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Journal articles on the topic 'Theater Theater Actors'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (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 (A

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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 (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 examine

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3

Krutova, Marina S. "“An Actor Is a Priest in Buffoon’s Clothes”." Observatory of Culture 16, no. 3 (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 th

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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 (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, i

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Gilula, Leah. "No Sabras in the Fields?" Israel Studies Review 36, no. 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 beginn

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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 (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

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Rigatelli, Gianluca, Aravinda Nanjudnappa, Robert S. Dieter, and Thach Nguyen. "New actors, new theater." Interventional Cardiology 2, no. 4 (2010): 501. http://dx.doi.org/10.2217/ica.10.50.

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8

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 st

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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 (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 l

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Fernandez, Stephen. "“Ich Bin Ein Schauspieler”: Making Crip Performance in Toronto with Theater HORA’s Disabled Theater." Canadian Journal of Disability Studies 7, no. 3 (2018): 1–30. http://dx.doi.org/10.15353/cjds.v7i3.449.

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This paper attends to the making of crip performance in the 2015 production of Disabled Theater in Toronto, where eleven performers with intellectual and physical disabilities took to the stage to perform a series of dance solos set to popular music. The performance was directed by the French choreographer Jérôme Bel and produced by the Zurich-based Theater HORA, a professional theatre company that is fully comprised of performers with disabilities. As an experienced choreographer, Bel is portrayed in the performance program as the “brains” behind Disabled Theater. It seems as though the perfo

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D'haeseleer, Evelien, Iris Meerschman, Sofie Claeys, Clara Leyns, Julie Daelman, and Kristiane Van Lierde. "Vocal Quality in Theater Actors." Journal of Voice 31, no. 4 (2017): 510.e7–510.e14. http://dx.doi.org/10.1016/j.jvoice.2016.11.008.

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Sumpeno, Sumpeno. "PROSES KREATIF SUTRADARA RACHMAN SABUR DARI TEATER PAYUNG HITAM BANDUNG." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, no. 2 (2021): 120–33. http://dx.doi.org/10.24821/tnl.v18i2.5743.

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Abstrak: Rachman Sabur adalah salah seorang sutradara teater dari kelompok Teater Payung Hitam Bandung. Sejak kecil ia sudah mulai suka menonton berbagai pertunjukan seperti sandiwara sunda, tari, wayang dan reog. Proses kreatif Rachman Sabur menyutradarai drama verbal dan teater non verbal mendapat pujian dari berbagai tokoh teater dan mempunyai banyak penonton. Penelitian ini menggunakan pendekatan proses kreatif Graham Wallas yang dikemukakan oleh Irma Damayanti dalam buku Psikologi Seni (2006) yang meliputi Preparation (persiapan), Incubation (pengeraman), Ilumination (ilham, inspirasi), v

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Patsunov, V. "Conceptual basis of the art of “Theatre of Shock”." Culture of Ukraine, no. 72 (June 23, 2021): 131–35. http://dx.doi.org/10.31516/2410-5325.072.18.

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The purpose of this paper is to develop the fundamental basis of the art of “theatre of shock”, as the art of the highest spiritual and emotional level, as well as to identify the characteristic features and directorial components that provide it. The methodology. We applied the analytic-conceptual and empirical approaches to identify the most energy-intensive artistic means of creating a theatrical product and the most effective directorial tools for influencing the spiritual-emotional sphere of the viewer by creating the highest energy and philosophical and aesthetic level that can bri

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15

Schmitt, Natalie Crohn. "Theorizing about Performance: Why Now?" New Theatre Quarterly 6, no. 23 (1990): 231–34. http://dx.doi.org/10.1017/s0266464x0000453x.

