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Journal articles on the topic 'Theater Theater audiences'
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1
Prentki, Tim. "Any Color of the Rainbow—As Long as It's Gray: Dramatic Learning Spaces in Postapartheid South Africa." African Studies Review 51, no. 3 (December 2008): 91–106. http://dx.doi.org/10.1353/arw.0.0086.
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Abstract:This article addresses the issue of the relationship between contemporary South African politics and the type of socially committed theater that might be capable of mounting a critique of those politics. The author highlights the contradictions between the aspirations of the Freedom Charter and the realities of subscribing to the neoliberal world order. His contention is that any theater form that is seeking cultural intervention must find a way of representing contradiction if it is to remain true to the experiences of its audiences and its participants. Such a representation can be achieved through a combination of Bertolt Brecht's praxis in relation to contradiction and current practices in Theatre for Development, which themselves draw upon aspects of the antiapartheid resistance theater.
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Shuklina, E., and M. Pevnaya. "Inclusive Theater: Audience Characteristics and Problems of Participation." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 27, no. 2 (2021): 120–31. http://dx.doi.org/10.15826/izv1.2021.27.2.036.
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The article provides a comparative analysis of the inclusive theatre audiences in the Sverdlovsk region. The authors identified characteristics of the inclusive theatre audience, considered the problem of isolation in inclusive projects and their audiences. The article defines the potential to overcome these problems through the tools of social participation. The authors consider the socio-cultural and pro-social aspects of audience participation in the life of inclusive theatre.
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Banta, Emily. "Agonistic Audiences: Comic Play in the Early National Theater." American Literature 92, no. 3 (September 1, 2020): 429–55. http://dx.doi.org/10.1215/00029831-8616139.
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Abstract This essay considers how rowdy theater audiences contributed to a broader cultural understanding of democratic politics in the early United States, showing how raucous and occasionally riotous theater patrons enacted a form of popular rule that was predicated on the paying audience’s sovereign right to pleasure. Agonistic audiences thrived on the conflictual dynamics of disorder and dissidence, but their unruly practices only rarely devolved into mob violence, precisely because theatergoers largely understood themselves to be at play. I examine various accounts of theatrical disturbance, including Washington Irving’s famous depiction of a disorderly audience, to demonstrate how patrons cultivated a comic mode of sociality, one that foregrounded and maintained the essential playfulness of social contest. Such comic play acknowledged a horizon of popular enjoyment that stood in excess of rational-critical public discourse. The comic mode has long been undertheorized in literary and cultural studies of the early United States, yet it holds key insight into the practices of both early national theater and early national politics. By way of example, I offer a comic reading of Royall Tyler’s The Contrast (1787) that reveals the imprint of the agonistic audience on the repertoire of the period, shedding new light on nineteenth-century genealogies of performance.
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Reynolds, Paige. "Reading Publics, Theater Audiences, and the Little Magazines of the Abbey Theatre." New Hibernia Review 7, no. 4 (2003): 63–84. http://dx.doi.org/10.1353/nhr.2004.0011.
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Costanzo, Susan. "Reclaiming the Stage: Amateur Theater-Studio Audiences in the Late Soviet Era." Slavic Review 57, no. 2 (1998): 398–424. http://dx.doi.org/10.2307/2501856.
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All performance involves some kind of communication between performer and spectator. After the socialist realist model was established in the mid-1980s, Soviet professional theaters typically relied on conventional input from patrons: attendance, emotional reactions during performances, and applause. Known for its exceptional interaction with audiences, the Taganka Theater decorated its lobby to correspond to a production and even asked spectators to cast ballots indicating whether they enjoyed the performance of Ten Days that Shook the World. But for professionals, such efforts to bridge the gulf between the stage and the house were unusual.
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Gun, G. E. "Music Theater “Online”." Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 26, no. 4 (2020): 93–99. http://dx.doi.org/10.15826/izv1.2020.26.4.074.
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The article discusses the features of online broadcasts of musical performances in a pandemic. The paper emphasizes the ambiguity of the attitude towards online broadcasts, examines the problems and experience gained in the process of organizing online shows of theater performances, notes the potential of online formats for the development of theater audiences. The author analyzes the summary billboard of online broadcasts in AprilMay 2020 and gives recommendations for the development of online formats for musical theater.
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Meersman, B., S. Patsalidis, M. Glauner, B. Orel, and R. Dennemann. "Theater Festivals and Their Audiences: A Forum." Theater 41, no. 1 (January 1, 2011): 79–103. http://dx.doi.org/10.1215/01610775-2010-024.
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McInerney. "Directing Shaw Plays for Community Theater Audiences." Shaw 38, no. 1 (2018): 41. http://dx.doi.org/10.5325/shaw.38.1.0041.
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Chan, MeiKi, Wing Tung Au, Carole Hoyan, and Margaret Schedel. "Exploring theater experiences among Hong Kong audiences." Cogent Arts & Humanities 6, no. 1 (January 1, 2019): 1588689. http://dx.doi.org/10.1080/23311983.2019.1588689.
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Zlotnikova, Tanjana S., and Svetlana V. Girshon. "Amateur theaters: soviet past and current practices." Yaroslavl Pedagogical Bulletin 1, no. 118 (2021): 202–9. http://dx.doi.org/10.20323/1813-145x-2021-1-118-202-209.
