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1
Fedorov, Alexey A. "INNOVATIVE CODES OF THE LANGUAGE OF STAGE ART OF EUGENIY BAGRATIONOVICH VAKHTANGOV ON THE MATERIAL OF PERFORMANCES OF THE BEGINNING OF THE XX CENTURY." Interexpo GEO-Siberia 5 (July 8, 2020): 11–18. http://dx.doi.org/10.33764/2618-981x-2020-5-11-18.
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The creative work presented at the International intramural and extramural festival competition of youth theater companies - “Prometheus of a Rukh” - “Spirit of Prometheus” became a threshold of the present article, devoted to the Year of theater in Russia and to the 100 anniversary from the date of the birth of the National poet of Bashkortostan, the playwright Mustaya Karim, and gained the diploma of the Winner of the First degree. In the present work, as part of the creative path, the practice and theorist of the field of art of Eugeniy Bagrationovich Vakhtangov, the language of fantastic realism as the language of artistic theatre is studied. The starting point of the research is to establish the elements of the language of conditional theater based on scenographic, acting and directing decisions in Vakhtangov's performances. For this purpose, the author makes a retrospective appeal to the director's performances. In the analysis of the chosen performances, the artistic deals with innovative instrumentation of Vakhtangov’s theatre language, which formed the director 's own understanding of the artistic style of the theatre as fantastic realism. Elements of the theatrical language of the most significant performances are considered: “Peace Holiday”, “Cricket on an oven”, “Eric XIV”, “Gadibuk” and “Princess Turandot”. Based on the sources in which the performances are described, the Vakhtangov theatre language (style) is analyzed. As a result, descriptive definitions of the concepts of Vakhtangov style and fantastic realism are given. Interfacing analysis with the basic provisions of the concept of fantastic realism, elements of the language of conditional theatre are combined into a single table, which is one of the main results of the work. The work is written within the framework of the project XI.170.1.2. (0325-2017-0013), № АААА-А17-117022250128-5.
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Schevill, J. "TOWARDS A NEW POETIC REALISM IN CONTEMPORARY THEATER." Theater 23, no. 1 (December 1, 1992): 58–62. http://dx.doi.org/10.1215/01610775-23-1-58.
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Nellhaus, Tobin. "Online Role-playing Games and the Definition of Theatre." New Theatre Quarterly 33, no. 4 (October 11, 2017): 345–59. http://dx.doi.org/10.1017/s0266464x17000483.
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Online role-playing games are a form of entertainment in which players create characters and improvisationally perform scenes together within a digital virtual world. It has many theatre-like aspects, which raises the question of whether it is in fact a form of theatre. To answer that question, however, one must first have a definition of theatre – an issue with disciplinary consequences – and in this article Tobin Nellhaus develops a definition founded on social ontology, suggesting that theatrical performance, unlike other social practices, replicates society's ontology. From that perspective, online role-playing meets the definition of theatre. But its digital environment raises another set of problems, since embodiment, space, and presence in online role-playing are necessarily unlike what we experience in traditional theatre. Here, Nellhaus brings these three aspects of performance together through the concept of embodied social presence, showing how they operate in both customary theatre and online role-playing. Tobin Nellhaus is an independent scholar who was Librarian for Performing Arts, Media, and Philosophy at Yale University. He has published mainly on the relationship between theatre and communication practices, and on critical realist theory in theatre historiography. He is the General Editor of the third edition of Theatre Histories (London: Routledge, 2016), and the author of Theater, Communication, Critical Realism (New York: Palgrave Macmillan, 2010).
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Ju, Hyunshik. "Korean Realism Theater in 1930s and Rhetorics of Visual Argument." Korean Literary Theory and Criticism 68 (September 30, 2015): 159. http://dx.doi.org/10.20461/kltc.2015.09.68.159.
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Barker, Roberta, Kim Solga, and Cary Mazer. "’Tis Pity She’s a Realist: A Conversational Case Study in Realism and Early Modern Theater Today." Shakespeare Bulletin 31, no. 4 (2013): 571–97. http://dx.doi.org/10.1353/shb.2013.0064.
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Krouk, Dean. "The Montage Rhetoric of Nordahl Grieg’s Interwar Drama." Humanities 7, no. 4 (October 15, 2018): 99. http://dx.doi.org/10.3390/h7040099.
