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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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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 (November 26, 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 performers were simply executing Bel’s artistic ideas through the embodied materiality of their dance performances. As such, the performers’ desire to be seen as proper artists exists amid the specter of an ableist ideology in “normative” culture that could potentially influence the audience members’ interpretation of their dance solos. Drawing on the work of Rosemarie Garland-Thomson, Carrie Sandahl, and Robert McRuer on the intersection of disability and performance, as well as the Italian dramaturge Eugenio Barba’s concept of the “pre-expressive state” of the actor’s body, I argue that the inclusion of persons with disabilities who confidently describe themselves as “actors” through the German phrase, “Ich Bin Ein Schauspieler”, unfolds the possibility of crip performance in Disabled Theater, which, unlike an ableist conception of performance, acknowledges disability as a reality that is constitutive of everyday life. Through crip performance, persons with disabilities do not need to downplay their disability in order to be publicly acknowledged as artists.
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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 (July 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 (September 13, 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), verification (pembuktian atau pengujian). Metode yang digunakan adalah deskritif analisis, dengan teknik pengumpulan data melalui wawancara dengan Rachman Sabur, para pemeran, para pendukung dan pengamat teater dari Bandung. Selain itu juga data diambil dari berbagai ulasan tentang karya-karya penyutradaraannya, ulasan dari surat kabar dan Website dari para pengulas pertunjukan teater yang terpercaya. Dari pendekatan dan metode tersebut akan terurai proses kreatif Rachman Sabur dalam melahirkan karya-karyanya. Kata kunci: Proses Kreatif, Rachman Sabur, Teater Payung Hitam, Graham Wallas Abstract: Rachman Sabur is one of the theater directors of the Bandung Black Payung Theater group. Since childhood, he has started to like watching various performances such as Sundanese plays, dance, wayang and reog. Sabur's creative process in directing verbal dramas and non-verbal theaters has received praise from various theater figures and has a large audience. This study uses the creative process approach of Graham Wallas proposed by Irma Damayanti in the book Psychology of Art (2006) which includes Preparation (preparation), Incubation (incubation), Illumination (inspiration, inspiration), verification (proof or testing). The method used is descriptive analysis, with data collection techniques through interviews with Rachman Sabur, actors, supporters and theater observers from Bandung. In addition, data is also taken from various reviews of his directing works, reviews from newspapers and websites from trusted reviewers of theater performances. From these approaches and methods, Sabur's creative process in producing his works will be unravelled. Keywords: Creative Process, Rachman Sabur, Payung Hitam Theatre, Graham Wallas
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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 bring the audience to a state of shock.
The results. For the first time in art criticism, an analysis of the generalization and systematization of director’s tools and ways was carried out, the creation of a “shock” for the creation of theatrical art. The concept proposed by the author crowns the triangle that, together with the art of “dissimulation theatre” and the art of “excitement theatre”, is the technological trinity of theatrical art: dissimulation — excitement — shock. The study conducted by the author gives grounds to conclude that the creation of theatrical performances, belonging to the art of the highest spiritual and emotional level — to the art of “theatre of shock”, is possible if such fundamental components as: sealed module of dramaturgy, “muscles” of play events, scenographic directing, metaphorical vocabulary, means of psychological theater and energy field of actors’ “emission” are embodied in the stage space. The model of the “theater of shock” assumes complete domination over the emotions of the spectator, the deepest immersion in the whirlpool of dramatic events and bringing to a deep trance with a powerful energy field of emission.
The topicality. This paper contains such terms as “theater of shock”, “theater of trance”, “scenographic directing”, “molecular directing” are introduced into scientific circulation.
The practical significance. Scientific development of ways, methods and means of creating the “theater of shock” as a kind of the most powerful energy and philosophical-typical level can be implemented in the educational process. Along with this presentation the concept of “theater of shock” can have its continuation in the theses of students with degrees in the field of art history, opens the prospect of updating the theatrical palette.
