Relevant bibliographies by topics / Theater Theater Actors

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

Academic literature on the topic 'Theater Theater Actors'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Theater Theater Actors"

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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (November 12, 2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.

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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.
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Morozova, Irina Pavlovna. "Theatre activity in the southern Urals at the initial period of the thaw." Samara Journal of Science 6, no. 4 (December 1, 2017): 169–73. http://dx.doi.org/10.17816/snv201764211.

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The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examines the creative activity of theatres in the southern Urals, Orenburg Region and Bashkortostan, reveals specific features and problems in the functioning of the studied institutions in the era of the thaw, studies repertoire policy of theaters. The repertoire updated and new theaters opened. Actors and directors found new forms of art self-expression. Drama art stops being the weapon of the political propaganda. The author has no opportunity to carry out a comparative analysis of this research with other researches as the subject has not been investigated by anybody yet.
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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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Wagner, Meike. "Performing in Crisis Mode: the Munich National Theater, the Great Exhibition and the Cholera Epidemic in 1854." Pamiętnik Teatralny 69, no. 4 (December 31, 2020): 39–61. http://dx.doi.org/10.36744/pt.561.

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In 1854, the city of Munich had arranged for the “First General German Industrial Exhibition” to promote German industry to the world and invited a global audience to the event. At the same time, Franz Dingelstedt, director of the National Theater, organized a festival displaying the finest actors from Germany. Right after the opening of the festival, cholera started raging in the city and leaving 3,000 deaths in the final count. The author sketches out the role of the theatre in this crisis, when Dingelstedt was ordered by the king to keep the theatre open at any cost. This appears awkward, in regard to the current global pandemic crisis where theaters have been identified as risk zones for infection and consequently closed down. Why was the theatre at the time considered a safe and appropriate place even helping to counter the disease?
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Gilula, Leah. "No Sabras in the Fields?" Israel Studies Review 36, no. 1 (March 1, 2021): 128–43. http://dx.doi.org/10.3167/isr.2021.360109.

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The Cameri Theatre of Tel Aviv has always presented itself as the first repertory theater in the Yishuv that represented the sabras, creating the impression that its actors and artists were themselves mainly sabras and Hebrew their native language. However, this image, based chiefly on the successful performance of the play He Walked through the Fields, does not reflect reality. The article questions the myth by exploring the actual number of sabra theater artists and actors in the troupe, their place and measure of influence. Exposing this image sheds light on The Cameri Theatre at its beginning as well as on the creation of the image of the sabra, as presented by the character of Uri, and embraced by Hebrew culture.
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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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Rigatelli, Gianluca, Aravinda Nanjudnappa, Robert S. Dieter, and Thach Nguyen. "New actors, new theater." Interventional Cardiology 2, no. 4 (August 2010): 501. http://dx.doi.org/10.2217/ica.10.50.

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Neamțu, Carmen. "Genres of Cultural Journalism: Theatre Review." Cadernos de Literatura Comparada, no. 44 (2021): 227–38. http://dx.doi.org/10.21747/2183-2242/cad44a13.

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This paper focuses on cultural journalism and its main species. After a brief review of the main genres of the cultural writing press, I will dwell on the theater chronicle, trying to see what style of writing is circumscribed and what are the main steps in writing a theatre review. Based on my 23 years of experience as a journalist in the daily generalist and specialized cultural press (Cultural Magazine of the Romanian Writers' Union, ARCA), I dare to say that the secret of any theater review lies in the balance between the information transmitted and the journalist's comment, between the statement and the argument displayed. Being a personal judgement, therefor subjective, the article can rise dissatisfaction among directors, actors, set designers etc. who do not always resonate with the journalist's verdict. My paper will provide several personal examples of approaching the theater show, situations that I have faced over time, all to shed some light on writing the theater review. From a stylistic point of view, I will try to see how theatre review differs in the overall press coverage. The editorial style of the theater review could be circumscribed to the journalistic style, having at the same time an accentuated aesthetic dimension. This brings it closer to the language of literature.
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Stefanova, Kalina. "When drama theatre meets puppetry: How a unique symbiosis brought about distinctive changes in Bulgaria’s theatre." Maska 31, no. 181 (December 1, 2016): 120–28. http://dx.doi.org/10.1386/maska.31.181-182.120_1.

