to the production of unanimity: the achievement oftawḥīdor unity in the Islamic reform movement, vernacular practices of consensus-based argumentation, and French colonial legal and surveillance mechanisms. The essay engages theories of civil society, colonialism, and performance. It draws primarily on material from the French colonial archives for the city of Constantine, Algeria.
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Rodger, Gillian M. "When Singing Was Acting: Song and Character in Variety Theater." Musical Quarterly 98, no. 1-2 (March 2015): 57–80. http://dx.doi.org/10.1093/musqtl/gdv006.
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Toustou, Béatrice. "How the Silent Receivers Influence the Acting of Theater Performers." Academy of Management Proceedings 2021, no. 1 (August 2021): 15611. http://dx.doi.org/10.5465/ambpp.2021.15611abstract.
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Prabowo, Anik, Udi Utomo, and Syahrul Syah Sinaga. "Komposisi Musik Ilustrasi Pada Kelompok Teater Kembang SMA N 1 BREBES." Jurnal Seni Musik 9, no. 2 (December 30, 2020): 99–108. http://dx.doi.org/10.15294/jsm.v9i2.39608.
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Theater is a performing art which in its performance brings a story that is delivered through acting on the stage. Theater performance is inseparable from music as supporting atmosphere. Based on that, this research aims to know the types of illustration music composition in “Kembang” Theater group from SMA N 1 Brebes. This study used qualitative method. To obtain the accurate data, this study used observation, interview, and documentation. This research consists of data collection, data reduction, data presentation, and conclusion. The result shows that “Kembang” Theater always makes music composition that is suitable with the theme of the script on their performances. Illustrated music is always played live on stage with consideration of getting maximum results in every scene played. There are various types of illustration music composition in “Kembang” Theater group. They are opening music, happy music, wistful music, tense music, horror music, romantic music, comical music, sampakan music/convey music, transition music, and closing music. The types of script are divided into two types. There are tragedy script and comedy script. Not all types of Illustration music composition exists in all types of script. For example, sampakan music and comical music that only exist in comedy script.
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Kozodaev, Pavel I., and Ekaterina K. Titova. "Pedagogical factors of formation of improvisational acting skills in amateur theatre." Psychological-Pedagogical Journal GAUDEAMUS, no. 47 (2021): 21–30. http://dx.doi.org/10.20310/1810-231x-2021-20-1(47)-21-30.
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We consider some issues of modern society related to the growing trend of social and emotional isolation of the individual, changes in their worldview, leading to the degradation of thinking and intellectual abilities. There is need to search for psychological and pedagogical ways, means and methods to activate the intellectual, emotional and creative development of the individual. A possible way to solve the identified social issues is the possibility of forming a person's skills for improvisation. We consider the implementation of this process in educational and creative activities of an amateur theater group as a sphere that provides ample opportunities for creative self-realization of the individual. We define the term “improvisation” as a universal ability of the individual, which is manifested in various creative processes, as well as in many other aspects of human life. An actor forms improvisational skills in an amateur theater group due to the organization and implementation of a number of pedagogical conditions, such as: creating a climate of psychological comfort that promotes the self-disclosure of individual and creative abilities of participants in an amateur theater group; using the etude method in the process of mastering the elements of acting improvisation by an amateur actor; mastering the basics of “effective thinking” through specific training exercises. The content component of the implementation of these pedagogical conditions, according to the authors, activates the course of the described process.
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Kovacova, Michaela. "Zu Effekten zum Einsatz der Theaterprojekte im Lehrerausbildung." Освітній вимір 54, no. 2 (June 25, 2020): 134–47. http://dx.doi.org/10.31812/educdim.v54i2.3863.
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In today’s classrooms, teachers are often under great pressure — they not only have to prove themselves professionally but also as strong personalities. In teachers-training courses at universities, subject-related and didactic skills are often built up intensively, but there is a lack of support for personal and social skills, planning and management skills, and development skills. Extracurricular theater projects can compensate for this shortcoming. The paper presents effects of several years of theater work on teaching students studying German as a foreign language. Theoretically, the contribution is firstly underpinned by the approach of the Canadian sociologist Erving Goffman (2003) about self-portrayal in everyday life, in which he points out a similarity between acting and social contact [3]. Second, it is based on the understanding of the “performative competence” by Wolfgang Hallet (2010). Both concepts are transferred to the social contact between teachers and learners. Extracurricular theater projects can compensate for this shortcoming. The paper presents effects of several years of theater work on teaching students studying German as a foreign language. Theoretically, the contribution is firstly underpinned by the approach of the Canadian sociologist Erving Goffman (2003) about self-portrayal in everyday life, in which he points out a similarity between acting and social contact [3]. Second, it is based on the understanding of the “performative competence” by Wolfgang Hallet (2010). Both concepts are transferred to the social contact between teachers and learners.
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Anufrieva, Natalya I., and Ekaterina V. Bulkina. "Specifics of Formation of Professional Skills of Musical Theater Artists in College." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 189–97. http://dx.doi.org/10.17922/2071-5323-2021-20-1-189-197.
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Every year in Russia there is a growing number of people who want to devote themselves to stage professions. Pop and academic singer, actor of musical and dramatic theater, ballet dancer – here is an incomplete list of specialties that can be obtained in educational institutions of culture and art. The main task of these educational institutions is the professional formation of future stage masters, the formation of competencies that allow students to carry out further acting activities. The basis for the preparation of the future artist is the formation of stage skills, since this complex concept includes the internal (psychological) and external (physical) data of the actor, the possession of the art of reincarnation in the process of creating a stage image, the possession of stage freedom. The professional training of a musical theater artist in college becomes a multifaceted process, where the combination of vocals, dance, acting is aimed at solving the dramatic problems of a musical performance. The purpose of the article is to theoretically justify and identify empirically the specifics of the formation of professional skills of musical theater artists in college.
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Portnova, Tatiana V. "Architecture of Antique Theaters as an Element of the World Cultural Landscape." Observatory of Culture 17, no. 3 (August 6, 2020): 320–32. http://dx.doi.org/10.25281/2072-3156-2020-17-3-320-332.
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The article deals with the history of development of the antique theatrical architecture in the context of the environment that forms the territory acquiring the status of a cultural landscape. The material of antiquity is interpreted in the aspect of the formation evolution of theater buildings, ranging from ancient Greek to ancient Roman, which, despite being in ruins, amaze us with their large-scale and unspoiled architecture. The article attempts to systematize the valuable evidence of the past, material (theater architecture) and non-material (theater art), since the repertoire is alive as long as it is performed, and the theater architecture remains to posterity. There is considered their relationship in space and time. The study’s methods (descriptions of the phenomena under study, field observation, problem-historical analysis) made it possible to focus on the construction specifics of the theater buildings located in open spaces representing cultural landscapes — vast areas of co-creation of man and nature. Over the epochs, the theater architecture, designed for spectacular performances and connected with the environmental factor and acting art, was transforming, just as the theater itself was changing, sometimes within a single performance on a single stage. Fragments of the lost cultural experience are today open systems in associative, semantic, historical aspects, as well as in terms of objects reconstruction. They form an attractive and popular place that goes beyond the limits of urban planning conditions and has the property of an important public space. The composition of theater construction and the principles of shaping that formed in the ancient period had a great influence on their subsequent development and have been preserved in modern design solutions. In this context, the experience of interpreting the architectural monuments belonging to the theatrical art has a great cultural and educational value, not only in terms of reconstructing the lost stratum of cultural heritage, but also, to a greater extent, in modeling a new vision of the emerging architectural culture of the world.