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Schmitt, Natalie Crohn. "Theorizing about Performance: Why Now?" New Theatre Quarterly 6, no. 23 (August 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 and our perception of it: all correlate, she suggests, with an interest in theory of performance. Natalie Crohn Schmitt is Professor of Theater at the University of lllinois at Chicago. She published ‘Stanislavski, Creativity, and the Unconscious’ in NTQ 8 (1986), and has also published in Theatre Notebook, The British Journal of Aesthetics, Theatre Journal, Comparative Drama, Theatre Survey, and elsewhere. Her full-length study. Actors and Onlookers: Theater and Twentieth-Century Scientific Views of Nature has just appeared, from Northwestern University Press.
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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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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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Weiss, Zeev. "Actors and Theaters, Rabbis and Synagogues." Journal of Ancient Judaism 8, no. 2 (May 19, 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 entertainment, including theatrical performances, but also urged their communities to shun this leisure activity in favor of other “spectacles” more conducive and appropriate to the religious realm.
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Jefrizal, Jefrizal. "KONSEP ELEMEN DRAMATIK PADA TEATER TRADISONAL MENDU RIAU." Jurnal Ilmu Budaya 15, no. 2 (March 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, documenting is the way to go to find dramatic elemental concepts, Mendu Theater at the Matan Theater Riau.
Keywords: Dramatic Element of Tradition Theater, Mendu Riau
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Kuhlmann, Annelis. "Memoria." Passage - Tidsskrift for litteratur og kritik 33, no. 80 (December 23, 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 (May 19, 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 (March 31, 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 (February 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 overcoming of its shortcomings – a liberation from that fixed old schmaltz – a proposal for much bigger form, much more compositional freedom and adventure than an actors' theater can ever come up with.”
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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 (September 19, 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. Wzrasta jednak liczba teatrów niepublicznych (teatry <em>non-profit</em>, zarejestrowane jako stowarzyszenia lub fundacje, nie nastawione na zysk i teatry komercyjne).</p><strong>Theater Policy in Poland after the Political-System Transformation</strong><p>SUMMARY</p><p>The article discusses the organization of theatrical life in Poland after 1989. During the political-system transformation there were changes in the operation of cultural institutions, including theaters The State policy is defined by the concepts of decentralization or devolution (departure from State monopoly, handing over of cultural institutions to gmina [commune] authorities or provincial self-governments) and deregulation (the process of departing from State control, ideological independence of cultural institutions ). Public theaters in Poland represent the model of repertory theater based on a permanent team of actors. However, the number of non-public theaters is growing (non-profit theaters registered as associations or foundations, and commercial theaters).</p>
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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 (October 3, 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, which contain the data on the history of theater in Kharkiv; to characterize their authors; to define the degree of their mastering of accessible information while writing books and articles on various periods in the development of theater culture in this city in the 19th c.; to establish the main challenges to researchers they have to face under modern conditions. In this study, the author has chosen to apply the traditional cultural-historic method of research. It generally consists of collecting primary information on a certain phenomenon or a prominent figure, working it out, finding its correlation with appropriate historic events, and then making an attempt to substantiate the meaning and importance of the phenomenon / figure studied, in the context of the development of arts in the region. The article based on memoirs, archive materials, periodic publications (containing articles on the activities of theater companies, theatrical managers, actors etc.) and literature on the history of drama as well as general publications, which include items on the theater life in the city. Due to the lack of an entire elaborated bibliographic system, researchers have to engage themselves in painstaking browsing through the entire corpus of periodicals. In Kharkiv, the main sources of relevant information