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Journal articles on the topic 'Theater Theater Cold War'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

ashton, nigel j. "Cold War Political Theater." Diplomatic History 33, no. 3 (2009): 535–38. http://dx.doi.org/10.1111/j.1467-7709.2009.00789.x.

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2

Kosstrin, Hannah. "Whose Jewishness? Inbal Dance Theater and Cold War American Spectatorship." American Jewish History 104, no. 1 (2020): 31–58. http://dx.doi.org/10.1353/ajh.2020.0013.

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3

Young, Oran R. "Governing the Arctic: From Cold War Theater to Mosaic of Cooperation." Global Governance: A Review of Multilateralism and International Organizations 11, no. 1 (2005): 9–15. http://dx.doi.org/10.1163/19426720-01101002.

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4

Maguire, Nancy Klein. "The Theatrical Mask/Masque of Politics: The Case of Charles I." Journal of British Studies 28, no. 1 (1989): 1–22. http://dx.doi.org/10.1086/385923.

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Britain now wear's the sock; the Theater's clean Transplanted hither, both in Place and Scene.Martin Butler and Jonathan Dollimore have recently documented the importance of drama in English political life before 1642. Such scholarship, however, has stopped cold at the great divide of 1642. Except for Lois Potter in “‘True Tragicomedies’ of the Civil War and Interregnum,” no one has considered the relationship between politics and theater while the theaters were officially closed. Scholars have thereby missed a seminal question in understanding the discourse and complex political maneuvering e

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Jakovljevic, Branislav. "Theater of Atrocities: Toward a Disreality Principle." PMLA/Publications of the Modern Language Association of America 124, no. 5 (2009): 1813–19. http://dx.doi.org/10.1632/pmla.2009.124.5.1813.

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In October 1992, the united nations security council requested the secretary-general to appoint an impartial commission to examine and record the atrocities committed in the wars in the former Yugoslavia. Two years later, this commission produced its final report. Some of the goriest pages in this catalogue of infamy are dedicated to the explosion on the Markale open-air market in central Sarajevo that took place around noon on Saturday, 5 February 1994. The report describes it as “the worst attack on civilians during the siege” of Sarajevo, citing that it killed at least 66 persons and wounde

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6

Shcherbinina, Olga I. "LILLIAN HELLMAN AND THE SOVIET THEATER." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 132–41. http://dx.doi.org/10.17072/2073-6681-2021-2-132-141.

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The article examines the contacts of the American playwright Lillian Hellman with the Soviet theatrical world. It focuses on Soviet productions of her plays, recollections of actors involved in those productions, critics’ reviews of the premieres. Hellman’s more than 20-year career in the USSR helps to trace back the changes of Soviet cultural and ideological agenda. Acting as a cultural emissary during the Second World War, Hellman visited Moscow where she was greeted as a dear guest, and her plays were staged by two largest Moscow theaters. With the beginning of the Cold War, her dramas The

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7

Yudin, Kirill. "Cinema politics and ideology of the USA during the Cold War." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-1 (2020): 84–97. http://dx.doi.org/10.31166/voprosyistorii202012statyi07.

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The article analyzes the specifics of American ideology and cultural space, its influence on the activities of state and public institutions, the position of representatives of the theater and cinema corporation in the United States under conditions of control and censorship, propaganda pressure. Conclusions are drawn about the consequences of forced segregation of filmmakers into «friends» and «strangers» - the need to adapt in an atmosphere of «cold» information and ideological challenges, the examination of media-texts (films) and their images for political reliability. The ambiguity and in

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Odom, William E. "The Cold War Origins of the U.S. Central Command." Journal of Cold War Studies 8, no. 2 (2006): 52–82. http://dx.doi.org/10.1162/jcws.2006.8.2.52.

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During the Carter administration the Middle East and Southwest Asia became a third major theater in the Cold War struggle along with Europe and the Far East. Initially, President Jimmy Carter tried to remove this region from the Cold War competition, but the collapse of the shah's regime in Iran prompted Carter to reverse course and to build a “Persian Gulf security framework” that later allowed the United States to deal with three wars and many smaller clashes. The interagency process implementing this dramatic change was rent with clashes of departmental interests. The State Department and t

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9

Iacob, Bogdan C., Corina Doboș, Raluca Grosescu, Viviana Iacob, and Vlad Pașca. "State Socialist Experts in Transnational Perspective. East European Circulation of Knowledge during the Cold War (1950s–1980s): Introduction to the Thematic Issue." East Central Europe 45, no. 2-3 (2018): 145–59. http://dx.doi.org/10.1163/18763308-04502006.