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This work offers an overview of sources devoted to amateur theater as a socio-cultural phenomenon that existed on the territory of the Soviet state and in post-Soviet Russia. Since amateur theater as a socio-cultural phenomenon has a complex nature, it is advisable to apply an interdisciplinary approach to the study of its activities. The activities of amateur theaters are considered in historical, cultural and sociocultural contexts. The authors consider the sociological, pedagogical, organizational aspects of the activities of amateur theaters, as well as their contribution to the culturalpractices of the regions. Throughout the existence of the Soviet state, amateur theaters were considered as means of propaganda and education of amateur artists and their audiences in the spirit of Soviet ideology. Unlike professional theaters, amateur groups in the 60s instantly reacted to a change in ideological paradigms, asked sharp, uncomfortable questions, and reflected an active civic position. The thaw period was marked by the creative heyday of amateur studio theaters, which ended in clashes with Soviet censorship. In the 90s, after the Soviet dissolution and the abolition of the leading role of the CPSU in the life of the state, amateur groups entered the period of experiments both organizationally and aesthetically. A certain boundary of this period was the professionalization of some amateur groups and the cessation of the activities of others. The authors consider the cultural practices of amateur theaters since the 2000s, when the process of transferring part of amateur groups from departmental subordination to municipal was completed. Attention is also given to the conditions for the existence of amateur theaters in the Yaroslavl region nowadays. Amateur theaters position themselves mainly as a way of organizing active creative leisure of the adult population. The pedagogical component in their activities has an insignificant part, the repertoire is entertaining in nature. In the presence of two or three groups known outside the region, the main part of amateur theaters in the Yaroslavl region carry out a cultural and educational function in small settlements where there is no professional theater
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Larabee, Anne. "Staging America: Cornerstone and Community-Based Theater. By Sonja Kuftinec. Carbondale: Southern Illinois University Press, 2003; pp. xviii + 255. $45 cloth." Theatre Survey 45, no. 2 (November 2004): 284–86. http://dx.doi.org/10.1017/s0040557404230265.
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Through this case study of the Cornerstone Theater, Staging America sets out to explore the complexities of theatrical practices that aim to transform their audiences and enact social change, especially within the context of national identity. Cornerstone was founded in 1986 by a group of Harvard graduates interested in “bringing theater to the culturally disadvantaged,” but the company soon found itself equally transformed by the communities it served (66). With unusual theoretical depth in its use of cultural studies and ethnography, Staging America chronicles Cornerstone's changes as it attempted to become America's national theatre, traveling across the country to foster grassroots productions of classical plays. It is a fascinating journey that never quite settles on any easy conclusions, for if Cornerstone has ever come close to being a national theatre, it is only with the same unease that any single “America” can ever be staged or even defined. Kuftinec argues that this unease is Cornerstone's strength, as it constantly refigures itself in an anxious dialogue over national identity. Ultimately, she says, Cornerstone reflects America as “a matrix of continuously refigured difference.”
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Lin, Geng, Hao Wu, Xiaoru Xie, Fiona Fan Yang, and Zuyi Lv. "Negotiation between modernity and local culture in moviegoing practice: A case study of a traditional movie theater in Guangzhou Metropolis." International Journal of Cultural Studies 24, no. 5 (March 10, 2021): 707–30. http://dx.doi.org/10.1177/1367877921993819.
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As a medium for delivering modernity, movie theaters have faithfully recorded the dialogue between modernity and local daily lives. In contrast to modern movie theaters, traditional cinemas are distinguished by their long history, through which they reflect the changing connotations and social construction of modernity over time. Based on detailed analysis of the historical and social characteristics of Nanguan cinema, a 100-year-old movie theater in Guangzhou, China, we reach the following two conclusions: first, shaped by local traditional culture, the practice of moviegoing localizes modernity with a distinctive grassroots feature that enlivens everyday lives; second, moviegoing at traditional theaters in modern metropolitan areas has further enriched the connotations of modernity by providing a nostalgic experience for audiences.
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Karr, David. "“Thoughts that Flash like Lightning”: Thomas Holcroft, Radical Theater, and the Production of Meaning in 1790s London." Journal of British Studies 40, no. 3 (July 2001): 324–56. http://dx.doi.org/10.1086/386246.
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During the 1790s, political speech in London's public spaces and commercial sites of leisure came under intense governmental surveillance. Fearing revolutionary infection from across the channel in France, the Pitt ministry sent spies into popular organizations such as the London Corresponding Society and turned more attention to other sites as well, including coffeehouses, taverns, debating-club rooms, and the street. Recently, historians too have explored the ways in which radicals manipulated the ludic vocabularies of urban sociability to critique the regime, protest persecution, and argue for reform. In this article I address a site that figured prominently as a place for radical speech in the 1790s: the Theatre Royal at Covent Garden. Although it was a site whose content was strictly regulated by the state through the office of the Examiner of Plays, the royal theater was, like other eighteenth-century theaters, a place where performances multiplied: viewers watched the play, but in the well-lit and noisy pit, boxes, and galleries, they watched other viewers intently. All were engaged in a complex process of performance, reception, and counterperformance. Indeed, as scholars have shown, theater audiences in late Georgian London were highly skilled at appropriating a theatrical grammar by which to demand their perceived rights as English subjects. Such strategies revealed the potency of theatrical representation in a society where, as Gillian Russell notes, “performance, display and spectatorship were essential components of the social mechanism.”
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SAVITT, TODD L. "Medical Readers’ Theater as a Teaching Tool." Cambridge Quarterly of Healthcare Ethics 19, no. 4 (August 18, 2010): 465–70. http://dx.doi.org/10.1017/s0963180110000356.
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Readers’ Theater (RT) is a unique vehicle for introducing ethical, cultural, and social issues in medicine to academic, professional, and community audiences. It brings alive the characters in a story in a way that silent reading or reading a story aloud cannot. Audience members experience what is, in essence, a case report acted out “on stage” rather than reading or hearing someone report on a situation second hand. RT has an immediacy about it, a compelling aspect, that makes listeners pay attention and mentally participate in the action. It draws people into the story, engages them. The oral reading and subsequent open discussion combine to educate audience members about the topic of the story and the variety of ways one can interpret the story’s message. This article describes the long-standing RT program at the Brody School of Medicine (BSOM) at East Carolina University (ECU) and some of variations on RT that people have developed around the country.
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Quine, Michael. "Theater Audiences in Britain: A Continuing Research Program." Journal of Arts Management, Law, and Society 23, no. 3 (October 1993): 225–39. http://dx.doi.org/10.1080/10632921.1993.9942933.
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Iacobuţe, Ramona-Petronela. "Theater Festivals - a Collective Archive." Theatrical Colloquia 9, no. 2 (December 1, 2019): 216–23. http://dx.doi.org/10.2478/tco-2019-0028.