are such periodicals as the “Ukrainskiy vestnik” magazine (1816–1819) and some newspapers: “Kharkovskie gubernskie vedomosti” (1838–1915), “Yuzhnyy kray” (1880–1919), “Utro” (1906–1916), Kharkov (1877–1880), Kharkovskiy listok (1898–1905) and more. Results. The former newspaper “Kharkovskie gubernskie vedomosti” published, in 1841, the essay “Theater in Kharkov” by dramatist and a prominent public figure Hryhoriy Kvitka-Osnov’yanenko (1778–1843), who described the very first period in the history of theater in Kharkiv (1780–1816). In the 1870s, the “Kharkovskie gubernskie vedomosti” started to publish regularly analytical and summarizing articles, which were an attempt at creating theater’s history of a certain period. There was, for one, an article “The Kharkov Drama Theater in Recent Ten Years” by Ivan Ustinov, published in 1877 and dedicated to the 10th anniversary of the Diukovs’ private theater company. I. Ustinov not only gave a brief analysis of the theater’s repertoire between 1867 and 1877, but also included biographies and short characteristics of the actors, which were playing then on Kharkiv stage. Ustinov also is famous as the compiler of the bibliographic index “The Books on Kharkov Governorate” (1886), with certain information on the history of theater in this city. In the 1880s, Konstantin Schelkov, a graduate of the Kharkiv University’s Law School, wrote his articles on the theater in the “Kharkovskie gubernskie vedomosti”. The newspaper published, among others, his article “Materials for the History of Theater in Kharkiv” (1881), in which he described the activities of the theater’s management headed by N. D. Alferaki in 1845–1848. In the early 1880s, another big newspaper, the “Yuzhnyy kray”, was started. Its columnist Nikolay Chernyaev took a great interest in the history of theater in Kharkiv. Mr. Chernyaev’s works include a systematic review of theater culture in Kharkiv from Catherine II epoch until 1843 as well as a number of essays on the development of theater in Kharkiv up to 1880. The author collected wide documentary material dedicated to specific periods of history as well as to certain artistic figures. Chernyaev studied many various sources: dailies and magazines, published in the capital cities and in provinces, many collections of documents, memoirs and so on. Chernyaev’s works proved to be useful to historians D. I. Bagalei and D. P. Miller who covered the history of theater in their famous book “The History of the City of Kharkov during 250 Years of its Existence.” In the first half of the 20th c., there were no integral and systematic researches on the history of the city of the previous century, so the monograph “The Beginnings of the Theater in Kharkov” by Arkadiy Pletniov, published in 1960, one can consider as summarizing. The author based much of his study on the works of N. I. Chernyaev. He also widely used the materials resting in the A. A. Bakhrushin Museum of Theater, Moscow, and in many archives. In his monograph, Dr. Pletniov did not limit himself with listing the events of theatrical life, but thoroughly analyzed the activities of the Board of Trustees and such managers as I. Shtein and L. Mlotkovskiy. In several supplements, one can find lists of main roles played on Kharkiv stage by its prominent actors (N. Rybakov, L. Mlotkovskiy, K. Solenik). Pletniov’s work, enriched by references and commentaries, played an important part in creating the complex picture of Kharkov’s theatrical life. Due to abundance of the facts and clear style, Dr. Pletniov’s book stays up to now a valuable source on the subject. Conclusions. The analysis of historiography concerning the theater in Kharkiv of the 19th and early 20th cc. enables the author to come to conclusion that the main challenges a modern researcher has to face are as follows: the absence of system in bibliographic manuals; lacunas in the funds of periodicals of most libraries; the absence of important documents in archives. Theater life in Kharkiv has been studied far from satisfactory level yet. The following problems of history especially need thorough research work from historical point of view: theater critique; drama art; architecture of theater buildings in Kharkiv; amateur theater companies; charity for theaters; and some other points. The task of modern researchers, as we see it, lies in gradual filling the gaps mentioned above.
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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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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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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. Atualmente encontra-se vulgarizado o cognome Dom Roberto (conhecido até 1962 por robertos) para designar os bonecos de luva populares portugueses. Este evoluiu a partir do drama de cordel adaptado da lenda medieval Roberto do diabo e que fez parte do repertório do teatro de bonecos populares portugueses.
PALAVRAS-CHAVE: Teatro de bonecos, literatura de cordel, folhetos volantes.