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This article continues NTQ's recent exploration of the interaction between the study of theatrical performance and other disciplines – in this case, relating in particular to ‘Quantum Physics and the Language of Theatre’, published in NTQ 18 (1989). Schmitt argues that there is a correspondence between the contemporary interest in performance theory and the view of nature provided by modern physics. The analysis of nature in terms of events rather than objects, the perception of reality as a network of non-teleological, non-hierarchical relations, the interest in the interplay between nature a

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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 (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 assesse

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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 fou

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18

Weiss, Zeev. "Actors and Theaters, Rabbis and Synagogues." Journal of Ancient Judaism 8, no. 2 (2017): 271–79. http://dx.doi.org/10.30965/21967954-00802010.

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The paper discusses the opposition of the rabbis in late antique Palestine to Roman public spectacles and their intentional incorporation of references to the theater, hippodrome, and amphitheater, and their performances, into their sermons. By speaking about these very same issues in their sermons, the rabbis essentially, and perhaps deliberately, became actors in their own communal theater – the synagogue. Based on a careful reading of the literary sources, it is argued that with the ironic use of the same tools and props employed in the theater the rabbis not only sought to condemn public e

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Jefrizal, Jefrizal. "KONSEP ELEMEN DRAMATIK PADA TEATER TRADISONAL MENDU RIAU." Jurnal Ilmu Budaya 15, no. 2 (2019): 82–102. http://dx.doi.org/10.31849/jib.v15i2.2327.

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This research was entitled "The Concept of Dramatic Elements in Traditional Tehater Mendu Riau ". The research focused on the dramatic elements. That’re produce the scene and the structure of the play in the show. In Teater Mendu's performing arts at Matan Theater, actors do not use text or texts as a guide to dialogue. Actors only speak of dialogue spontaneously. This is where the emergence of these aesthetic elements, which cannot be reviewed with modern dramaturgy approaches. This study uses Dramaturgy theory with a descriptive qualitative approach. The process of interviewing, observing, d

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Kuhlmann, Annelis. "Memoria." Passage - Tidsskrift for litteratur og kritik 33, no. 80 (2018): 111–24. http://dx.doi.org/10.7146/pas.v33i80.111727.

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Annelis Kuhlmann: “Memoria. A theater performance about war as present memory” This article throws light on how the theater performance, Memoria, by Odin Teatret, Denmark, deals with trauma from World War II as material, so that the actors in the theater production create a complex form of memory act on stage. The explicitly analogue form of Memoria becomes a strength through the bodily presence between actors and spectators. The increasing absence of speech forms a symbolic thread in the witnessing of the war.

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Rant, Tjaša. "Russian artists in Slovenia after the October revolution." Russian-Slovenian relations in the twentieth century, no. IV (2018): 276–91. http://dx.doi.org/10.31168/2618-8562.2018.4.3.5.

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This article presents selected Russian artists in theater, opera and ballet, which have been working in Ljubljana Theater since 1920. In the article are presented Russian actors, dancers, singers, choreographers and teachers who brought to the Slovenian land two hundred years old traditions of Russian culture and contributed to the success of Slovenian theater, opera and ballet.

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Bloch, René. "Part of the Scene." Journal of Ancient Judaism 8, no. 2 (2017): 150–69. http://dx.doi.org/10.30965/21967954-00802003.

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This article points to the complexities of Jewish engagement with theater; thus, despite frequent condemnation of the theater by rabbis we find also more nuanced voices. The article reviews the evidence for Jewish theater attendance in ancient Palestine and the Diaspora, outlines the views on theater in the works of Philo of Alexandria and Flavius Josephus, discusses evidence for Jewish actors and actresses, and takes a look at Ezekiel’s Exagoge, the clearest case of a Jewish drama handed down from antiquity.

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Decheva, Violeta. "Berlin Theater Treffen 2019: Actors, Materials, Plots." Sledva : Journal for University Culture, no. 39 (August 20, 2019): 82–97. http://dx.doi.org/10.33919/sledva.19.39.10.

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Lee, Kyung-Eun. "Developing Tanz Theater Education Program for Actors." Joural of the Korea Entertainment Industry Association 9, no. 1 (2015): 75. http://dx.doi.org/10.21184/jkeia.2015.03.9.1.75.