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Abstract Theatre can also be viewed as a collective archive that we go to when we need to better understand the world around us, artistic movements and trends, the state of mankind. Each participant in a theatrical act, whether spectator or creator, loads it with emotions and, therefore, with memories. Theatre, in all its forms, strengthens communities, and theatre festivals are a very good opportunity to popularize theatrical productions, from the level of some small communities, to the macro level. Diversity is an essential ingredient for stimulating imagination and a better understanding of an area of interest. This is why a theatre festival with international coverage, such as the International Theatre Festival for Young Audiences in Iasi (FITPTI), should make for its audience as many referrals as possible to the context and artistic life of a community as a whole. In order to achieve such an objective, in addition to the scenic representations, theatrical exhibitions, book launches, interactive installations, theatrical critique seminars, residences for young playwrights, reading shows are more than necessary. If we refer to the collective memory enriched by theatre, we could say that theatre shows have a short life. But, most of the times, those that really have a major impact and their creators are also found in books. And, it is known, books have a much longer life. FITPTI organizers understood this from the beginning and gave the theatre book an important place in the event.
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Annichev, О. Ye. "The interaction of theatrical journalism and theatrical criticism in the modern media." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 115–26. http://dx.doi.org/10.34064/khnum1-51.06.
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Background. Topicality of the theme. With the advent of the Internet, Internet journalism has appeared. In relating to theater, in essence, it is theatrical criticism, which has only undergone major changes. In recent years, there have been lively discussions in professional circles about the state and prospects of theater criticism as a profession, about the nature of theater criticism, its self-identification in the modern information space. Round tables with the participation of leading theater critics are devoted to the issues of the current state of theater criticism, a number of relevant materials have been published in specialized publications, often with indicative headings: “Who needs theater critics?” [1], “Theater criticism: final or transformation?” [9]; interviews of theater critics, in which they uphold the positions of the profession and, at the same time, speak about urgent problems and the need to update it taking into account rapidly changing realities: with S. Vasilyev [2], N. Pivovarova [5], Ya. Partola [6]; discussion articles on the status and prospects of the profession by M. Harbuziuk [3], M. Dmitrevskaya [4], N. Pesochinsky [7], I. Chuzhynova [10], S. Schagina, E. Strogaleva, E. Gorokhovskaya [11]. Thus, there are several points of view on this topic: that theatrical journalism has replaced theatrical criticism; that theatrical critics of the old school did not have time to adapt to the changing world and use new tools in this profession, and young critics just occupy their niches in the youth media and on the Internet; that the profession of a critic does not go beyond the framework of participation in expert councils, jury membership, attendance at theater festivals, and writing reviews on request. The question, however, is still open. The main goal of this article is to determine the degree and main character of the interaction of journalism and theatrical criticism in modern media. Results of the study. Those who are seriously engaged in theater studies and academic theater criticism feel the need for specialized publications, the number of which in Ukraine is reduced to a minimum. Therefore, those who had the opportunity to publish reviews in the socio-political periodicals, have to combine three professional areas in one, becoming a theater journalist. Academically trained theater critics can write and often write good books, but, as a rule, do not know how to write for newspapers and magazines. But graduates of journalistic departments who write about the theater are not familiar with professional terminology, which is able to give a correct assessment of the premiere performance. The question arises: how to combine those and these, that the theater journalism was both fascinating and acute, and moderately scandalous, but at the same time accurate and high-quality? To grow such specialists is a matter of work, there can be no conveyor system here. Modern theater criticism, gradually becoming obsolete, rather survives from the common theatrical space. The theater critic cannot be a free artist, and live on the money from the results of his work, because in non-capital cities the number of journals in which the theater specialist would have had time to publish his works has decreased by several times. In cities such as Poltava, Sumy, Chernigov, the issues relating to theatrical premieres are not covered by critics (they are simply not there), but by journalists who write on various topics and rarely specialize in one. The substitution of theatrical critique by journalism is quite natural, for example, for cities where there is no professional training of theater critics, however in Kiev, Kharkiv and Lviv theater studies continue, and a certain number of graduates hope for the viability of this profession. Theatrical criticism and theatrical journalism are in their own way demanded in certain circles. Criticism is closer to theaters, journalism – to the audience. It is difficult to debate with this statement that new epoch came with the Internet. Now, the spoken word has a completely different value. For example, а word thrown on Facebook can have the same effect on public opinion as a big, built, hard fought text. This does not mean that you do not need to write large texts and publish them on paper. You just need to understand and accept the new reality, its advantages and disadvantages, its danger and its benefits. It is a very important problem of our consciousness and the problem of our theater. The Internet has given a new push to the development of new type of media-translations, actively working in social networks. Sites appear on the network where online remote screenings of performances are held. They provide Internet audiences with the opportunity to be acquainted with the history of national and world theater art; they are introduced to modern avant-garde performances. Of course, this also brings the theater closer to a wide, as a rule, young audience and opens up new opportunities for a different kind of theater journalism. Сonclusions. Thus, the Internet becomes an active means of influencing the minds in the modern media space. The Internet influences everyone and everything, changing attitudes towards theatrical art, as well as contemporary theater criticism and theater journalism. However in this case, it is essential to remember that not the Internet, but only professional theater criticism that has been and remains the breeding ground for the scientific work of theater critics and art historians, while creating the history of dramatic, opera and ballet theater.
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Damrhung, Pornrat. "Cultivating the Garden of Theater Culture: A New Perspective on Traditional Theater in Thailand." MANUSYA 2, no. 2 (1999): 29–60. http://dx.doi.org/10.1163/26659077-00202003.
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After questioning the conventional distinction between traditional and modem theater in Asia, this essay suggests that it may be more fruitful to view today’s live theater traditions as part of a garden of theater culture that includes both native and imported elements and both deep-rooted and recently transplanted traditions. The remainder of the essay amplifies this perspective using examples from Thailand’s theater traditions during the last century and a half. This prepares the way to consider the strengths and weaknesses of traditional theater staged in Thailand during the last decade or so, whether centered on juxtaposing various artistic forms onstage or performing artistic reinterpretations of traditional stories. In seeking to strengthen these approaches for future performances, the author suggests the need for pooling the discipline and creativity performers have in order to fashion patterns of artistic expression that convey significance both among artists and to their audiences.