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The text outlines the unique symbiosis between drama and puppetry that started taking shape on Bulgarian theatre stages in the mid-1990s and gradually became a distinctive new theatre reality that changed the face of Bulgarian theatre. It was created by Alexander Morfov, CREDO Theatre and Stefan Moskov, along with a number of actors – all of them puppet theatre graduates – in their collaboration with the Bulgarian National (and other drama) Theater(s).
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Vasilenko, A. B., N. V. Polshchikova, O. I. Marceniuk, and А. V. Namchuk. "DEVELOPMENTANDESTABLISHMENTTHEARCHITECTURE OF THE HELLENIC THEATER FROM FOIKDANCE TO THEATER BUILDINGS, VII-II beforec.b." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 140–48. http://dx.doi.org/10.31650/2519-4208-2020-20-140-148.

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The tradition of the holidayswhich dedicatedtotheendof the grape harvest, was born in Hellada in ancient times, in the countryside and gradually moved to the cities. This process began in the VIII century BC. Holidays were dedicated to God Dionysus, he was responsible about the natural forces of the earth and vegetation, the mastery of viticulture and winemaking. The holiday started to name Dionysuy. One of the most important action –dance around a circle. Then it becamenational, it conducted in cities, where was taken the new forms. Actors or other free citizens of the city performed on the level of the round plan as a symbol (similar to the village dance in a circle) citywide holiday, the audience were also residents of the city, seats for which came down to the playground of actors in the form of a semicircular funnel. Initially, such places were arranged on artificial sub-constructions of wood. Such structures were prefabricated and were used many times. There have been cases of their collapse. Only after being in Athens to the second part of VI century BC such structures collapsed during the performance, it was decided more of this type of sub-exercise not to be used. From the end of the VI century BC, places for spectators were cut downin the natural hills. And the theaters themselves turned into stationary facilities, which contributed to many spectacular innovations and conveniences of actors -all this increased the visual efficiency of performances. From a simple place of national celebration gradually theaters turned into city-wide centers of state-political information (where the words of the actors conveyed to the audience the general provisions of state policy). For example, in the time of Pericles (444-429 BC), the poor free citizens of Athens were given theatrical money from the state treasury, which they had the right to spend solely on watching theatrical productions. Taking into account the fact that the theaters gathered several thousand spectators at the same time, the performances contributed to the dissemination of state information at a time for a large number of residents of the city. The Theatre of Deonis in Athens under the acropolis of the Acropolis accommodated 17,000 spectators from the total number of citizens in the heyday of 100,000. In addition, it was noticed that certain performances contribute to the optimistic mood of the ISSN 2519–4208. ПРОБЛЕМЫ ТЕОРИИ И ИСТОРИИ АРХИТЕКТУРЫ УКРАИНЫ.2020. No 20142audience, and this has a beneficial effect on their health. Therefore, it is no coincidence that theatrical productions (late classics of Hellas) were provided among the medical and recreational procedures in the “Asclepius” treatment and health procedures at VI C. in B.C.). The “Asclepius” architectural ensemble has a theatre as part of a medical and recreational center.Theatrical actions carried to the masses the state lines of ideology and politics, increased the general culture of the population while influencing the audience as wellness procedures. Theatrical performances were more effective than temple services. This is the need for the construction of theaters throughout Hellenism, where there was no city within Hellenistic borders, where there would be no theater. By the end of the III century BC, when the entire East Mediterranean world was subordinated to the Roman Republic, the type of theatrical construction of Hellas was completely formed. This was accepted by the Romans for their theatrical productions, gradually adapting it to the features of their mass-entertainment culture.
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Dissertations / Theses on the topic "Theater Theater Actors"

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Shane, Rachel. "Negotiating the creative sector understanding the role and impact of an artistic union in a cultural industry : a study of Actors' Equity Association and the theatrical industry /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1158512076.

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Hedden, Jason. ""Hidden Voices: A Creation through Collaboration with Fellow MFA Actors and Community Partner Turning Point."." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392069669.

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Kochensparger, Jonathan Wayne. ""Disability On Stage": The DisAbility Project (USA) and Graeae Theatre (UK) Theatre's Impact on Disabled Actors: A Comparative Study." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574727755697283.