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State socialist experts were at the center of Eastern Europe’s internationalization from the mid-1950s until 1989. They acted as intermediaries between their states and other national, regional, and international environments. The contributions integrate national milieus within broader frameworks mostly circumscribed by inter- and nongovernmental specialized organizations (the United Nations Economic Commission for Europe; the United Nations Educational, Scientific and Cultural Organization; International Theater Institute, or the un Commission on Population and Development). The issue is an i

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10

Armstrong, Charles K. "The Cultural Cold War in Korea, 1945–1950." Journal of Asian Studies 62, no. 1 (2003): 71–99. http://dx.doi.org/10.2307/3096136.

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By definition, the cold war was understood on both sides of the conflict to be a global struggle that stopped short of direct military engagement between the superpowers (the U.S. and the USSR). In Europe, the putative center ofthat struggle, the geopolitical battle lines were fixed after the early 1950s, or they at least could not be altered by normal military means without provoking World War III—which would result in mutual annihilation. Therefore, each side hoped to make gains over the other by using more subtle, political, and often clandestine methods, winning the “hearts and minds” of p

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11

Weart, Spencer. "The Theater of Operations: National Security Affect from the Cold War to the War on Terror by Joseph Masco." Technology and Culture 57, no. 2 (2016): 494–95. http://dx.doi.org/10.1353/tech.2016.0048.

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12

Zafar, Morwari. "The Theater of Operations: National Security Affect from the Cold War to the War on Terror by Joseph Masco." Anthropological Quarterly 88, no. 3 (2015): 823–26. http://dx.doi.org/10.1353/anq.2015.0039.

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13

Lim, Jeehyun. "The Theater of Operations: National Security Affect from the Cold War to the War on Terror by Joseph Masco." American Studies 54, no. 4 (2016): 170–71. http://dx.doi.org/10.1353/ams.2016.0013.

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14

Davis, Peter A. "American Theater in the Culture of the Cold War: Producing and Contesting Containment, 1947-1962 (review)." Modern Drama 48, no. 3 (2005): 613–15. http://dx.doi.org/10.1353/mdr.2006.0006.

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15

Chansky, Dorothy. "American Theater in the Culture of the Cold War: Producing and Contesting Containment, 1947-1962 (review)." Theatre Journal 57, no. 3 (2005): 531–32. http://dx.doi.org/10.1353/tj.2005.0091.

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16

Da Zheng. "Chinese Painting and Cultural Interpretation: Chiang Yee's Travel Writing During the Cold War Era." Prospects 26 (October 2001): 477–504. http://dx.doi.org/10.1017/s0361233300001010.

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On June 11, 1956, Chiang Yee was led into the Sanders Theater of Harvard University, where he began delivering his Phi Beta Kappa oration, entitled “The Chinese Painter”:The word “Chinese” in my title conveys a reference both to the birthplace of the painter and to the type of work to be expected from him; but while that is what I mean, I wish to point out that the word has not the same significance today as it would have had fifty to a hundred years ago. Then a “Chinese” painter was a painter absolutely and exclusively Chinese, differing fundamentally from the painters of all other nations an

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17

Sobers, Candace. "Independence, Intervention, and Internationalism: Angola and the International System, 1974–1975." Journal of Cold War Studies 21, no. 1 (2019): 97–124. http://dx.doi.org/10.1162/jcws_a_00854.

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This article explores the escalation of tensions surrounding Angola's independence from Portugal in 1975, when a protracted war of national liberation escalated sharply into an international crisis. Rather than see Angola as merely a proxy war, the article depicts the varied responses to Angolan anti-colonial nationalism as consequences of “internationalization,” or the deliberate and endogenous process of framing the struggle for Angolan independence in global terms. By establishing Angolan independence as part of a worldwide battle against imperialism, racism, and Western hegemony in the ear

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18

Readman, Kristina Spohr. "Conflict and Cooperation in Intra-Alliance Nuclear Politics: Western Europe, the United States, and the Genesis of NATO's Dual-Track Decision, 1977–1979." Journal of Cold War Studies 13, no. 2 (2011): 39–89. http://dx.doi.org/10.1162/jcws_a_00137.