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Kacer, Tomas. "Performing Political Persuasion in the United States in the Early Years of the Republic." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 61. http://dx.doi.org/10.14198/raei.2021.35.03.
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Theater productions were born out of a paradox in the United States of the Revolutionary War and shortly afterwards. While the nation’s dominant ideology was anti-theatrical, theater often served a nationalist agenda, co-defining the new American nation and its nascent identities – such were, for example, productions of Joseph Addison’s Cato at Valley Forge in 1778 and William Dunlap’s André at the New Park in New York in 1798. These theater events empowered the audience to publicly perform their national identity as Americans and exercise their republican fervor. Similarly, a production of Bunker-Hill by J. D. Burk at the Haymarket in Boston in 1797 was crucial in helping define the social and political identities of its audiences, who were motivated to attend the performances as an expression of their partisan preferences. This article shows that literary, theatrical and social practices served to constitute performatively the early American national identity.
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Layng, Kris, Ken Perlin, Sebastian Herscher, Corinne Brenner, and Thomas Meduri. "CAVE: Making Collective Virtual Narrative: Best Paper Award." Leonardo 52, no. 4 (August 2019): 349–56. http://dx.doi.org/10.1162/leon_a_01776.
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CAVE is a shared narrative six degrees of freedom (6DoF) virtual reality experience. In 3.5 days, 1,927 people attended its premiere at SIGGRAPH 2018. Thirty participants at a time each saw and heard the same narrative from their own individual location in the room, as they would when attending live theater. CAVE set out to disruptively change how audiences collectively experience immersive art and entertainment. Inspired by the social gatherings of theater and cinema, CAVE resonated with viewers in powerful and meaningful ways. Its specific pairing of colocated audiences and physically shared immersive narrative suggests a possible future path for shared cinematic experiences.
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Ustinov, A. B. "Mstislav Dobuzhinsky and His Cabaret Companions: 1926 Parisian Season of the “La Chauve Souris”." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 490–595. http://dx.doi.org/10.25205/2410-7883-2020-2-490-595.
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The essay is dedicated to collaboration of Mstislav Valerianovich Dobuzhinsky (1875‒1957) with the Parisian theater “Chauve-Souris,” or “The Bat,” under the direction of the actor, entertainer, stage director and inspirer of the Russian cabaret Nikita Balieff (real name: Mkrtich Balyan, in Armenian: Նիկիտա Բալիեւ; 1877 (?) ‒ 1936). He invited Dobuzhinsky, who was in Berlin at the time, to become the Artistic Director and the lead designer for a new show of his theatre in the season of 1926. Balieff had already established himself as a successful European entrepreneur, and his cabaret theater had three successful tours on Broadway over six years. Dobuzhinsky accepted his invitation, hoping to improve his financial situation, as after more than a year spent in Europe he could not achieve that stability either in Riga, Kaunas, or Berlin. At the end of May, he began preparing the program for the new Paris season in alliance with choreographer Boris Romanov and playwright Piotr Potemkin. Also Dobuzhinsky invited collaboration of his son Rostislav and his wife Lidia Kopnyaeva in designing the sets for Balieff’s interludes. The premiere of the new program took place on October 1, and it gained success and accolades in Paris and later in Berlin. The season of 1926 was perhaps the most significant in the history of “The Bat,” but at the same time decisive for Baliev, since it marked the exhaustion of the very idea of Russian cabaret theater abroad. Despite the fact that the American tour was then canceled, “The Bat” still ended up on Broadway in late autumn of 1927. This program was the last for Balieff’s theater, as to how it was greeted and loved in America. It was already a completely different “Chauve-Souris,” the “Continental”, as American critics called it, of little interest to both Parisian and Broadway audiences.
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Swedberg, Anne. "Participatory Audiences, East Harlem Street Theater, and Maryat Lee, 1951." Youth Theatre Journal 21, no. 1 (May 2007): 70–80. http://dx.doi.org/10.1080/08929092.2007.10012597.
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Hensley, Michelle. "It's Just a Play (and That's Enough)." Theatre Survey 57, no. 3 (August 10, 2016): 415–18. http://dx.doi.org/10.1017/s0040557416000429.
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Ten Thousand Things Theater performs plays for as many different kinds of audience as we can. We are a strictly professional theatre company that works with the best actors in the Twin Cities (our home for the past twenty-three years), performing Shakespeare, Greek tragedy, Brecht, American musicals, and contemporary plays, taking each production to seven or eight correctional facilities (men's, women's, and juvenile), nine or ten low-income centers (homeless shelters, adult-education centers, housing projects, detox centers, immigrant centers, Indian reservations, rural areas), as well as doing twelve to sixteen shows for the paying general public. That's it—taking a play directly to extremely diverse audiences in order to engage with as many different kinds of people as possible. We do not work with individual marginalized communities over stretches of time to create theatre pieces, nor do we integrate community members as actors or writers or designers in the process. This is of course very valuable work, and such work may indeed change people's lives—it's just not what we do. We have never set out to try to change anyone's life. We never will begin with that intention. We simply try to tell stories as well as we possibly can, engaging with each audience as deeply and strongly as possible.
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Jansson, Jan, and Maija Aksela. "Science theatre in teaching and popularizing the history of chemistry: The case of a theatrical play on Nobel-laureate A.I. Virtanen." Lumat: International Journal of Math, Science and Technology Education 1, no. 4 (December 30, 2013): 457–75. http://dx.doi.org/10.31129/lumat.v1i4.1102.
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The article discusses the significance of science theatre and the role of nature of science in it, as well as the significance of history of chemistry, and different methods for popularizing it and using it in teaching. The study includes two surveys (N=45 and N=126) conducted among the audiences of “Virtanen!” play, performed in 2011. The data was analyzed using content analysis. Based on the results, the history of science was mainly portrayed through the life of the protagonist of the play, and the play showed the human side of science to the audience. In addition, from the viewpoint of nature of science, the play emphasized the role of social interaction in science as well as the interaction between science and the society. According to the audiences, national expertise in chemistry should be emphasized more in order to increase interest towards the subject and also to promote national self-esteem. It was suggested that history of chemistry should be presented through different methods, such as science theater, school teaching, exhibitions, and documentary films, in future. Also, it was hoped that history would be included in chemistry teaching together with other chemistry contents, through historical portraits of scientists, in collaboration with other school subjects or as a separate lesson on history of science. Science theatre was found to be a good method to teach history of chemistry and nature of science, and to popularize chemistry.