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ABSTRACT: The world of puppet theater in Portugal is shrouded in mist, partly due to some disinterest in theater professionals, but mainly due to the scarce documentation about this ancestral art. The popular puppet theater was of few text, as opposed to the actors theater, where the verb was fundamental. The diminutive repertoire of orally transmitted text has led to the substantial loss of entertainment that has made the charms of kids and adults over the centuries. One of the gaps is the genesis of the nicknames for which puppets were known. At the moment the name Dom Roberto (known until 1962 by robertos) is popularized to designate the Portuguese glove popular puppets. This evolved from the chapbook drama adapted from the medieval legend Robert the devil and that was part of the repertoire of Portuguese popular puppet theatre.
KEYWORDS: Puppet theater, chapbooks.
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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 (May 26, 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 unexpected and unpredictable. Through simulated, unscripted scenarios with actors, improvisation allows experimentation, discovery, and rehearsal of leadership behavior in a group context. It generates individual, relational learning that is immediate, emergent, and relevant to the emotional and cognitive complexities of real-world leadership. There is a paucity of literature on theater-based leadership. This makes it difficult for HRD professionals to justify giving theater-based leadership development (TBLD) techniques preference over other, less resource-intensive techniques. The Solution This article proposes a practical model for the systematic evaluation of TBLD techniques . A pathway mapping approach will be used. The model draws on recent social psychology research on social interaction and identity. Based on this, “micro” analytic techniques of discursive psychology and conversation analysis are proposed to examine patterns of leadership interaction behavior. The findings are to be used as a basis for building a “high fidelity,” evidence-based methodology for role-play and improvisation as development training for leaders. The approach offers a clear framework for HRD professionals. It will be used to analyze and inform the effective use of TBLD. This article is purely theoretical; it does not include empirical research. The Stakeholders Many can potentially benefit by using TBLD techniques, including human resource (HR) professionals and HRD practitioners, leadership development specialists and training providers, organization development practitioners, and professional actor trainers.
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WAGNER, MEIKE. "De-monopolizing the Public Sphere: Politics and Theatre in Nineteenth-Century Germany." Theatre Research International 37, no. 2 (May 3, 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 revolutionary turbulence of 1848.
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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 (March 26, 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 sociocommunicative manifestations of culture is due to the fact that it allows you to “collect” at one point performative, medial, iconic, semiotic and other concepts of philosophical understanding of social processes and phenomena. This approach showed the need for a new look at the dramatization of life, where not only “the whole world is the theater, and the people in it are actors”, but also every person is a “theater”. A look at the modern world as a combination of individual, personal “theaters” (the scientific novelty of the research) made it possible to identify the special functions of costume and jewelry in the scenography of these “theaters”. These functions are manifested in situations that require a person to create a certain image. Then the costume and jewelry become: 1) an active component of the sociocommunicative space, as mediums of information of a certain nature; 2) a form of self-presentation; 3) a way to visualize cultural identity. It is shown that the causes of the emergence of cultural phenomena of fashion and theatricalization of life are the same: in both cases, the desire of people to “try on” different roles is realized. This correlates with the possibility of simultaneously determining several identities for one person, which means not a loss of identity or the replacement of one’s own identity (imposed), but the search for additional personal identities. Costume and jewelry provide ample opportunities for such personal creative experiments with identity/roles in the “theater” of everyday life. Characteristic features of the modern “theater” of everyday life, as well as the cultural situation in general, are dynamism, frequent changes of form and states. Therefore, the change of images (which is easily accomplished by changing jewelry and accessories) contributes to this sociocultural game.
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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 (June 1, 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: from its internal organisation to the choice of actors and the repertoire. In this contribution, Erwin Jans makes a plea for reading non-western theatre texts. He looks into several Arabic adaptations of Oedipus, situating them in a wider cultural and political context, thus enabling them to shine a new light on the western adaptations as well.