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Roche, Christopher M. ""Hidden voices: a creation through collaboration with fellow MFA actors and community partner Turing Point." Outreach & engagement: working portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392302865.

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Schutt, Megan Faye. ""Hidden voices: a creation through collaboration with fellow MFA actors and community partner Turning Point." Outreach & engagement: working portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392714012.

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Garcia, Antonio. "Hidden Voices: A creation through collaboration with fellow MFA actors and community partner Turning Point. Outreach & Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391590550.

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Trujillo, Anthony. ""Hidden Voices: A Creation through collaboration with fellow MFA actors and community partner Turning Point." Outreach & Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392804247.

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Brown, Adrian. ""Hidden Voices: A creation through collaboration with fellow MFA actors and community partner Turning Point." Outreach & Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392897628.

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McBride, Tanya Chu. "Hidden Voices: A Creation through Collaboration with Fellow M.F.A. Actors and Community Partner Turning Point, Outreach and Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392909296.

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Strukus, Wanda. "Unidentified performing objects : perception, phenomenology, and the object as actor /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2003.

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Thesis (Ph.D.)--Tufts University, 2003.
Adviser: Laurence Senelick. Submitted to the Dept. of Drama and Dance. Includes bibliographical references (leaves 302-306). Access restricted to members of the Tufts University community. Also available via the World Wide Web;
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Books on the topic "Theater Theater Actors"

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Theater. New York: Atheneum Books for Young Readers, 1996.

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Actors, audiences, and historic theaters of Kentucky. Lexington: University Press of Kentucky, 2000.

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Haider-Pregler, Hilde. Überlebens-Theater: Der Schauspieler Reuss. Wien: Holzhausen, 1998.

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Schriften zum Theater. Berlin: Suhrkamp, 2011.

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Robert, James. Twenty names in theater. New York: M. Cavendish, 1990.

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Nicoletti, Susi. Nicht alles war Theater: Erinnerungen. München: List, 1997.

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About the theater. Riverdale-on-Hudson, N.Y: Sheep Meadow Press, 2008.

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Veṅkaṭacelaṃ, Rāvi. 77 ēḷḷa nāṭakānubhavaṃ. Jemṣeḍpūr: Aśok Pablikēṣans, 2000.

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Lacombe, Brigitte. Lacombe: Cinema/theater. Munich: Schirmer/Mosel, 2001.

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Acito, Marc. Attack of the theater people. New York: Broadway Books, 2008.

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Book chapters on the topic "Theater Theater Actors"

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Scannapieco, Anna. "«Il Sacchi mi mandava tratto tratto de’ fasci di quelle strane, e mostruose opere di quel Teatro…»: Carlo Gozzi e il teatro spagnolo." In Studi e saggi, 435–51. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.26.

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The contribution proposes a reflection on the greatest author of the 18th Century Italian theater who drew on the dramaturgical heritage of the siglos de oro. The main elements dealt with are: Carlo Gozzi's theoretical reflection on the characteristics of Spanish theater; the fundamental role in the repêchage that the actors of Antonio Sacco's company had in that theater, for which the author provided - according to him - a "voluntary friendly assistance"; finally, the most significant data that emerge, or could emerge, from the first National Edition of the works of Carlo Gozzi (launched in 2011).
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Cheok, Adrian David. "Interactive Theater Experience with 3D Live Captured Actors and Spatial Sound." In Art and Technology of Entertainment Computing and Communication, 59–82. London: Springer London, 2010. http://dx.doi.org/10.1007/978-1-84996-137-0_3.

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Sweeney, Bernadette. "Irish Theatre: An Actor’s Theatre." In The Palgrave Handbook of Contemporary Irish Theatre and Performance, 375–91. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58588-2_26.

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Lavender, Andy. "Multimodal Acting and Performing." In Beyond Media Borders, Volume 1, 113–40. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49679-1_3.