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Davis, Shardé M., and Timeka N. Tounsel. "Transfiguring Theaters for Disrespectable Leisure: An Ethnography on Black Womxn’s Ratchet Performances in Movie Showings of Girls Trip." Journal of Communication 71, no. 4 (May 27, 2021): 598–622. http://dx.doi.org/10.1093/joc/jqab016.
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Abstract This ethnographic study considers how Black womxn audiences collectively negotiated the politics of respectability in the movie theater, anecdotally referred to as cinema etiquette, in showings of the film Girls Trip. Data were collected in two local theaters in a Northeastern city using field interviews, follow-up telephone interviews, and participant observation. Findings revealed that Black womxn audiences (from various age groups) embodied an intersectional resistance discourse of disrespectability ( Cooper, 2012, 2017, 2018) through their (non)verbal behaviors and an ecology of the senses (i.e., sight and sound) that were situated at the intersection of ratchetness, playfulness, and informality. In doing so, they created a “homeplace,” making an otherwise uncomfortable and highly regulated public space suitable for their collective spectatorship of the film. We argue that Black womxn’s embodiment of ratchetness is not necessarily a unidimensional endeavor, but rather an ever-evolving, multifaceted resource that enables Black womxn to reach political and pleasurable ends.
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Nacos, Brigitte L. "Accomplice or Witness? The Media's Role in Terrorism." Current History 99, no. 636 (April 1, 2000): 174–78. http://dx.doi.org/10.1525/curh.2000.99.636.174.
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If terrorism is seen as political theater performed for audiences…clearly the mass media plays a crucial role. Without massive news coverage the terrorist act would resemble the proverbial tree falling in the forest.
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Ruble, Blair A. "Riotous Performances." Artistic Culture. Topical Issues, no. 17(1) (June 8, 2021): 17–29. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235117.
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Theater audiences have been expressing their opinions about what is happing on stage and in the world around them for centuries. In some instances, uproarious behavior bordering on — and including — full-fledged riots, have provided early indications of profound conflicts taking shape within society that eventually can gather to overturn the political and social order. As the cases discussed here — drawn from Naples, London, Brussels, New York, Dublin, Paris, Miami, and Kyiv — suggest, such disturbances can reflect economic discontent, the rise of nationalist identities, and the emergence of new artistic movements. A night at the theater, the concert hall, or the club is always about more than the background noise of our lives. What happens when performers meet their audiences signals how we see our futures; and ourselves; and how we like what we see, or not.
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Markovic-Bozovic, Ksenija. "Theatre audience development as a social function of contemporary theatres." Zbornik Matice srpske za drustvene nauke, no. 175 (2020): 437–51. http://dx.doi.org/10.2298/zmsdn2075437m.
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From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize its cultural-emancipatory, social-inclusive, social-cohesive, educational, and other similar potentials. Extensive research of the functional type, which combines the analysis of the process of theatre production, distribution and reception, and sheds light on the ways in which theatre functions in the community, has not been conducted in Serbia so far. However, for many years, there have been conducted researches that provide sufficiently relevant answers, analysing this topic from individual aspects of the audience, marketing activities, cultural policy and theatre management. Their overall conclusion is that theatres in Serbia must (re)orient themselves to the external environment - (re)define their social mission and actively approach the process of diversification of the audience. However, the practical implementation of such recommendations is still lacking, theatre organizations find it difficult to adopt the idea that changes must be initiated by themselves, which brings us to the question of the attitudes on which these organizations establish their work. In this regard, the paper maps of and analyzes the opinions of managers and employees of Belgrade theatres on the topic of the role of theatre in the audience development and generation of the ?additional? social value, contextualizing the opinions in relation to the current circumstances, i. e. specific practices of these institutions. In conclusion, an original theoretical model of ?two-way adaptation of public city theatres? is developed, recognizing the importance of strategic action in culture both ?bottom-up? and ?top-down?, and proposing exact activities and approaches to theatre and cultural policy in the field of theater audience development.
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Fleming, Julius B. "Transforming Geographies of Black Time: How the Free Southern Theater Used the Plantation for Civil Rights Activism." American Literature 91, no. 3 (September 1, 2019): 587–617. http://dx.doi.org/10.1215/00029831-7722140.
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Abstract This essay examines the cultural and political work of the Free Southern Theater, specifically how this company used plantations, porches, and cotton fields in order to build a radical black southern theater in the civil rights movement. Staging plays like Samuel Beckett’s Waiting for Godot for black southern audiences, the theater challenged a violent structure of time at the heart of global modernity that I call black patience. By this I mean an abiding historical demand for black people to wait: whether in the hold of the slave ship, on the auction block, or for emancipation from slavery. Focusing on the centrality of the plantation to the spatializing logics of black patience, I consider how the Free Southern Theater used performance to demand “freedom now” and to revise the oppressive histories of time rooted in the material geographies of the US South. Mounting time-conscious plays, the theater used temporal aesthetics to transform the region’s historical geographies of black time (e.g., the labor time of black slaves and sharecroppers working in cotton fields) into radical sites of black political action, aesthetic innovation, and embodied performance. Engaging and reinvesting the meanings of the South’s plantation geographies, the theater revealed how one hundred years after emancipation, time remained essential to procuring the afterlives of slavery and colonialism and to shoring up the region’s necropolitical attachments. Examining these aesthetic and political experiments illuminates the importance of time to the emerging field of black geographies and to the field of black studies more broadly.
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Davis, John A. "Opera and Absolutism in Restoration Italy, 1815–1860." Journal of Interdisciplinary History 36, no. 4 (April 2006): 569–94. http://dx.doi.org/10.1162/jinh.2006.36.4.569.