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Nurhadi, Nurhadi. "Lokasi Dan Kelompok Teater Indonesia 2001-2005 (Analisis Rubrik Teater Majalah Tempo)." ATAVISME 13, no. 1 (June 30, 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 pada periode 2001-2005, yaitu Teater Gandrik, Bengkel Teater, dan Mainteater Jakarta. Lokasi pementasan teater selama 2001-2005 berdasarkan rubrik teater majalah Tempo sebagian besar berlangsung di berbagai gedung teater di Jakarta. Perbandingan jumlah lokasi pertunjukannya adalah sebagai berikut: Jakarta (50 pementasan), Yogyakarta (6 pementasan), Surakarta (2 pementasan) dan Bandung (1 pementasan).
Abstract:
This article aims to describe the theater groups being active in theater performances in Indonesia and the performance location map as reviewed in Tempo magazine in 2001-2005. The research result has shown that the most consistent theater group in performing a script each year is Teater Koma. The next group which have relatively many performances in 2001-2005 according to Tempo’s articles are Teater Mandiri, Teater Garasi, and Actors Unlimited Bandung. The next level groups which have more than one performance in 2001-2005 are Teater Gandrik, Bengkel Teater, and Mainteater Jakarta. The theater performance locations in 2001-2005, according to Tempo’s articles, mostly took place in Jakarta’s theater houses. The ratio of performance locations amount is as follows: Jakarta (50 performances), Yogyakarta (6 performances), Surakarta (2 performances), and Bandung (1 performance).
Key Words: theater performance location, theater group, Tempo magazine
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Cornici, Antonella. "Hamlet – To Be Or Not to Be and the Television Theater." Review of Artistic Education 21, no. 1 (June 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 performance hall we can watch the show as a whole, we have the chance to focus on a specific actor, on a specific image, which is something that we can lose in the television theater. In the filmed show we only see which is on the tiny screen. From this perspective, I’ve watched the famous monologue, To be or not to be, in some shows that are considered landmarks for this text only to watch it afterwards when has been taken over and edited by television.
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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 (October 3, 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 main instrument of the puppeteer. Based on the methods of teaching professional subjects in high schools of puppeteers of Kiev and St.-Petersburg, the author develops and complements the teaching methods of the puppet theater actor’s skills, concentrating on the puppet-master’s technique and the process of gradually “reviving” a puppet by virtue of an actor training. Results of the study. Mastering professional skills and abilities takes place based on of working with puppets of various systems in training exercises and sketches, which gradually fills with elements of acting; continues and improves on the stage of the educational theater and ends with the creation of a stage image with a puppet in a diploma performance. The training provides such an external technique, with which the actor-puppeteer correctly performs all kinds of puppet’s moves. For this purpose, it is necessary to learn the possibilities of the puppet in the process of physical incarnation of a role, it is necessary to understand the laws of its convincing plastic living. This can be achieved through training, resulting in skills that will become semi-automatic. The wonder of the puppetry lies in the fact that the viewer, even in the “open manner”, does not notice the puppeteer and directs all his attention to the puppet, watching her “process of living”. However, the skills and abilities themselves will not become expressive means until they are will be connected with the internal psychology of the actor. The purpose of educating the puppet theater actor is to teach him the organic, natural playing with a puppet. The training involves visual control over the puppet, coordination of the self-own body with the puppet’s body and gradual introduction to the training process the elements of actor psychophysics. Because an actor creates an inner image, and the puppet becomes an external plastic expression, a manifestation of this image. The puppet mastering consists in the fact, that the puppet in the hands of the puppeteer reproduces meaningfully and consistently a series of sculptural finished poses, characteristic for a particular role. The construction of sculptural mise-en-scenes and plastic dialogues requires the possession of skills of “microscopic” hand plastics. “Micro-plastics” convinces viewers in presence of an internal monologue and permanent “life” a puppet on a stage. Alternation of movement and expressive postures is the component of the stage action of a puppet. Gradually, through regular training, students in practice study the technical possibilities of the “body” of the puppet – its torso, head, hands, “legs”, beginning to