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This essay explains the modernist montage rhetoric of Nordahl Grieg’s 1935 drama Vår ære og vår makt in the context of the playwright’s interest in Soviet theater and his Communist sympathies. After considering the historical background for the play’s depiction of war profiteers in Bergen, Norway, during the First World War, the article analyzes Grieg’s use of a montage rhetoric consisting of grotesque juxtapositions and abrupt scenic shifts. Attention is also given to the play’s use of incongruous musical styles and its revolutionary political message. In the second part, the article discusses Grieg’s writings on Soviet theater from the mid-1930s. Grieg embraced innovative aspects of Soviet theater at a time when the greatest period of experimentation in post-revolutionary theater was already ending, and Socialist Realism was being imposed. The article briefly discusses Grieg’s controversial pro-Stalinist, anti-fascist position, before concluding that Vår ære og vår makt represents an important instance of Norwegian appropriation of international modernist and avant-garde theater.
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He, Chengzhou. "Theater‐fiction and hallucinatory realism in Mo Yan’s The Sandalwood Death." Orbis Litterarum 76, no. 4 (July 20, 2021): 169–79. http://dx.doi.org/10.1111/oli.12300.
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Mally, Lynn. "Exporting Soviet Culture: The Case of Agitprop Theater." Slavic Review 62, no. 2 (2003): 324–42. http://dx.doi.org/10.2307/3185580.
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In this article Lynn Mally examines the efforts of a Comintern affiliate called MORT (Mezhdunarodnoe ob“edinenie revoliutsionnykh teatrov) to export models of Soviet theatrical performance outside the Soviet Union. Beginning with the first Five-Year Plan, MORT was initially very successful in promoting Soviet agitprop techniques abroad. But once agitprop methods fell into disgrace in the Soviet Union, MORT abruptly changed its tactics. It suddenly encouraged leftist theater groups to move toward the new methods of socialist realism. Nonetheless, many leftist theater circles continued to produce agitprop works, as shown by performances at the Moscow Olympiad for Revolutionary Theater in 1933. The unusual tenacity of this theatrical form offers an opportunity to question the global influence of the Soviet cultural policies promoted by the Comintern. From 1932 until 1935, many foreign theater groups ignored MORT's cultural directives. Once the Popular Front began, national communist parties saw artistic work as an important tool for building alliances outside the working class. This decisive shift in political strategy finally undermined the ethos and methods of agitprop theater.
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Copeland, Kameron J. "From New Black Realism to Tyler Perry." Journal of Men’s Studies 25, no. 1 (July 31, 2016): 70–91. http://dx.doi.org/10.1177/1060826516641096.
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In the midst of a revival of gospel theater aimed at Black female Christian audiences, Tyler Perry mastered a successful approach to Black independent gospel plays. Eventually, Perry transferred his work to the film screen, exploring the struggles of Black women in their relationships with Black men. While his depiction of Black men has garnered much controversy, Perry characterizes Black masculinity throughout his romantic storylines using a formulaic approach seeking to uplift his predominately Black female audience, while exploring the faults and various tropes of Black masculinity. In Perry’s female-oriented romantic storylines, Black men are usually categorized as an affluent shape-shifter, neglected love interest, transformed hard worker, crooked hoodlum, or Black messiah redux. Throughout this study, Perry’s usage of these characterizations is explored. Unlike 1990s New Black Realism films, which could have driven the explosion of female-oriented gospel-themed works, Perry fuses Black theological perceptions of manhood with a patriarchal-centered exploration of Black womanhood.
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Alfirdaus, Moh mujib. "PENGEMBANGAN MODEL PEMBELAJARAN PEMERANAN BERORIENTASI TEKNIK CS PADA TEATER TRADISI." Buana Pendidikan: Jurnal Fakultas Keguruan dan Ilmu Pendidikan 14, no. 25 (March 7, 2018): 49–58. http://dx.doi.org/10.36456/bp.vol14.no25.a778.