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On the basis of recently released archival sources from several member-states of the North Atlantic Treaty Organization (NATO), this article revisits the making of NATO's landmark 1979 dual-track decision. The article examines the intersecting processes of personal, bureaucratic, national, and alliance high politics in the broader Cold War context of increasingly adversarial East-West relations. The discussion sheds new light on how NATO tried to augment its deterrent capability via the deployment of long-range theater nuclear missiles and why ultimately an arms control proposal to the Soviet

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19

Lutz, Catherine. "The Theater of Operations: National Security Affect from the Cold War to the War on Terror by Joseph Masco.Durham: Duke University Press, 2014. 280 pp." American Anthropologist 118, no. 1 (2016): 203–4. http://dx.doi.org/10.1111/aman.12475.

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20

Silveira, Mariana G. Alves da, and Vágner Camilo Alves. "A Guerra Fria e o inimigo comunista nas telas de cinema norte-americanas dos anos 1980." Diálogos 22, no. 1 (2018): 60. http://dx.doi.org/10.4025/dialogos.v22i1.43623.

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A última década da Guerra Fria foi turbulenta. Seu início apresentou tensão comparável àquela existente nos anos 1950 e princípio dos 1960. A partir de meados dos anos 1980, entretanto, houve distensão, o fim da Guerra Fria e a desintegração do próprio sistema internacional bipolar de poder. O cinema, como outras formas de produção cultural, foi instrumento de propaganda e mobilização durante toda a Guerra Fria. O objetivo deste artigo é analisar como a Guerra Fria se apresentou nos filmes de maior bilheteria nos EEUU na década de 1980. O inimigo comunista é examinado nesses longas-metragens t

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21

SIMILEANU, Vasile. "ROMANIA IN THE GAME OF THE RUSSIAN FEDERATION480." STRATEGIES XXI - National Defence College 1, no. 72 (2021): 284–302. http://dx.doi.org/10.53477/2668-5094-21-20.

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The new geostrategic architecture and the redesign of geopolitical spaces have reopened the "Pandora's box" of Eastern Europe, crushed by political, ethno-confessional andterritorial interests, giving free rein to the manifestation of incredible and unrealistic scenarios regarding the "new regional order". This space, former theater of war in the two world wars, remained a space of dispute between East and West, which reactivated the imperial claims of some state actors with interests for the states in the region. Currently, a new Cold War or the continuation of the old one is foreshadowed...

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22

Garner, Stanton B. "History in the Year Two: Trevor Griffiths's Danton." New Theatre Quarterly 11, no. 44 (1995): 333–41. http://dx.doi.org/10.1017/s0266464x00009313.

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For British dramatists nurtured in and by the hopes for socialism which characterized the 'sixties and the 'seventies, the Thatcherite period – with the eclipse of a fatally flawed communist system as its international dimension – demanded not only new thinking, but at least the consideration of a new dramaturgy. Stanton B. Garner, Jr., here explores the ways in which one of the most consistently committed of contemporary writers, Trevor Griffiths, confronts in Hope in the Year Two, his play about the death of the French Revolutionary Danton, the dilemma not only of the revolutionary hero, but

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23

Price, David H. "Counterterror as the New NormalThe Theater of Operations: National Security Affect from the Cold War to the War on Terror. By Joseph Masco. Durham, NC: Duke University Press, 2014." Current Anthropology 57, no. 1 (2016): 124–26. http://dx.doi.org/10.1086/684692.

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24

Talbot, Brent. "Getting Deterrence Right: The Case for Stratified Deterrence." Journal of Strategic Security 13, no. 1 (2020): 26–40. http://dx.doi.org/10.5038/1944-0472.13.1.1748.

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The potential for hostilities in the 21st Century is not likely to be deterred by a Cold War deterrence strategy. And while nuclear deterrence remains important, regional powers armed with weapons of mass destruction (WMD) and accompanying long-range delivery capabilities are a rising concern. New technological breakthroughs in the space, cyber, and unforeseen realms could also provide asymmetric means of undermining deterrence. Moreover, the effort to achieve strategic stability in this day and age has become increasingly complicated in light of the changing relationship among the great power

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25

MADOKORO, LAURA. "Surveying Hong Kong in the 1950s: Western humanitarians and the ‘problem’ of Chinese refugees." Modern Asian Studies 49, no. 2 (2014): 493–524. http://dx.doi.org/10.1017/s0026749x14000365.