use them freely in stage action. It is advisable to start the development of puppeteer’ technique from the cane puppet, because its construction is closer to the “human”. The observation of the plasticity of the human body takes place in rhythmic lessons. Imaginative thinking of a student and his fantasy help to acquire the ability to analyze, control, choose moves of a puppet, and mutually co-ordinate them in space. Teaching the profession of puppet actor begins with the lessons aimed at the development of plastics of hands and fingers, their professional position. Work of hands is the first and necessary link in the creativity of the actors of the puppet theater. The degree of their training depends on accuracy of working with a puppet. Therefore, it is so important, before giving the student a puppet, to draw his attention to the constant training of dexterity, ductility and expressiveness of hands. In exactly owning gymnastics of the puppet actor’s hands, performing different imaginative and musical-plastic exercises and etudes, a student acquires the vocational specificities and develops his own internal abilities. Such a technique is necessary for the gradual transition from the technique of movement to the ability to use independently this technique for the embodiment of creative ideas in etudes. Creation of etudes is a continuation of training exercises and based on the inventing of the proposed circumstances requiring certain effective actions in these conditions. Motivation for action arises from familiar, understandable, vital for the student of the proposed circumstances. The student gradually, from the rehearsal to the rehearsal, clarifies the plot of the sketch, enriches and clears the proposed circumstances, based on which the storyline unfolds, that forces him to select and fixe the behavior of the actors. Etudes develop a student’s fantasy; they promote the assimilation of the laws of stage action. In etudes, students make their first steps in scenic communication with a partner – a puppet. In etudes, the student first encounters the need to create a scenic character and his behavior logic in the proposed circumstances. All stages of creating a stage etude a student takes on individual classes with a teacher. Conclusions. The process of forming the future actor-puppeteer has a complex character including as well as the mastering the techniques of driving puppets of different systems, from traditional to modern, and the actor’s mastership – the art of stage – reincarnation. This process continues on the stage of the training theater, where the student receives his first scenic practice – in the main and occasional roles, in mass scenes, in partner interaction. The image created in the diploma performance must carry all the signs of the actor-puppeteer profession: temperament, humor, actor mastership and the perfect possession of puppet technique, in any system of theatrical dolls. The Higher Theater Schools of Ukraine basing on the traditions and the latest achievements of stage art, forms the actors-puppeteers who professionally own all of major puppet systems and have the necessary skills to create a scenic image with a puppet. Such an actor will be able to enter in a creative team of a professional theater and continue searching for new expressive possibilities of a puppet at the theatrical stage.
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Abdinagoro, Sri Bramantoro. "Factors Influencing the Intention of Attending Theater Performances: Exploration Study." Winners 18, no. 2 (September 30, 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, (2) theatrical attributes, (3) audience expectation, and (4) audience development. The participants of the exploratory study in this study were; (1) a group of actors and performing arts workers, (2) people who watched the performing arts, and (3) people who did not watch the performing arts. The total participants were 15 persons. From the exploration results with at least 16 keywords or phrases obtained, the researcher analyzes and classifies the keywords and phrases with the same meaning and understanding that exist in each word. There are 8 (eight) constructs formed based on these keyword groupings; theater play, theater reputation, goal achievement, theater atmosphere, satisfaction, flow, intention to watch again, and word of mouth. The results of this exploratory study at the next stage of the research will be the input of the research model.
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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 qualitative study of an individual case, which was the theater group of people with autism spectrum "Authentic Artists" from Łódź. The research showed that theatrical activity can be a source of personal satisfaction and fulfillment for people with autism spectrum. The theater also turned out to be a place to establish relationships and make friends. It has been shown that the activity of "Authentic Artists" has also an emancipatory potential, being a space for searching for their own forms of identity and creativity.