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Opera played an important part in the lives of urban Italians during the decades that followed the fall of Napoleon's European empire and the restoration of the Italian legitimist rulers by the Congress of Vienna. To argue, however, that opera mattered because of its association with nationalism is to get the formula the wrong way around. Nationalists, as well as political authorities, wanted to harness opera to their cause because of its inherent social significance. The theater offered urban, educated Italians the opportunity to be entertained and to congregate lawfully in a public place. The fact that the theaters continued to draw regular audiences, regardless of censorship, would seem a sure indication that politics—at least not in the narrow, nationalist sense—was not the primary reason why opera mattered.
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Wilcox, Hui Niu. "Performance of Possibilities: A Critical Analysis of Audience Responses to Pipaashaa by Ananya Dance Theatre." Congress on Research in Dance Conference Proceedings 40, S1 (2008): 225–36. http://dx.doi.org/10.1017/s2049125500000728.
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This paper critically analyzes audience responses to Ananya Dance Theatre's work Pipaashaa: Extreme Thirst. Ananya Dance Theater intervenes in colorblind racial politics through casting only women and girls of color. Different responses by audiences of different social locations constitute critical discourses about race and social justice—catalysts for personal and social transformation. An examination of the discourse around Pipaashaa demonstrates that materiality of both performing and viewing bodies are important factors in creating meaningful art that envisions and inspires change.
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Goldstein, Tara. "The Bridge: The Political Possibilities of Intergenerational Verbatim Theater." Qualitative Inquiry 26, no. 7 (April 15, 2019): 833–39. http://dx.doi.org/10.1177/1077800419843947.
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This article introduces the reader to the work of Australian verbatim theater artists Donna Jackson, Bindi Cole Chocka, and James Henry. It describes the artists’ remount of Vicki Reynolds’s verbatim play The Bridge, which tells the story of the collapse of the Melbourne West Gate Bridge in 1970. I discuss the remount of the play as an intergenerational verbatim theater project which not only tells an important story from Australian working-class history to new audiences who haven’t heard it before, but also deepens the story through additional research and music. I also discuss the play as a project that uses political truths from the past to do new political work in the present.
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Yoshioka, Shiro. "The Essence of 2.5-Dimensional Musicals? Sakura Wars and Theater Adaptations of Anime." Arts 7, no. 4 (September 21, 2018): 52. http://dx.doi.org/10.3390/arts7040052.
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This paper examines 2.5-Dimensional musicals, or theater adaptations of anime/manga/videogames. As the genre has been gaining popularity in Japan since around 2007, criticism on the genre began to appear. What they uncritically assume is that the pioneer of the genre was the theater adaptation of Prince of Tennis first produced in 2003, and the unique mise-en-scène that attempts to recreate the “world” of the original, including the characters, setting, and the characters’ extreme skills of tennis, is a hallmark of the genre. However, such a view fails to consider the fact that these are actually merely characteristics of a subgenre of 2.5-Dimensional musicals represented by Prince of Tennis and other similar shows. This paper argues that another show, namely the theater adaptation of the videogame Sakura Wars, first produced in 1997 and continuing to this day, actually presents a number of important questions and viewpoints that are useful and necessary to critically discuss the genre, such as how two-dimensional characters are materialized on stage, which role audiences play in that process, how 2.5-Dimensional musicals can be contextualized within conventional theater genres rather than a part of “media mix” strategies, and tension between the local and global in their production and consumption.
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Jannarone, Kimberly. "Performing Opposition: Modern Theater and the Scandalized Audience. By Neil Blackadder. Westport, CT: Praeger Publishers, 2003; pp. 228. $69.95 cloth." Theatre Survey 45, no. 2 (November 2004): 312–13. http://dx.doi.org/10.1017/s0040557404370262.
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Readers excited by the recent and growing body of work on audience studies, such as Richard Butsch's The Making of American Drama, will be pleased to discover in Neil Blackadder's Performing Opposition a lucid historical examination of a very specific kind of theatre audience: the protesting one. Covering the scandals that greeted performances of plays by Hauptmann, Jarry, Synge, O'Casey, and Brecht, Blackadder provides us with a thorough reading of the events themselves, based on extensive use of firsthand accounts, reviews, court decisions, and more, as well as with a useful contextualization of the protests within the increasingly detailed—and important—history of theatre audiences.
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Tenenboim, Ori, and Natalie Jomini Stroud. "Enacted Journalism Takes the Stage: How Audiences Respond to Reporting-Based Theater." Journalism Studies 21, no. 6 (February 3, 2020): 713–30. http://dx.doi.org/10.1080/1461670x.2020.1720521.
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Collins, Nick. "A Funny Thing Happened on the Way to the Formula: Algorithmic Composition for Musical Theater." Computer Music Journal 40, no. 3 (September 2016): 41–57. http://dx.doi.org/10.1162/comj_a_00373.
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Algorithmic composition methods must prove themselves within real-world musical contexts to more firmly solidify their adoption in musical practice. The present project is an automatic composing program trained on a corpus of songs from musical theater to create novel material, directly generating a scored lead sheet of vocal melody and chords. The program can also produce output based upon phonetic analysis of user-provided lyrics. The chance to undertake the research arose from a television documentary funded by Sky Arts that considered the question of whether current-generation, computationally creative methods could devise a new work of musical theater (the research described here provides but one strand within that project). Allied with the documentary, the resultant musical had a two-week West End run in London and was itself broadcast in full. Evaluation of the project included both design feedback from a musical theater composer team, and critical feedback from audiences and media coverage. The research challenges of the real-world context are discussed, with respect to the compromises necessary to get such a project to the stage.
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Riley, Ruth, Johanna Spiers, and Viv Gordon. "PreScribed (A Life Written for Me): A Theatrical Qualitative Research-Based Performance Script Informed by General Practitioners’ Experiences of Emotional Distress." International Journal of Qualitative Methods 20 (January 1, 2021): 160940692199918. http://dx.doi.org/10.1177/1609406921999188.