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This learning model is the author's attempt to develop acting method in traditional theater through the Stanislavski's
technique, although the need for theater tradition performances and theater conventional realism performance is different. During this time the method of play in the theater tradition is still spontaneous, but the method of acting on the theater tradition must be measurable and can be studied in the academic field, hence, the author develops acting methods based on Stanislavski's technique as a reference in learning. An actor is a student for nature and pupil for anyone as long as the knowledge he earned is useful to develops his acting creativity. Therefore this Stanislavski's method becomes very influential to train the actor's intelligence, despite his need for traditional theater. Why is Stanislavski's method becoming important to be learned by actor candidate ?. Because the analysis used by Stanislavski's method is still very logical and reasonable, it did not rule out the effects of int elligence for anyone who applied it. This circumstance emphasizing the importance of Developing Stanilavski's technique-oriented Learning Model on Traditional Theater. In order for candidates who will perform for traditional and modern show, are expected to be ready with all the acting devices to employ. Therefore, this learning method need to be applied, especially in STKW Surabaya. The purpose of this research is developing a learning model for acting in the theater tradition. This research carried out by producing several outcome. First, a handbook of Stanislavski's method learning model for student. Second, a lecturer's handbook for an effective and efficient learning process
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Marchenko, Herman. "Vsevolod Meyerhold’s Biomechanics and Boris Zakhava's Educational Work." Scientific and analytical journal Burganov House. The space of culture 16, no. 4 (December 10, 2020): 58–74. http://dx.doi.org/10.36340/2071-6818-2020-16-4-58-74.
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The article deals with two different approaches to training actors. One of them is Stanislavski’s system, and the other is Meyerhold’s biomechanics. Konstantin Stanislavski and Vladimir Nemirovich-Danchenko are reformers of the Russian theater. As the Art Theater founders, they understood that the emergence of a new drama would require a completely different approach to working with actors and a different design of the stage space. With regard to new performances, it became possible to pose critical social questions related to everyday life before the viewer. Therefore, it was logical that the director's profession became very important. Working on his system, Stanislavski paid great attention to the need for an actor’s comprehensive development. Many wonderful actors who attended his acting school were among the students of this great theater director. Vsevolod Meyerhold was one of them. However, the latter chose his direction and began to engage in staging performances actively and search for new means of expression, having come to an absolute convention on the stage. Meyerhold created his method of working with an actor, known as biomechanics, in the theatrical environment. The principle of this approach is the opposite of Stanislavski's system. With all the difference in views on the theater, in the early stages of Meyerhold's independent practice, Konstantin Stanislavski offered him the opportunity to cooperate, which led Vsevolod Meyerhold to the Studio on Povarskaya Street in Moscow. Evgeny Vakhtangov was another student of Stanislavski and Nemirovich-Danchenko. At the request of Stanislavski, Vakhtangov was engaged in educational work in the studio of Moscow Art Theatre. Unlike Meyerhold, he thoroughly mastered the system and then created his theatrical direction called fantastic realism. Vakhtangov's legacy was preserved thanks to the activities of his students, among whom was Boris Zakhava. He turned to Meyerhold for help and spent several seasons with the master, gaining invaluable experience, including revealing the features of biomechanics in practice. Boris Zakhava remained faithful to Vakhtangov’s principles and continued his teacher’s work at the Shchukin Theater Institute.
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Robinson, Terry F. "“Life is a tragicomedy!”: Maria Edgeworth's Belinda and the Staging of the Realist Novel." Nineteenth-Century Literature 67, no. 2 (September 1, 2012): 139–76. http://dx.doi.org/10.1525/ncl.2012.67.2.139.
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This essay reveals how Maria Edgeworth integrated dramatic practices into her novel Belinda (1801) as a means to generate realistic effect. In doing so, it not only challenges the notion that the theater was at odds with the novel in this period but also shows that, in a novel such as Belinda, the theater fundamentally undergirds rather than detracts from its verisimilitude. As I demonstrate through careful readings of key “dramatic” scenes in the novel, Lady Delacour's adoption of the mask of the Comic Muse acts as a metonym for the mask of the novel—namely, those narrative techniques that provide the illusion of character depth and authenticity. The essay thus documents a foundational moment in the development of the nineteenth-century novel insofar as it discloses Edgeworth's contention that any novelistic move to establish subjective interiority is as much of a performance as a theatrical one; in other words, realism is theater.
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Sehat, David. "Gender and Theatrical Realism: The Problem of Clyde Fitch." Journal of the Gilded Age and Progressive Era 7, no. 3 (July 2008): 325–52. http://dx.doi.org/10.1017/s1537781400000748.