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Smith, Phil. "Actors as Signposts: a Model for Site-based and Ambulatory Performances." New Theatre Quarterly 25, no. 2 (May 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 corporeality – illustrating these with reference to the work of Punchdrunk, Francis Alÿs, and geographer Michael Zinganel, among others. Phil Smith is a Senior Research Associate at the School of Art and Media, University of Plymouth and Visiting Lecturer at the University of Exeter and Dartington College of Arts. Author and co-deviser of over a hundred plays or performances for companies including St Petersburg State Comedy Theatre, Tams Theater (Munich), and New Perspectives (Nottingham), he is company dramaturg for TNT (Munich) and a core member of Wrights & Sites. His solo walking-based performances include The Crab Walks and Crab Steps Aside (texts published by Intellect, 2009).
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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 (October 3, 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 new sounding and coloring. Since improvisation is the basis and an integral part of a theater and scenic playing. This clearly demonstrates, for example, the existence from the very origins of the stage art of its separate branch – the theater of improvisation – which has experienced a number of transformations from the Antiquity to our time, ups (such as the Renaissance comedy dell arte) and downs, and reviving today in the new experimental forms. Or the modern flourishing of the “directorial” theater, where improvisation often becomes a full-fledged component of stage action. Anyway, in the works of almost all theatrical geniuses of the world, the greatest experimenters and reformers of the scene we can see the idea of finding the perfect actor, free, independent-minded, an ideal “actor-creator”. In the field of our attention – the theoretical works of theatrical luminaries of the twentieth century, the time of the formation of a free theater – K. Stanislavsky, B. Brecht, E. Vakhtangov and others. Based on this heritage, modern masters of the scene find their own motives and develop them in their work and pedagogy. The study aims to summarize the main methods of developing improvisational skills and conditions for achieving the state of improvisational well-being in the practice of an actor and stage director. Results of the study. In the domestic theater of the new generation, the improvisational method was actively developed and promoted by K. S. Stanislavsky and his follower E. B. Vakhtangov. They relied on the principles and mechanisms operating in the Italian comedy dell’arte; however, the transfer to the new ground and reality has fundamentally changed the principles of improvisation, which resulted in the unique phenomenon – the synthesis of the psychological theater with improvisational one. Rejecting the outdated kind of improvisation, Stanislavsky brought up this method to technical perfection in tandem with the inner spiritual fullness of the actor. Stanislavsky’s new interpretation of this idea was based on the fact that a person (and, therefore, the actor on the stage) cannot repeat any actions twice exactly the same. Thus, if an actor performs his actions on the stage absolutely truthfully, then each rehearsal and performance will be held in free improvisation or, as they say, in “improvisational well-being”. E. Vakhtangov, the successor of the great master, considered the same. The best proof of his ideas judgments is the play “Princess Turandot”, which from the beginning to the end was created in the form of an improvisational theatrical performance. For successful improvisation work it is necessary the actor need to not expect what is happening. For example, actor’s etudes educate the unexpected reaction of the actor in the perception of the current event, which inevitably leads to the transparency and truthfulness of the role picture. The methodological application of B. Brecht’s formula, entitled “not A”, is directed at this: the actor, showing what he does, in all-important places should make the viewer understand, what he does not. He plays so that we could see the alternative as clearly as possible, hinting on the other plot possibilities when the piece gives only one of the possible options. For the successful upbringing of the “ideal” type of actor mentioned above, it is first and foremost important to apply game, training methods of development not only to the physical form, but also to the imagination, the flexibility of the mind and the wit of an actor. Therefore, only an integrated approach in teaching methods and the rehearsal process is able to develop the creative potential of an actor and direct it to the necessary course. It was this approach that was used during this study in practice, which resulted in the birth of such a methodological technique as “blind rehearsals”. Before the rehearsals of the performance were started, a long preparatory period was held on the Stanislavsky system, and after a deep “intelligence research” and mastering the text, the actors began to work, being “blind» absolutely. For almost a month, the actors worked at the rehearsals with a blindfold, which sharpened their perception of the text, the scene and the partner. Left alone in the dark with the material, the actors showed a brilliant result in studying of it. Conclusions. The ability to improvise or “improvisational abilities” should be attributed to the general abilities of the person, which complement the special creative abilities, are subject to improvement and are mandatory for the development of future actor and director. Making use of the innovation in the psychology of creativity, actors-masters permanently update a system of exercises, always bringing in these game images and associations. This helps to avoid of mechanistic and artificial methods. In addition, it is necessary to introduce a set of plastic musical exercises that are the beginning of a lesson for students and develop in such important forms of theater education as a musical-plastic sketches, fragments, and so on. Thus, an integrated approach to work on improvisation-being of students prepares them for the next step in the mastery of acting and future work in the theater. The developed sense of improvisation, in our opinion, is the basis upon which all other features of actor’s personality will put on. That is why we consider the most difficult task of theater pedagogy to see, discover and apply the student’s creative abilities. Modern theatrical practice implies that the actor is free within the overall outline of the role that the director offers him. Modern stage direction encourages actors to mobility, a variety of creative solutions, independent thinking – that is, to improvise. It is that opens wide research prospects within the chosen theme.