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Abstract This chapter considers how one might understand the work of actors and performers with reference to ideas of multimodality. The actor is not a ‘medium’ in the way of the media types in which she performs (theatre, film, radio drama, etc.). Yet, the actor does have a communicative function. It is argued that the modes of communicative media operate in a contemporary field of modal expansion, interrelation and transposition and that an account of acting and performing that considers such a field amends the longstanding focus on the actor’s ‘intention’ and ‘presence’. Instead, such an account delineates a technical infrastructure that suggests new insights into the actor’s work. Is the actor’s mode of performing expressed, shaped or constrained by the shifting media modalities in which her or his work is conveyed? The chapter examines instances of performances in theatre, in film, in ‘reality trend’ events and online.
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Masura, Nadja. "The Actor (Agency)." In Digital Theatre, 99–120. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_5.

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Masura, Nadja. "The ‘Other’ Actor." In Digital Theatre, 121–54. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55628-0_6.

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Anderson, Joel. "Actor portraits." In Theatre & Photography, 39–45. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-34562-2_6.

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Hulton, Dorinda. "Creative Actor (Empowering the Performer)." In Theatre Praxis, 15–37. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26996-9_2.

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Hirst, David L. "Theatres, Actors and Audiences." In Edward Bond, 24–47. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-17983-1_2.

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Henson, David, and Kenneth Pickering. "The Loneliness of the Young Actor-Singer in Training." In Musical Theatre, 7–15. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-33163-2_2.

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Conference papers on the topic "Theater Theater Actors"

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Frank, Carlos, Carlos De Marziani, Eduardo Del Valle, and Andres Frank. "A THEATER THAT LACKS ACTORS / SLOW ADOPTION OF THE "INVERTED CLASSROOM" (FLIPPING)." In 14th International Technology, Education and Development Conference. IATED, 2020. http://dx.doi.org/10.21125/inted.2020.0837.

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Koji Iida, Shiroh Itai, Takabumi Watanabe, and Yoshiyuki Miwa. "Public viewing with shadows: Design of theater-type space where remote actors and audiences can coexist using the shadow as their own agents." In 2008 RO-MAN: The 17th IEEE International Symposium on Robot and Human Interactive Communication. IEEE, 2008. http://dx.doi.org/10.1109/roman.2008.4600745.

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Koch, Renate. "Marcel Prawy und das erste Broadway-Musical im Österreich der Nachkriegszeit." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.57.

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Marcel Prawy, born in Vienna, graduated in law. In 1936, the couple Kiepura/Eggerth engaged him as private assistant. Two years later Jan Kiepura helped him to emigrate to New York. In 1943, after his employment ended, Prawy joined the US Army. Finally he returned as an elite soldier to Vienna and began his pioneering work for ‘Broadway Musicals’. In 1955, he was appointed dramaturge at the ‘Wiener Volksoper’. One year later in February, Kiss Me, Kate was performed in two Austrian theatres. The Viennese version was produced by Prawy himself and staged by Heinz Rosen. In Graz André Diehl directed the orchestration by conductor Rudolf Bibl on the basis of a piano score. Prawy relied on a mixture of Austrian theatre luminaries and American actors. In the Volksoper 183 performances took place – Graz had only 16. The reviews for the Viennese premiere reaffirmed the cheers. The criticism of the Graz production did not receive the same attention as Prawy’s production did.
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Zaytsev, Pavel. "Modernism, Publicness, Zombification: Gestalt of "Worker" by E. Junger, And Phenomena of Contemporary Exploitative Culture." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-17.

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The need for researching into ideological sources of contemporary exploitative culture is necessitated by both the outer edge of its interaction with other triggers of modernity, and the inner edge consisting in the answer to the following question: ‘what is an exploitative culture?’. The modernism era gave rise not only to global mass culture, but diverse oppositions of ‘privacy’ and ‘publicity’ categories in their key anthropological images. It seems to us to be no coincidence that exploitative culture is presented by researchers primarily in the anthropological dimension of race and sex. While considering the heroic characters proposed to be scaled for the era of modernism, it is necessary to account for the invariative content, which was reflected in gestalt of the ‘worker’ by E. Junger, and its particular historical variations. We pay our attention to the pedagogical system suggested by A. Makarenko, and the system of fostering actors of the future by V. Meyerhold as projects of the taylorisation of school and theater. The contemporary culture which, as a result of racial protests in the USA, has tended to be attributed with the predicate ‘exploitative’ reveals the exploitative meanings of the worker’s gestalt in the image of the zombie and the phenomenon of zombification associated with it. As a result of this study, conclusions were drawn regarding the continuity of the anonymous image of the ‘worker’ E. Junger and the film image of the zombie as one of modern culture’s most demanded anonymous generalised characters of the masses. Their affinity is as follows: the ‘worker’ of E. Junger is not a social, much less an economic category, it is the most common anthropological metaphore of ‘generic attributes’ to characterise the modernism era, like a zombie character in contemporary mass culture. However, if gestalt of ‘worker’ by E. Junger means the totality of creation of a new world, then the zombie character in contemporary mass culture is associated with the totality of devastation.
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Cicirelli, Franco, and Libero Nigro. "Home Energy Management Using Theatre With Hybrid Actors." In 2019 IEEE/ACM 23rd International Symposium on Distributed Simulation and Real Time Applications (DS-RT). IEEE, 2019. http://dx.doi.org/10.1109/ds-rt47707.2019.8958695.