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This paper includes the script from a research-informed, theater-based production titled PreScribed (A Life Written for Me), which depicts the life of a distressed General Practitioner (GP) who is on the verge of breaking down and burning out. The authors provide context for the collaboration between artist and researchers and report on the creative methodological process involved in the co-production of the script, where research findings were imaginatively transformed into live theater. The researchers provide their reflections on the process and value of artistic collaboration and use of theater to disseminate research findings about emotions to wider audiences. It is concluded that qualitative researchers and artists can collaborate to co-create resonant and powerful pieces of work which communicate the emotions and experiences of research participants in ways that traditional academic dissemination methods cannot. The authors hope that sharing their experiences and this script as well as their reflections on the benefits of this approach may encourage researchers and artists to engage in this type of methodological collaboration in the future.
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Fowler, Mayhill C. "What Was Soviet and Ukrainian About Soviet Ukrainian Culture? Mykola Kulish’sMyna Mazailoon the Soviet Stage." Nationalities Papers 47, no. 3 (May 2019): 355–65. http://dx.doi.org/10.1017/nps.2019.12.
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AbstractIn the Soviet Union theatre was an arena for cultural transformation. This article focuses on theatre director Les Kurbas’ 1929 production of playwright Mykola Kulish’sMyna Mazailo, a dark comedy about Ukrainianization, to show the construction of “Soviet Ukrainian” culture. While the Ukrainian and the Soviet are often considered in opposition, this article takes the culture of the Ukrainian Soviet Socialist Republic seriously as a category. Well before Stalin’s infamous adage “national in form and socialist in content,” artists like Kulish and Kurbas were engaged in making art that was not “Ukrainian” in a generic Soviet mold, or “Soviet” art in a generic “Ukrainian” mold, but rather art of an entirely new category: Soviet Ukrainian. Far from a mere mouthpiece for state propaganda, early Soviet theatre offered a space for creating new values, social hierarchies, and worldviews. More broadly, this article argues that Soviet nationality policy was not only imposed from above, but also worked out on the stages of the republic by artists, officials, and audiences alike. Tracing productions ofMyna Mazailointo the post-Soviet period, moreover, reveals a lingering ambiguity over the content of culture in contemporary Ukraine. The state may no longer sponsor cultural construction, but theater remains a space of cultural contestation.
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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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Valier, Yael. "Dramaturgical and Theological Issues Involved in Producing and Staging a Play in Jerusalem about the Disputation of Barcelona." Perichoresis 18, no. 4 (August 1, 2020): 41–61. http://dx.doi.org/10.2478/perc-2020-0021.
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AbstractIn the context of the launch of a new theater company whose mission is to bring entertaining theological content to audiences in and around Jerusalem, Roy Doliner’s Divine Right was chosen as the company’s first production. This play about the Disputation of Barcelona balances historical accuracy and creative dramatic content in a satisfying and intellectually honest portrayal of the events of the Disputation for educated lay audiences. Many theological and dramaturgical issues arise, especially in producing a play with a high level of Christian content and theology for mainly Orthodox or at least traditionally educated Jewish audiences. English speaking audience members in Jerusalem tend to be well-informed, both on the historical level and on the level of Jewish law and mores. This makes them exacting viewers, critical of inaccuracies of history or interpretation, wary of challenging positions but mostly willing to learn, and delighted by thorough research and characterization. This paper examines the technical, dramaturgical, and theological issues that arose during this production for the playwright, director, actors, and audiences.
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Guynn, Noah D. "Binocular Vision." Romanic Review 111, no. 1 (May 1, 2020): 173–91. http://dx.doi.org/10.1215/00358118-8007999.
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Abstract This essay deploys Bruno Latour’s An Inquiry into the Modes of Existence and Bert States’s Great Reckonings in Little Rooms to analyze the pyrotechnics used in mystery plays to symbolize supernatural truths. On the one hand, these effects cultivated aesthetic immersion, allowing audiences to perceive stage illusions as real. On the other hand, they drew attention to their own artfulness, inviting spectators to marvel at human achievement and contemplate the possibility of misfire. This paradox encapsulates the theological ambiguities of medieval religious theater, which asked spectators to suspend disbelief in the name of conversion even as they maintained skepticism about sacred simulacra. Latour’s metaphysics allows us to see how mystery plays deployed multiple modes of existence, each of which mediated the others but could not reduce or explain them. States’s theater phenomenology shows us how mystery plays used self-given realities like flame to shuttle between human and nonhuman standpoints. If Latour rejects phenomenology for its refusal to consider the agency of the nonhuman, States’s focus on reality as resistance offers an implicit retort. I propose a rapprochement by showing that theater phenomenologists and medieval effects masters are both willing to embrace the ontological work of nonhuman actants.
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Luu, Thuy Trung. "The features of content and playwriting art in Ho Chi Minh City’s contemporary play." Science and Technology Development Journal 19, no. 1 (March 31, 2016): 96–109. http://dx.doi.org/10.32508/stdj.v19i1.560.
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Since the last decade of the twentieth century, Ho Chi Minh City has become one of the Vietnamese lively dramatic literature and theater centers. During the past twenty years, together with dramatic theater, Ho Chi Minh City’s dramatic literature has built up a professional playwriter force, providing audiences plays which reflect the conflicts between human’s life in the time of Vietnam’s reformation and integration. Besides, these plays have contributed experiences in acquiring and applying the world modern playwriting techniques to suit Vietnamese’s drama reception habits.
This paper generally provides content feature (focus on conflicts) and playwriting art feature (focus on plots, characteristics, dialogue language construction and the acquirement of new art techniques in Ho Chi Minh City’s contemporary literary scripts), contributing to the evaluation and summary of Ho Chi Minh City’s dramatic literature during the past.
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Pinhanez, Claudio S., and Aaron F. Bobick. "“It/I”: A Theater Play Featuring an Autonomous Computer Character." Presence: Teleoperators and Virtual Environments 11, no. 5 (October 2002): 536–48. http://dx.doi.org/10.1162/105474602320935865.