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Clyde Fitch was the most famous playwright of the early twentieth century, but today no one studies him. The disconnect between his fame in his lifetime and his obscurity after death points to a major historiographical problem, a problem that began in Fitch's own day. Fitch's numerous contemporary critics, many of whom were early proponents of theatrical realism, criticized his plays as effeminate, bound by the narrow conventions of the legitimate theater that relied on women as its predominant patrons. By contrast, realism, as the critics under-stood it, was masculine, bringing the gritty reality of what contemporary commentators regarded as the real world to the stage. Criticizing Fitch's feminine dramatic sensibilities became a way of prodding him toward a strained realism in his own plays. Fitch's story illustrates the close connection of realism to the gendered hierarchy that became an unconscious element in the determination of literary value. In dismissing Fitch as worthy of scholarly attention, current theatrical historians have followed Fitch's contemporary critics. Even as they have eviscerated the gendered standards of the early twentieth century, present-day scholars have retained the critical judgments and the generic categories that the gendered standards produced.
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Reed, Deborah B., Debra McCallum, and Deborah T. Claunch. "Changing Health Practices Through Research to Practice Collaboration: The Farm Dinner Theater Experience." Health Promotion Practice 22, no. 1_suppl (May 2021): 122S—130S. http://dx.doi.org/10.1177/1524839921996298.
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Production agriculture ranks as one of the most hazardous occupations in the United States, with older producers suffering 3.5 times the fatalities compared with their younger counterparts. Previous interventions have not significantly improved the health or work behaviors of farmers. Through careful collaboration among academics and Cooperative Extension agents, we developed, tested, and expanded a unique educational experience, Farm Dinner Theater (FDT), for farmers aged 45 years and more and their families across three states ( n = 8 communities, 573 participants). More than 50% of the participants made health or safety changes following the theater. Communities requested more theater events, noting the realism and applicability of the content and the engaging atmosphere for discussion. Participants remarked that the theater should be used across all age-groups. The FDT project created a community of “champions” that synergized the initial research project and fostered expansion and sustainability of the intervention. Process evaluation guided refinement of the theater intervention and built trust, respect, and further cooperative work among all collaborators. Members of the FDT partnership have received national recognition and funding to upscale the concept. The number of FDTs has expanded under local leadership. A toolkit that resulted from the project is available to the public and is constantly updated as more adopters contribute insight and scripts. This article describes the collaborative theater concept and demonstrates how sustained translation from research to practice can be accomplished through continued community engagement, collaboration, and outreach.
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Mally, Lynn. "Autonomous Theater and the Origins of Socialist Realism: The 1932 Olympiad of Autonomous Art." Russian Review 52, no. 2 (April 1993): 198. http://dx.doi.org/10.2307/131343.
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Allen, David, Rahul R. Divekar, Jaimie Drozdal, Lilit Balagyozyan, Shuyue Zheng, Ziyi Song, Huang Zou, et al. "The Rensselaer Mandarin Project — A Cognitive and Immersive Language Learning Environment." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 9845–46. http://dx.doi.org/10.1609/aaai.v33i01.33019845.
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The Rensselaer Mandarin Project enables a group of foreign language students to improve functional understanding, pronunciation and vocabulary in Mandarin Chinese through authentic speaking situations in a virtual visit to China. Students use speech, gestures, and combinations thereof to navigate an immersive, mixed reality, stylized realism game experience through interaction with AI agents, immersive technologies, and game mechanics. The environment was developed in a black box theater equipped with a human-scale 360◦ panoramic screen (140h, 200r), arrays of markerless motion tracking sensors, and speakers for spatial audio.
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Barkan, Diana L. Kormos. "The Last Scientist, the First Magician: Dramatic and Epic Theater as Alternative Images of Science." Science in Context 9, no. 2 (1996): 163–75. http://dx.doi.org/10.1017/s0269889700002404.
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In his “A Programmatic Attempt at an Anthropology of Knowledge,” published in 1981, Yehuda Elkana briefly introduced the notions of dramatic and epic theater as metaphors for distinct and opposite conceptions of history. He elaborated more fully on this theme in a paper published in 1982 on the occasion of the Albert Einstein centenary celebration. Elkana there criticized the “myth of simplicity” surrounding Einstein, and proposed to replace a “facile holism” often attributed to Einstein with “two-tier thinking.” According to Elkana, Einstein's historical epistemology was a blend of an epic, contingent view of historical scientific change coupled with strong scientific realism.
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Poslední, Petr. "Underground in the Czech literature of the 1950s." Z Badań nad Książką i Księgozbiorami Historycznymi 14, no. 1 (March 24, 2020): 135–44. http://dx.doi.org/10.33077/uw.25448730.zbkh.2020.184.