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Novak, A., O. Dlouha, B. Capkova, and M. Vohradnik. "Voice Fatigue after Theater Performance in Actors." Folia Phoniatrica et Logopaedica 43, no. 2 (1991): 74–78. http://dx.doi.org/10.1159/000266114.

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Bell, John. "The Bread and Puppet Theatre in Nicaragua, 1987." New Theatre Quarterly 5, no. 17 (1989): 8–22. http://dx.doi.org/10.1017/s0266464x0001530x.

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PETER SCHUMANN's Bread and Puppet Theatre began 25 years ago as a new way of making modern theatre, and as Schumann sees it, still is. As he recently stated, “there are two aspects to this newness: (1) the proposal for a much bigger, wider space for the arts to exist in than the space that the arts occupy now – a way for painting, music, sculpture, and language to exist together and in response to the questions of the time in which they live; and (2) the puppet theatre aspect: puppet theatre not as a special branch of theatre but as a challenge to theatre, as a concrete proposal for the overco

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Zimnica-Kuzioła, Emilia Anna. "Polityka teatralna w Polsce po transformacji ustrojowej." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (2018): 111. http://dx.doi.org/10.17951/l.2017.15.2.111.

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<p>Artykuł dotyczy organizacji życia teatralnego w Polsce po roku 1989. W okresie transformacji ustrojowej nastąpiły zmiany w zakresie funkcjonowania instytucji kultury, w tym i teatrów. Polityka państwa określana jest przez pojęcia decentralizacji czy dewolucji (odejście od monopolu państwowego, przekazywanie instytucji kultury władzom gminnym i samorządom wojewódzkim) i deregulacji (proces odchodzenia od kontroli państwa, ideologiczna niezależność instytucji kultury). Publiczne teatry w Polsce reprezentują model teatru repertuarowego, którego podstawą jest stały zespół aktorski. Wzrast

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Poliakova, Yu Yu. "Researches of Kharkiv’s Theater Culture of the 19th and the first half of the 20th cc.: Problems of Historiography." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 142–63. http://dx.doi.org/10.34064/khnum1-51.08.

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Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources,

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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

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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 (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 co

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De Oliveira, José Luís. "A relação da literatura de cordel na antroponímia dos fantoches populares portugueses." Jangada: crítica | literatura | artes, no. 10 (April 7, 2018): 4–18. http://dx.doi.org/10.35921/jangada.v0i10.77.

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RESUMO: O mundo do teatro de bonecos em Portugal está envolto numa bruma, devido, em parte, a algum desinteresse da classe teatreira, mas principalmente, à escassa documentação sobre esta arte ancestral. O teatro de marionetas popular era pouco palavroso, em oposição ao teatro de atores de carne e osso, onde o verbo era fundamental. O repertório de texto diminuto, transmitido por via oral, levou à perda substancial de um entretenimento que fez os encantos de miúdos e graúdos ao longo dos séculos. Uma das lacunas é a génese dos próprios apodos pelos quais os bonifrates eram conhecidos. Atualmen

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Dove, Toni. "Theater without Actors: Immersion and Response in Installation." Leonardo 27, no. 4 (1994): 281. http://dx.doi.org/10.2307/1575994.

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Tawadros, Tammy. "Developing the Theater of Leadership." Advances in Developing Human Resources 17, no. 3 (2015): 337–47. http://dx.doi.org/10.1177/1523422315587898.

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The Problem Recent models of leadership emphasize the importance of adaptive, strategic, and socio-emotional capabilities for success. The development of leadership has transformed from teaching about the concept to an experiential learning of leadership, an approach that focuses on identity and problem solving. Over the past decade, improvisational theater and interactive drama based leadership development has received increasing attention; moreover, many advocate its use as a powerful and innovative experiential learning tool, to foster self-awareness and increase ability to deal with the un

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WAGNER, MEIKE. "De-monopolizing the Public Sphere: Politics and Theatre in Nineteenth-Century Germany." Theatre Research International 37, no. 2 (2012): 148–62. http://dx.doi.org/10.1017/s0307883312000053.