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Tarantino, Mary. "UNCOVERING GEMS: THEATRICAL DESIGN COLLECTIONS AT THE WISCONSIN HISTORICAL SOCIETY." Theatre Survey 50, no. 2 (November 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 collections include papers related to notable actors and playwrights such as Alfred Lunt, Lynn Fontanne, Moss Hart, Langston Hughes, and George S. Kaufman; lyricists and composers such as Marc Blitzstein and Stephen Sondheim; and designers for film and theatre. This article examines the WCFTR collections of three twentieth-century theatrical designers: Wolfgang Roth, Jean Rosenthal, and Gilbert Hemsley.
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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 (November 19, 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 (January 30, 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 actors and music players so that the performance could be satisfied and better. It is expected that other lecturers or researchers implement and develop the playback theatre method to decrease tension and nervousness in playing roles as actors.
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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 subject of detailed reviews of the St. Petersburg theater critics and provoked controversial assessments and again raised the question about the peculiarities of Dostoevsky’s prose and the possibility of its presentation on stage. The production of The Brothers Karamazov at the Maly Theater in St. Petersburg and the controversy about it became an important stage in the development of Russian realistic theater and a reflection of the ideas of Dostoevsky’s younger contemporaries about the distinctive features and contents of his art. The manuscript holdings of the Vladimir Dahl State Museum of the History of Russian Literature includes Anna Dostoevskaya’s collection containing a set of documentary materials (the playbill, newspaper advertisements, reviews, feuilletons), which makes it possible to form a complete picture of the play and Russian viewers’ reaction to it. The article provides a description of the performance, and voluminous excerpts from the most informative press reviews. The published materials have not previously attracted special attention of researchers.
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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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Martin, Eric, and Claudio Battaglini. "Health Status of Live Theater Actors: A Systematic Literature Review." Medical Problems of Performing Artists 34, no. 2 (June 1, 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 methodological quality. RESULTS: The search identified 18 studies, examining actors at different career stages, including secondary school (n=2), university (n=3), and professional (n=13). Eight studies received a low methodological quality score (50% or less). Most studies reported cigarette smoking among 10–26% of their samples and regular alcohol use in 25–40%. However, among professionals, prevalence and risk of harm from levels of alcohol consumption were much higher. Marijuana consumption was reported by 11–25% of respondents, while use of other drugs ranged from 7–23%. Most respondents suffered 1–2 injuries each year, with one study indicating that 72% of injuries occurred during class or rehearsal. CONCLUSIONS: This systematic literature review highlights a large gap in the research about actors’ health. The high rates of substance use and injuries among actors indicate not only a large health burden but a hindrance to their ability to perform, which may negatively impact their livelihood.
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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 (December 1, 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, Joe Therrien and Josh Krugman, relaxed, full of energy, and easily immersing themselves into our dialogue, in which I carefully inserted some anarchic ideas and a dash of humor.