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In numerous collected source materials from the 1950s, it is necessary to distinguish texts created in the works of authors persecuted by the communist regime e.g. Catholic writers and those related to popular movement, from the authors deliberately abandoning official circulation e.g. supporters of the concept of total realism, embarrassing poetry and collage of various literary genres. Activities of the opposition in the second half of the 1950s resulted in the first attempts of culture liberalization. At that time literature has influenced film and theater opening up the way to the Prague Spring in the late 1960s.
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Shchukina, Yu P. "Features of Volodymyr Morskoy’s theatrе criticism (1920–1940 years)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 70–83. http://dx.doi.org/10.34064/khnum1-51.03.
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Background. Today, analyzing the Ukrainian theatrical movement of the first half of XX century, we can’t bypass V. Morskoy’s critical legacy. Volodimir Saveliyovich Morskoy (the real name – Vulf Mordkovich) is one of the providing Ukrainian theatrical and film critics of the first half of the XX century. He left us his always argumentative, but sometimes contradictious evaluations of dramatic art masters: the directors of Kharkiv Ukrainian drama theatre “Berezil” (from 1935 it named after T. Shevchenko) L. Kurbas, B. Tyagno, L. Dubovik, Yu. Bortnik, V. Inkizhinov, M. Krushelnitsky, M. Osherovsky; the producers of Kharkiv Russian drama theatre named after A. Pushkin – O. Kramov, V. Aristov, V. Nelli-Vlad and many others. Due to the critic’s persecution by the repressive machine of USSR, his evaluations of theatrical process were not quoted in soviet time researches. They still were not entered to the professional usage, were not published and commented in the whole capacity. Methods and novelty of the research. The research methodology joints the historical, typological, comparative, textual, biographical methods. The first researcher, who made up incomplete description of the bibliography of dramatic criticism by V. Morskoy, became Kharkiv’s bibliographer Tetyana Bakhmet. She gave maximally full list of critic articles (more than eighty positions) for the 1924, 1926–1929, 1937, 1948–1949 years. Kharkiv’s theater scientist Ya. Partola [16] in the first encyclopedic edition, that contains the article about V. Morskiy, gave the description of the only publication by critic known for today, in Moscow newspaper “Izvestiya”. Forty six critical articles, half of which didn’t note in bibliographies of both scientists, were collected and analyzed in periodical funds of Kharkiv V. Korolenko Central Scientific Library by the author of this article. Objectives. V. Morskoy was writing the reviews about the new films; the programs of popular and philharmonic performers; was researching the musical theater. This article has the purpose to characterize the features of V. Morskoy’ critical reviews on the dramatic theater performances. Results. It was managed to find out the articles by V. Morskoy hidden for the cryptonym “Vl. M.”, which dedicated to the performances of the “Berezil” theater of the second half of 1920th: “Jacquery”, “Yoot”, “Sedi“. The critic wrote about the setting “Jacquery ” by director V. Tyahno : “Berezil in setting of ‘Jacquery’ emphases it’s ideology, approaching ‘Jacquery’ to nowadays viewer” [2]. Perceiving critically some objective features of avant-garde stylistic, such as cinema techniques, V. Morskoy remarks: “The pictures are discrete, too short, some of them are lasting for 2–3 minutes, they made cinematographically” [2]. In the same time, the young critic already demonstrates the feeling and flair to the understanding of acting art. So, he accurately pointed out the first magnitude actors from the “Berezil” ensemble: A. Buchma, Yo. Ghirnyak, M. Krushelnitsky, B. Balaban [2]. V. Morskoy connected his view to “Jacquery” with the tendency of the second half of the 1920th: “For recently the left theaters became notably more right, and the right one – more left”[2], that reveals his theatrical experience. His contemporaries due to the author’s sense of humor easily recognized the style of V. Morsky’s reviews. Critical irony passes through the his essay about the setting by director V. Sukhodolskiy “Ustim Karmelyuk” in the Working Youth Theatre: “Focusing attention to Karmelyuk, V. Sukhodolskiy left the peoples in shade. Often they keep silence – and not in the Pushkin sense “[14]. Despite on the “alive” style, one of the features of V. Morskoy journalism was adherence to principles. His human courage deserves