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This article focuses on an incident of censorship and police intervention at the Königstädtische Theater in Berlin in 1828, occasioned by a performance of Gotthilf August von Maltitz'sThe Old Student(Der alte Student). Identifying how the playwright and his actors sought to represent political topics onstage allows me to explore how theatre functioned as a potential player in an incipient public sphere. In turn this reveals how the desire to represent political topics onstage and to become a performative player in the public sphere was already under way in the 1820s, well before the revolution

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Prokopovych, L. V. "Socio-philosophical analysis of the visualization of cultural identity in the “theater” of everyday life." Науково-теоретичний альманах "Грані" 22, no. 1 (2019): 57–67. http://dx.doi.org/10.15421/17198.

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The purpose of the study is to identify the specific features and socio-philosophical foundations of the visualization of cultural identity in the “theater” of everyday life. The research methodology is based on: 1) the theory of the image, which evolves from the perception of the image as a simple sign to the understanding that in some cases it can become a symbol (with broad interpretational possibilities); 2) method of sociocultural analysis in the framework of concept of theatricality of sociocommunicative manifestations of culture. The effectiveness of the concept of theatricality of soci

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Jans, Erwin. "Oedipus aan de oevers van de Nijl. Arabische bewerkingen van een Griekse tragedie / Oedipus on the banks of the Nile: Arabic adaptations of a Greek tragedy." Forum+ 26, no. 2 (2019): 29–36. http://dx.doi.org/10.5117/forum2019.2.jans.

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Abstract Het Vlaamse theater wordt steeds vaker geconfronteerd met het verwijt ‘te wit’ te zijn op alle mogelijk niveaus: van de interne organisatie over de acteurs tot het repertoire. In deze bijdrage breekt Erwin Jans in elk geval een lans voor het lezen van niet-westerse theaterteksten. Hij buigt zich over een aantal Arabische Oedipus-bewerkingen en plaatst die in een bredere culturele en politieke context waardoor ze ook een nieuw licht werpen op de westerse adaptaties. More and more often, Flemish theatre is confronted with the accusation that it is 'too white' at all possible levels: fro

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Nurhadi, Nurhadi. "Lokasi Dan Kelompok Teater Indonesia 2001-2005 (Analisis Rubrik Teater Majalah Tempo)." ATAVISME 13, no. 1 (2010): 15–32. http://dx.doi.org/10.24257/atavisme.v13i1.141.15-32.

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Artikel ini bertujuan mendeskripsikan kelompok-kelompok teater yang berkecimpung dalam pementasan teater di Indonesia dan peta lokasi pementasan sebagaimana diulas dalam majalah Tempo tahun 2001-2005. Hasil penelitian ini menunjukan kelompok teater yang paling konsisten dalam mementaskan suatu naskah setiap tahunnya adalah Teater Koma. Kelompok teater berikutnya yang relatif banyak berkiprah dari tahun 2001-2005 berdasarkan artikel rubrik teater Tempo yaitu Teater Mandiri, Teater Garasi, dan Actors Unlimited Bandung. Kelompok teater pada jajaran berikutnya yang mementaskan lebih dari satu kali

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Cornici, Antonella. "Hamlet – To Be Or Not to Be and the Television Theater." Review of Artistic Education 21, no. 1 (2021): 157–63. http://dx.doi.org/10.2478/rae-2021-0019.

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Abstract To be or not to be, the famous monologue that is very present in the actors’ repertoires, has suffered many changes overtime which either gave us extraordinary moments or it was simply transformed into dialogue, it was fragmented, moved into different acts other than where the author put it. All these changes were based on a directorial vision. In the television theater this scene (and even the whole show) has a different impact due to filming, editing and directorial vision. So the same show that has been watched at the theater it can be different on a television theater. In the perf

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Fesenko, S. Ya. "Features of the education of the actor-puppeteer." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 192–208. http://dx.doi.org/10.34064/khnum1-51.11.