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AbstractAt the end of the Second World War, there were over a million displaced persons and refugees in Europe alone. Hundreds of thousands of people were uprooted with the expansion of the Japanese empire across the Pacific Theater, and many others were similarly displaced when Japan was defeated. Others later fled civil conflicts, in South Asia, for instance, and in China, where thousands left the mainland during the final days of the Chinese Civil War. Among this massive displacement in Asia, unlike in Europe, only a few groups were identified as refugees. One such group consisted of the mi

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26

Razavi, Negar. "Masco, Joseph. The theater of operations: national security affect from the Cold War to the War on Terror. 273 pp., maps, tables, illus., bibliogr. Durham, N.C.: Duke Univ. Press, 2014. £15.99 (paper)." Journal of the Royal Anthropological Institute 23, no. 4 (2017): 856–57. http://dx.doi.org/10.1111/1467-9655.12747.

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27

Mitchell, Martin D. "The South China Sea: A Geopolitical Analysis." Journal of Geography and Geology 8, no. 3 (2016): 14. http://dx.doi.org/10.5539/jgg.v8n3p14.

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Since 1945 the South China Sea and the western Pacific has functioned as an uncontested global common patrolled by overwhelming U.S. naval and air power projected from a series of peripheral and over the horizon bases. The dramatic rise of China alters this situation and has transformed the South China Sea into a frontier of control as China seeks to morph this maritime theater into a landward extension of the Chinese coast where it can deploy land-based tactics into an arena previously dominated by maritime power and tactics to secure the South China Sea as a de facto territorial water that s

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28

Vo, Sen Van, and Trung The Nguyen. "Security in the East Sea: Behaviors of relevant countries." Science and Technology Development Journal 19, no. 1 (2016): 14–27. http://dx.doi.org/10.32508/stdj.v19i1.552.

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In recent years, the East Sea hasn’t been just a busy shipping lane but also a theater where many powers have been showing their military capacity. In particular, China has continuously increased its actions of “Brinksmanship”, violations of UNCLOS, commitments signed between it and ASEAN, etc. which has shown that China is one of the major causes of the unrest in the East Sea area. On the opposite side, as a result of the recent escalation of aggressive behavior on China’s part, the United States has strengthened its presence in the East Sea, which is considered the test for “rebalancin

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29

Herrera, Felipe. "The Jade Straitjacket: Measuring Reactions to China’s Rise." New Global Studies 14, no. 1 (2020): 24–46. http://dx.doi.org/10.1515/ngs-2019-0022.

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AbstractSince the Cold War, the Global South has become the basis of China’s political, economic, and military interests, as well as the major theater of China’s power competition with the United States. It is thus necessary to recognize how developing states have responded to changes in the international system brought on by China’s rise. Given the tide of nativism opposing trade and globalization, mostly studied through a Western lens, this study extends the analysis to the attitudes of the Global South. I outline the Western reaction to China’s rise to differentiate the factors that provoke

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30

Kruger, Loren, John Elsom, David Edgar, and Baz Kershaw. "Cold War Theatre." Theatre Journal 45, no. 4 (1993): 555. http://dx.doi.org/10.2307/3209027.

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31

McNamara, Laura A. "The Theater of Operations: National Security Affect from the Cold War to the War on Terror. Joseph Masco. Durham, NC: Duke University Press, 2014, 280 pp. $23.95, paper. ISBN 978-0-8223-5806-0." Journal of Anthropological Research 72, no. 3 (2016): 358–60. http://dx.doi.org/10.1086/687484.

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32

Davenport, Meredith. "Theater of War." Visual Communication Quarterly 21, no. 4 (2014): 248–55. http://dx.doi.org/10.1080/15551393.2014.987279.

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33

Wood, Martin. "Theater of war." Consumption Markets & Culture 20, no. 4 (2016): 370–72. http://dx.doi.org/10.1080/10253866.2016.1149324.

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34

Donahue, William. "The Impossibility of the Wenderoman: History, Retrospective, and Conciliation." Konturen 4 (May 13, 2013): 167. http://dx.doi.org/10.5399/uo/konturen.4.0.3191.