a high evaluation. In 1940, after the three years after the exile of Les Kurbas, the leader director of “Berezil” Theater, to Solovki, the critic published in the professional magazine the creative portrait of this disgraced director’s wife – the actress Valentina Chistyakova [15]. V. Morskoy arguments on the relationship between the modern works and the tradition of prominent predecessors has always been ably dissolved in an analysis of a performance. Each time V. Morskoy was paying attention to the distinctions of principals of playwriting, stage direction and even creative schools, in the second half of 1930th – 1940th, when the words “stage direction”, “currents”, in condition of predomination the so-called “social realism” method, in the soviet newspapers practically were not mentioning. For example, the critic saw of realistically-psychological directions in the O. Kramov’s performance “Year 1919”[9]. In 1940, V. Morskoy made a review of the performance of the then Zaporizhhya theater named after M. Zankovetska “In the steppes of Ukraine”, insisting on the continuity of the comedies of O. Korniychuk in relation to the works of Gogol and others of playwrights-coryphaeuses: “The play of O. Korniychuk is characterized by profound national form...” [7]. However, in the fact that in the Soviet Union at that time reigned as the doctrine the methodology of the “socialist realism”, the tragedy of honest criticism comprised. In controversy with the critic O. Harkivianin, V. Morskoy expressed the credo about the ethics and fighting qualities of the reviewer: “Apparently, Ol. Kharkivianin belongs to the category of peoples, who see the task of critic in order to give only the positive assessments. The vulgar sociological approach to the phenomena of art could be remaining the personal mistake of Ol. Kharkivianin. But when he presents him as the most important argument, everyone becomes uncomfortable”[8]. In 1949, the political regime fabricated the case of a “bourgeois cosmopolitan” against the honest theatrical critic and accused him in betraying of public interests adjudged V. Morskoy to untimed death at a concentration camp (Ivdellag, 1952). However, the time arbitrated this long discussion in favor of V. Morskoy. Conclusions. For the objective analysis of theater life of the city and the country as a whole, it is imperative to draw from the historical facts contained in the reviews of V. Morskoy, and the methodology of the review while investigating studies of theatrical art and theatrical thought of 1920–1940th. Thus, the gathering of the full kit of the critical observations of the famous Kharkov theater expert of the first half of the XX century is the important task for further researchers.
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Guini, Eleni. "TEATRO POSDRAMÁTICO EN TIEMPOS DE CRISIS: TRES EJEMPLOS DE TEATRO DOCUMENTO Y TEATRO DE CREACIÓN." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 46 (June 29, 2021): 71–101. http://dx.doi.org/10.32621/acotaciones.2021.46.03.
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En el período que nos ocupa —desde 2010 hasta la actuali-dad— caracterizado como una época de crisis que todavía no ha aca-bado, debemos reflexionar sobre cómo se involucra el teatro en la crisis y actúa en paralelo, al emitir juicios, plantear preguntas y mantener un diálogo con la sociedad. El presente ensayo analiza tres creaciones tea-trales que presentan su trabajo en la escena griega y europea y que han obtenido un notable éxito. La elección del dúo de directores Azás -Tsini-coris, el grupo Station Athens de Marcopulu y el grupo Blitz, respondió a dos consideraciones: por un lado, su temática, que expone puntos co-munes como la emigración, la xenofobia, la violencia y la melancolía pro-vocada por la resistencia a un mundo cruel, y, por otro lado, sus textos, que proceden de la ficción y el documental, y que son fruto de la labor común de todo el grupo. La intertextualidad, la alegoría y el realismo del formato como documento, componen representaciones vertebradas, road movies sin desplazamiento, relatos tragicómicos de la violencia de los siglos XX y XXI, versiones de canciones con guiños bien reconocibles a la coyuntura de crisis actual. Actores amateurs y profesionales, inmi-grantes, ciudadanos de la calle, directores que cuentan con la tecnología como coprotagonista, transforman experiencias e ideas en un fecundo género metateatral.
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Dorofieieva, O. Yu. "Activity of the T. Shevchenko Kharkov Theater in the coverage of theatrical criticism (the second half of the 1930s – 1940s)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 84–101. http://dx.doi.org/10.34064/khnum1-51.04.