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Gagneré, Georges, Tom Mays, and Anastasiia Ternova. "How a Hyper-actor directs Avatars in Virtual Shadow Theater." In MOCO '20: 7th International Conference on Movement and Computing. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3401956.3404234.

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Petrovic, Dominik, Luka Kicinbaci, Frano Petric, and Zdenko Kovaaic. "Autonomous Robots as Actors in Robotics Theatre - Tribute to the Centenary of R.U.R." In 2019 European Conference on Mobile Robots (ECMR). IEEE, 2019. http://dx.doi.org/10.1109/ecmr.2019.8870908.

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Ward, Jamie A., Daniel Richardson, Guido Orgs, Kelly Hunter, and Antonia Hamilton. "Sensing interpersonal synchrony between actors and autistic children in theatre using wrist-worn accelerometers." In UbiComp '18: The 2018 ACM International Joint Conference on Pervasive and Ubiquitous Computing. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3267242.3267263.

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Vishnyakova, Elizaveta, Olga Vishnyakova, Alla Minyar-Beloroucheva, and Polina Sergienko. "L2 teaching to PR undergraduates through theatre techniques elements." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.01001v.

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Modern methods of L2 teaching aimed at improving its efficiency to overcome language barriers require the construction of the learning climate for undergraduates to develop professional skillsand competencies essential for their academic communication with ease and pleasure. The purpose of this article is to demonstrate one of the ways of achieving educational goals by creating positive emotions that PR undergraduates experience during L2 classwork through the introduction of the elements of theatrical techniques, which can help educators perform the tasks required to instill creativity. Effective L2 acquisition by PR undergraduates is allegedly best achieved through neutral emotions. Expressive and emotional actions in class create theatre-like atmosphere that disseminates positive emotions fostering education. The research has demonstrated the necessity to introduce theatre techniques elements into L2 teaching to PR undergraduates.
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Vishnyakova, Elizaveta, Olga Vishnyakova, Alla Minyar-Beloroucheva, and Polina Sergienko. "L2 teaching to PR undergraduates through theatre techniques elements." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.01001v.

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Modern methods of L2 teaching aimed at improving its efficiency to overcome language barriers require the construction of the learning climate for undergraduates to develop professional skillsand competencies essential for their academic communication with ease and pleasure. The purpose of this article is to demonstrate one of the ways of achieving educational goals by creating positive emotions that PR undergraduates experience during L2 classwork through the introduction of the elements of theatrical techniques, which can help educators perform the tasks required to instill creativity. Effective L2 acquisition by PR undergraduates is allegedly best achieved through neutral emotions. Expressive and emotional actions in class create theatre-like atmosphere that disseminates positive emotions fostering education. The research has demonstrated the necessity to introduce theatre techniques elements into L2 teaching to PR undergraduates.
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Reports on the topic "Theater Theater Actors"

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Sunardi, Mathias. Expressive Motion Synthesis for Robot Actors in Robot Theatre. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.720.

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Kabat, Brian W. The Sun as a Non-state Actor: The Implications on Military Operations and Theater Security of a Catastrophic Space Weather Event. Fort Belvoir, VA: Defense Technical Information Center, May 2010. http://dx.doi.org/10.21236/ada525043.

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Health hazard evaluation report: HETA-90-0355-2449, Actors' Equity Association/The League of American Theatres and Producers, Inc., New York, New York. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, August 1994. http://dx.doi.org/10.26616/nioshheta9003552449.

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