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“The Impossibility of the Wenderoman” argues against the conventional conception of the Wenderoman (and of thematically related films and plays) that views it essentially as a kind of cultural document of the German “Wende.” Placing the question within the larger problematic of historical fiction and political literature, this paper notes first that the very genre is itself an impossibility insofar as its boundaries are ever-expanding. The quintessential contribution of the genre, this paper argues, is twofold: retrospective and “conciliatory.” It is the first insofar as we are willing to look

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35

Teodorescu, Ana. "Theatre, Globalization and the Cold War." History of Communism in Europe 8 (2017): 345–49. http://dx.doi.org/10.5840/hce2017816.

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36

Gush, Helen. "Theatre, Globalization and the Cold War." Contemporary Theatre Review 28, no. 4 (2018): 541–42. http://dx.doi.org/10.1080/10486801.2018.1528756.

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37

McConachie, Bruce. "Method Acting and the Cold War." Theatre Survey 41, no. 1 (2000): 47–68. http://dx.doi.org/10.1017/s0040557400004385.

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Triumphalist accounts of the spread of “the Method” in post-World War II America generally explain its success as the victory of natural truths over benighted illusions about acting. In Method Actors: Three Generations of An American Acting Style, for instance, Steve Vineberg follows his summary of the primary attributes of “method” acting with the comment: “These concerns weren't invented by Stanislavski or his American successors; they emerged naturally out of the two thousand-year history of Western acting.” Hence, the final triumph of “the Method” was natural, even inevitable. Vineberg's s

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38

Iacob, Viviana. "Scenes of Cold War Diplomacy: Romania and the International Theatre Institute, 1956–1969." East Central Europe 45, no. 2-3 (2018): 184–214. http://dx.doi.org/10.1163/18763308-04502003.

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The article maps Romania’s involvement with the International Theatre Institute during its first decade of membership. The argument revolves around a number of East–West convergence high points such as the 1959 Helsinki Congress or the 1964 Bucharest Symposium. It analyzes the connections developed by Romanian theatre specialists within the framework provided by iti, the specialized networks they helped create and the domestic impact of these interactions. The article examines the multifaceted Romanian involvement with these projects in national and international context. It begins in 1956, Ro

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Wooster, Robert. "Theater of a Separate War." Annals of Iowa 77, no. 1 (2018): 85–87. http://dx.doi.org/10.17077/0003-4827.12457.

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Levin, Aaron. "From Theater of War to Theater Stage, Soldiers Reveal Their Thoughts." Psychiatric News 46, no. 3 (2011): 1–26. http://dx.doi.org/10.1176/pn.46.3.psychnews_46_3_002.

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41

He, Chengzhou. "Theatre as ‘An Encounter’: Grotowski’s Cosmopolitanism in the Cold War Era." European Review 28, no. 1 (2019): 76–89. http://dx.doi.org/10.1017/s1062798719000280.

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Throughout his career as a theatre director, Jerzy Grotowski encountered many different theatre cultures, which both collided with and were synthesized in his own practices. Confronted with Cold War mindsets and ideological constraints, Grotowski’s theatrical art reflects a kind of cosmopolitan spirit by embracing a common humanity. Analysing Grotowski’s biography alongside his theatrical innovations and theoretical thinking, this article aims to investigate the following three aspects of his theatrical cosmopolitanism: his encounters with different performance cultures in his theatrical conce

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DERES, KORNÉLIA. "Archival Practices of Suspicion: Remains in Secret Reports, Self-Documentation and Oral Histories." Theatre Research International 45, no. 3 (2020): 308–14. http://dx.doi.org/10.1017/s0307883320000309.

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The paper focuses on the methodological challenges of handling the material remains of banned theatre practices in Cold War Hungary. Focusing on the case of the collective Apartment Theatre (1972–6), it examines the relation of material remains, originally created by or for the socialist authorities in order to prove the danger caused by the collective, and the materials which were created by the group members as a countermovement to preserve their own memories and narratives. Consequently, archival practices of care as well as archival practices of suspicion together contribute to situating t

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Korsberg, Hanna. "Geographies of Theatre: the Finnish National Theatre in Stockholm in 1956." Nordic Theatre Studies 28, no. 1 (2016): 27. http://dx.doi.org/10.7146/nts.v28i1.23970.