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“It/I” is a two-character theater play in which the human character I (played by a real actor) is taunted and played with by an autonomous computer character It on a computer-controlled, camera-monitored stage. The play, performed before live audiences in November 1997, brought an automatic computer character to a theatrical stage for the first time ever. This paper reports the experience and examines important technical developments needed for the successful production of “It/I”. In particular we describe the interval script paradigm used to program the computer character and the ACTSCRIPT language for communication of actions and goals. Although our experiments have been restricted to physical interactive spaces, we believe that interval scripts and ACTSCRIPT can successfully address the control and management of any virtual environment with a complex temporal structure or a strong underlying narrative.
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Schulte, Hanife. "Ostermeier’s Ein Volksfeind on the Anniversary of Turkey’s Gezi Park Protests." New Theatre Quarterly 36, no. 1 (February 2020): 29–41. http://dx.doi.org/10.1017/s0266464x20000081.
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In this article Hanife Schulte discusses Thomas Ostermeier’s Ein Volksfeind, a German version of Henrik Ibsen’s An Enemy of the People that toured to the International Istanbul Theatre Festival in 2014. In borrowing Maria Shevtsova’s notion of the sociology of performance, Hanife Schulte offers a sociological examination of Ein Volksfeind’s Istanbul performances and demonstrates how the first anniversary of Turkey’s Gezi Park protests at the time of the festival influenced the performances. These protests, which began in 2013, were in resistance to the Turkish government’s urban development plan for Istanbul’s Taksim Park. In her examination of the dramaturgy and stage design of the production and its Turkish reception, Schulte argues that Ein Volksfeind’s political dramaturgy-in-progress allowed Ostermeier to adapt its touring performances in Istanbul and transform them into events in which the Turkish audiences became fellow performers and adaptors who reflected on the Gezi Park protests. She also suggests that Ostermeier showed solidarity with the Turkish people resisting political violence and oppression in tackling their local politics. Hanife Schulte has completed three years of doctoral research in Theatre and Performance Studies at Tufts University and is an alumna of the Mellon School of Theater and Performance Research at Harvard University, where she participated in the 2019 Session on Migrations.
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Goodman, Jane E. "Acting with One Voice: Producing Unanimism in Algerian Reformist Theater." Comparative Studies in Society and History 55, no. 1 (January 2013): 167–97. http://dx.doi.org/10.1017/s001041751200062x.
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AbstractScholars of democracy from Tocqueville to Habermas have long considered the proliferation of so-called voluntary associations as a sign of a flourishing civil society and as central to the rise of democratic modernity. I contend that the Algerian theatrical and musical associations of the reformist period anticipate another kind of civic history: a history of displays of unanimism in public life. I am interested in how and why Algerians learned to produce public displays of agreement for particular audiences (including themselves) at particular historical moments. I emphasize three factors that contributed to the production of unanimity: the achievement oftawḥīdor unity in the Islamic reform movement, vernacular practices of consensus-based argumentation, and French colonial legal and surveillance mechanisms. The essay engages theories of civil society, colonialism, and performance. It draws primarily on material from the French colonial archives for the city of Constantine, Algeria.
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Brockey, Liam. "Jesuit Pastoral Theater on an Urban Stage: Lisbon, 1588-1593." Journal of Early Modern History 9, no. 1 (2005): 3–50. http://dx.doi.org/10.1163/1570065054300239.
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AbstractIn the late sixteenth century, the Society of Jesus became one of the most influential religious groups in Catholic Europe and beyond. Yet specifically how the meteoric rise of the Jesuits occurred has remained an enigma, especially in light of the entrenched complex of interests that comprised contemporary society. Based on manuscript correspondence and other under-exploited archival material, this article analyzes the actions of senior members of this religious order in the city of Lisbon in late 1580s and early 1590s in order to show how the Society gained its prestige through a host of pastoral activities directed at a variety of audiences. By avoiding a focus on colleges or missions, this study offers a new perspective on the Jesuits' attempts to win their place among ecclesiastical elites, as well as the respect of both nobles and plebeians in one of the largest and most ethnically diverse cities in Europe.
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Khubulova, Svetlana. "FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK." History, Archeology and Ethnography of the Caucasus 15, no. 1 (March 19, 2019): 22–27. http://dx.doi.org/10.32653/ch15122-27.
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Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.
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Sugiera, Małgorzata. "Theatre as Contagion: Making Sense of Communication in Performative Arts." Text Matters, no. 7 (October 16, 2017): 291–304. http://dx.doi.org/10.1515/texmat-2017-0016.
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Contagion is more than an epidemiological fact. The medical usage of the term is no more and no less metaphorical than in the entire history of explanations of how beliefs circulate in social interactions. The circulation of such communicable diseases and the circulation of ideas are both material and experiential. Diseases and ideas expose the power and danger of bodies in contact, as well as the fragility and tenacity of social bonds. In the case of the theatre, various tropes of contagion are to be found in both the fictional world on the stage (at least since Sophocles’ Oedipus Rex) and in many theories defining the rules of interaction between theatre audiences, fictitious characters and/or performers. In consequence, the historically changing concept of contagion has in many respects influenced how mimesis was conceived and understood. The main goal of my article is to demonstrate how the concept of contagion has changed over the last few decades and how it may influence our understanding of the idea of mimesis and participation in performative arts. This will be achieved in two steps. Firstly, I will compare the concept of contagion as the outbreak narrative that had influenced, among others, Antonin Artaud’s The Theater and the Plague with the more recent and dynamic concept of epidemic structured around the tipping point. Secondly, I will look for performative art forms with similar structure of audience responses, analyzing Mariano Pensotti’s project Sometimes I Think, I Can See You (2010), in order to demonstrate new forms of performativity and (re)presentation.
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Klens-Bigman, Deborah. "Las mujeres guerreras del teatro kabuki y el legado de las artes marciales femeninas de Japón." Revista de Artes Marciales Asiáticas 5, no. 2 (July 12, 2012): 139. http://dx.doi.org/10.18002/rama.v5i2.116.
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<p class="AMresumen">The fighting woman character has been a staple of Japan’s kabuki theater almost since its inception. Audiences accepted these characters, especially fighting women of the samurai class, as part of the depiction of Edo period (1603–1868) life. This paper explores several of these characters and suggests that they help form the legacy of women’s practice of martial arts today.</p>
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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?