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Background, objectives of the research. The article reveals the method of improving the professional skills of the actor of the puppet theater, aimed at the organic connection of the puppet technique with the actor’s internal psycho-techniques. The peculiarity of creating a stage image in the puppet theater is that the functions of the puppeteer actor in the creating of a role “on the inside line” coincide with the functions of the drama theatre actor. However, the process of making the stage character in the puppet show is built according to other laws: “vitalizing” through the puppet – the m

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Abdinagoro, Sri Bramantoro. "Factors Influencing the Intention of Attending Theater Performances: Exploration Study." Winners 18, no. 2 (2017): 93. http://dx.doi.org/10.21512/tw.v18i2.4170.

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The phenomenon of theater goers who are not satisfied when watching but at the next show they were still watching, being the opposite of the concept of satisfaction. This research aimed to find the factors that caused people to intend to watch the theater again to answer the phenomenon. The researcher used an exploratory study that focused on exploring important features in the theater performing arts on those who had been watching and who had not watched. In this study, author constructed semi-structured interview questionnaires that were focused on; (1) reason for people watching the theater

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Pawlik, Sabina. "Personal and social dimensions of the theatrical activity of people with autism spectrum disorder – the case study of the ‘Authentic Artists’ theatre group." Edukacyjna Analiza Transakcyjna 9 (2020): 277–88. http://dx.doi.org/10.16926/eat.2020.09.17.

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The theater, in which the actors are people with autism spectrum, has not yet been researched extensively. Most of the texts consider the therapeutic contexts of theatrical activity performed by people with autism spectrum, or even interventions against them using theatrical techniques. In this article, the author looks for a different perspective on the phenomenon of theater activities performed by people with autism spectrum. The presented research was aimed at showing the activities of "Authentic Artists" theater in two dimensions: personal and social. The research method used was a qualita

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Smith, Phil. "Actors as Signposts: a Model for Site-based and Ambulatory Performances." New Theatre Quarterly 25, no. 2 (2009): 159–71. http://dx.doi.org/10.1017/s0266464x09000256.

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In this paper Phil Smith examines the proposal of Simon Persighetti of Wrights & Sites for actors to behave ‘as signposts’. It describes the circumstances from which the proposal arose, a particular moment in the work of site-specific artists/performers Wrights & Sites, and argues for the wider application of the proposal to the making of site-based theatre and performance. The paper describes four main features of the proposal for ‘actors as signposts’ – pointing to specificity, movement from anti-character to collective subject, performance as trajectory, and the restoration of corpo

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Arkadin-Shkolnik, Oleksandr. "Improvisational self-feeling in the upbringing of actor’s and stage directing mastery." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 121–35. http://dx.doi.org/10.34064/khnum1-50.09.

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Formulation of the problem. Relevance of the theme, the aim and material of research. The article deals with the related concepts of improvisation and improvisational self-feeling, state of health that is a special internal state that allows the actor to fully demonstrate his talent, to get rid of stamps, physical and psychological clamps and mechanistic “playing on cothurni”. The theme of improvisation in artistic creativity in general and in stage art in particular, undoubtedly, can be attributed to the circle of “eternal” ones, which over the time not lose their relevance and can acquire ne

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Tarantino, Mary. "UNCOVERING GEMS: THEATRICAL DESIGN COLLECTIONS AT THE WISCONSIN HISTORICAL SOCIETY." Theatre Survey 50, no. 2 (2009): 327–35. http://dx.doi.org/10.1017/s004055740999010x.