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During the Cold War, the Finnish National Theatre actively sought possibilities for international visits and co-operation. It wanted to showcase its work abroad and especially connect itself with Western European theatres. In 1956, the Finnish National Theatre visited Stockholm. In terms of politics, it was interesting that the Finnish National Theatre chose to perform Aleksis Kivi’s The Seven Brothers and especially interesting that it performed Anton Chekhov’s The Three Sisters. It seems to be the case that there was a national border between the Finnish National Theatre and Anton Chekhov’s

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Liu, Siyuan. "“The Brightest Sun, The Darkest Shadow”: Ideology and the Study of Chinese Theatre in the West during the Cold War." Theatre Survey 54, no. 1 (2013): 27–50. http://dx.doi.org/10.1017/s0040557412000403.

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This is the new Communist drama, and the picture is frequently artless and sterile, without depth, without truth, and without reality.—Walter and Ruth Meserve, 1970Peking opera now is a mixture of drama, music, dance, acrobatics, poetry, propaganda and revolutionary history, with indefatigable heroes (more adroit than James Bond, and with a purpose he never dreamed of) and fabulously wicked villains—the whole socking out a message of exemplary struggle and courage.—Lois Wheeler Snow, 1972The study of Asian theatre as an academic field independent of English and Asian Studies arose in the West,

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45

Somerstein, Rachel. "Theater of war edited by Meredith Davenport." Visual Studies 32, no. 1 (2016): 85–86. http://dx.doi.org/10.1080/1472586x.2016.1271029.

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46

Čopra, Aida. "Dancing in War. Perception of Theater in Wartime Sarajevo: Pippo Delbono, Giorgio Strehler and Peter Schumann." Društvene i humanističke studije (Online) 6, no. 3(16) (2021): 81–94. http://dx.doi.org/10.51558/2490-3647.2021.6.3.81.

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„When I went to Sarajevo, I met a boy“, Pippo Delbono tells us. They talked, and suddenly the boy told him, „I saw an entire city in anger. I’ve seen people become monsters“. And Delbono replied, „And I’ve seen people look at me like I’m a monster. And all the things that turn into monstrosity“. Traveling, for Delbono, is a life experience that turns into a theatrical one at the same time. In 1998, Delbono created a play called War. The story of the boy he meets during his trip to Sarajevo is an introduction to Delbono’s magical world of theater through which he expresses the need to present a

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47

Feldman, Leah. "Embodied Philology." TDR: The Drama Review 65, no. 3 (2021): 103–24. http://dx.doi.org/10.1017/s1054204321000344.

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A collaboration between actors and musicians of Tashkent, Uzbekistan, and Almaty, Kazakhstan, and local electronic musician and community activist Brother El of Chicago highlights the difficulties of translating embodied performances of race and ethnicity in a transnational post–Cold War context. In a comparative reading taking up a play by the Ilkhom Theatre of Tashkent alongside its citation in the Chicago collaboration, the framework of “embodied philology” exposes the limits of post–Cold War international political alignment.

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48

CANNING, CHARLOTTE M. "If ‘The World Was Ruled by Artists’: The 1967 International Theatre Institute World Congress and Cold War Leadership." Theatre Research International 43, no. 2 (2018): 130–46. http://dx.doi.org/10.1017/s0307883318000263.

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The Twelfth International Theatre Institute (ITI) World Congress met in New York City over 4–10 June 1967 at the same time as the Arab–Israeli War was taking place. This context very much framed the delegates’ debates over the idea of artists as national leaders. One panel in particular, The Responsibility of Theatre to the Progress of Society, on Friday 8 June, offered an opportunity for the delegates to wrestle with the concept. The participants focused on three key questions: how audiences were witnesses to national reinvention, how theatre could serve as a pedagogical form, and how the int

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

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

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Paavolainen, Pentti. "Cultural Trauma of the Civil War of 1918 Staged and Commemorated in Finland." Nordic Theatre Studies 31, no. 2 (2020): 102–31. http://dx.doi.org/10.7146/nts.v31i2.120183.

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The Centennial of one of the cruelest of European civil wars fought in Finland between the Reds and the Whites from January to May 1918 has evoked a spectrum of theatre productions illustrating variations of styles and approaches on the events. The turn in the treatment of this cultural trauma occurred with the interpretations and narrative perspectives that were fixed in the 1960s, when an understanding for the defeated Red side was expressed in historiography, literature and theatre. Since that, the last six decades the Finnish theatre and public discourse on the Civil War have been dominate

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