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The Wisconsin Center for Film and Theater Research (WCFTR), which is housed at the Wisconsin Historical Society in Madison, Wisconsin, and partners the historical society with the University of Wisconsin's Department of Communication Arts, was formed in 1960. It maintains a diverse collection of entertainment media, including collections of papers, audio and/or visual materials, and other creative documents such as scripts and designs. The majority of the WCFTR's collections feature film, radio, and television productions and various photographs and promotional material. The smaller theatre co

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Gürgens Gjærum, Rikke, Jens Ineland, and Lennart Sauer. "The Story about Theater Organizations, the Public's Approval, and the Actors' Identity Formation in Nordic Disability Theater." Journal of Social Work in Disability & Rehabilitation 9, no. 4 (2010): 254–73. http://dx.doi.org/10.1080/1536710x.2010.523648.

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Yuliatin, Riyana Rizki, Puspita Dewi, Hary Murcahyanto, Sandy Ramdhani, and Hilda Hastuti. "Pengenalan Playback Theater sebagai Metode Berteater untuk Melepaskan Ketegangan." ADMA : Jurnal Pengabdian dan Pemberdayaan Masyarakat 1, no. 2 (2021): 71–78. http://dx.doi.org/10.30812/adma.v1i2.1018.

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Various ways used to express ideas, feelings, and opinions. Art is one of the most effective modes to convey emotions. Playback theatre by combining artistic relation and social relation becomes a method applied. Playback theatre concerns with the telling process. Pre-test and post-test were conducted to identify the previous knowledge of the participants before providing materials and to recognize the knowledge after the activity. The empowerment activity results show that playback theatre has a positive impact on the participants to reduce nervously and it establishes chemistry between actor

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Fokin, Pavel E., and Ilya O. Boretsky. "The First Production of The Brothers Karamazov on the Russian stage in the Mirror of the Press (Based on the Collections of the Vladimir Dahl State Museum of the History of Russian Literature)." Dostoevsky and world culture. Philological journal, no. 4 (2020): 219–41. http://dx.doi.org/10.22455/2541-7894-2020-4-219-241.

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The first Russian theatrical production of Dostoevsky's novel The Brothers Karamazov premiered on the eve of Dostoevsky’s 20th death anniversary on January 26 (February 7) 1901 at the Theater of the Literary and Artistic Society (Maly Theater) in St. Petersburg as a benefit for Nikolay Seversky. The novel was adapted for the stage by K. Dmitriev (Konstantin Nabokov). The role of Dmitry Karamazov was performed by the famous dramatic actor Pavel Orlenev, who had received recognition for playing the role of Raskolnikov. The play, the staging, the actors’ interpretation of their roles became the s

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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 pos

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Martin, Eric, and Claudio Battaglini. "Health Status of Live Theater Actors: A Systematic Literature Review." Medical Problems of Performing Artists 34, no. 2 (2019): 108–17. http://dx.doi.org/10.21091/mppa.2019.2010.

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OBJECTIVE: Actors constitute an at-risk population based on the physical burden demanded from their profession, different health behaviors, and poor economic and health insurance status. The purpose of this systematic literature review was to search for evidence of the health and fitness of theater actors. METHODS: Pubmed, EBSCO (CINAHL and SPORTdiscus), the database of the Performing Arts Medicine Association, the Journal of Physical Education, Recreation, and Dance, and Medical Problems of Performing Artists were searched. Included studies had data extracted and were scored for methodologica

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Petcu, Ioana. "“Bach never lacked violinists, so Peter never lacks puppeteers” – interview with the Bread and Puppet Theater." Theatrical Colloquia 7, no. 2 (2017): 291–301. http://dx.doi.org/10.1515/tco-2017-0028.

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Abstract The American Bread and Puppet Theater, funded and coordinated by Peter Schumann, answered the International Theater Festival for the Young Public’s invitation at its 10th edition. This event was a Prologue, according to the organizers, and took place on the 30th of September. I arrived at theater during their rehearsal for the show presented - “basic byebye cantastoria extravaganza”. It was a great opportunity for me to see the actors patiently adapting their voices to the new stage condition. During a break I talked with three of them – this is how I met young artists Esteli Kitchen,

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