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Background. In the Ukrainian art history, the problems of theatre criticism and the interrelations between criticism and stage art until remain insufficiently studied. The article considers the activities of the T. Shevchenko Kharkov Theatre (until 1935 – the Theatre «Berezil») in the second half of the 1930s–1940s in the coverage of theatre criticism. Since 1933, the aesthetic course of this theatre had changed dramatically from avant-garde searches to socialist realism in connection with the defeat of the position of Les Kurbas and his dismissal from the theatre. This reversal of the creative course of the theatre becomes a subject of reflection in theatre criticism, which during this period also experienced fundamental transformations both in genre-style and in ideological aspects. Thus, the article analyzes the development of theatre criticism in the context of artistic phenomena of the second half of the 1930s–1940s. Objectives and methodology of the research. The objective of this study is to analyze the difficult period of stylistic changes in the T. Shevchenko Kharkov Theatre in the second half of the 1930s–1940s, that was at the stage of formation of socialist realism in the Ukrainian art, from the viewpoint of theatre criticism of that time. System-historical and comparative-historical methods were used in the study. The results of the study. On the basis of the press reports on the activities of the T. Shevchenko Kharkov Theatre the most important features and tendencies inherent in theatrical criticism of this period have been derived. The article deals with editions, in which during the period under study the materials about the T. Shevchenko Theatre appeared most often. These are, in particular, Kharkov newspapers «Krasnoye Znamia», «Sotsialisticheskaya Kharkovshchina», Kiev editions «Sovetskoye Iskusstvo», «Sovetskaya Ukraina», «Kievskaya Pravda», «Pravda Ukrainy», «Literatura i Iskusstvo», «Komsomolskaya Ukraina», «Proletarskaya Pravda», «Literaturnaya Gazeta». The articles about the tour performances of the T. Shevchenko Kharkov Theatre were published in the editions of other cities, including the newspapers «Bugskaya Zarya» (Nikolaev), «Dnepropetrovskaya Pravda», «Zarya» (Dnepropetrovsk), «Bolshevistskaya Pravda» (Vinnitsa), «Lvovskaya Pravda», «Svobodnaya Ukraina» (Lviv), «Voroshilovgradskaya Pravda» (Luhansk), «Moskovskiy Bolshevik», «Komsomolskaya Pravda», «Trud» (Moscow). Since 1933 the theatre had its own edition – «Berezilets», which in 1935 got a new, ideologically correct name – «Za Sotsialisticheskiy Realizm» («For Socialist Realism»). The article outlines the circle of authors who practiced the theatre criticism professionally. It should be noted that the activities of the T. Shevchenko Kharkov Theatre at that time was often described by journalists who published the notices occasionally. Among those who analyzed the theatrical process systematically, the most attention deserve the following critics: V. Morskoy, L. Livshits, B. Milyavsky, V. Chagovets, Y. Shovkoplyas, G. Gelfandbein, A. Gozenpud, V. Gavrilenko, A. Kostrov, A. Lein, D. Zaslavsky, Ya. Gan, Y. Pavlovsky. The critical notices by writers V. Sukhodolsky, Yu. Martych and L. Dmiterko have been considered separately as examples of a rather original glance at the performances and presence in the text of an expressive author’s style. During this period, under the pressure of strict ideological control over the art, quite stable canons of compiling notices were formed and took root, almost not allowing a critic to display his individuality. Among the features peculiar for the theatre criticism there were the uniformity of the titles of articles simply stating the play name, an extremely rare manifestation of specific position of the author regarding the stage work and transition to the level of figurative or conceptual understanding. The main matter of the analysis was rather the performance content, its subject, but not the means by which it is embodied; more attention was paid to the literary source, and not to the performance. In the first part of the notice, the play subject was usually explained from the standpoint of party ideology, often using the quotes from Soviet leaders’ speeches. Usually in a notice, the close attention was paid to acting and the actors performing the main roles. This peculiarity reflects disclosure of the new facets of talent of a number of actors of the T. Shevchenko Kharkov Theatre of that period. It should be noted that actor’s individuality of I. Maryanenko, V. Chistyakova, M. Krushelnitsky, L. Serdyuk and others was displayed more powerful than in «Berezil». Giving priority to an actor in theatre criticism to a certain extent levelled the producer’s role. At that time, the palette of stage producer’s means should not was to be going beyond strict aesthetic requirements. It was necessary to remain in the stylistic framework of a life-like presentation, when a producer was fully focused on the actors, and M. Krushelnitsky, L. Dubovik, R. Cherkashin and others did it skilfully. The best examples of theatre criticism contained careful analysis of originality of their production. A notice briefly described the scenography and sometimes the composer’s work. The final part contained a laconic conclusion. On the one hand, such a scheme of compiling notices impoverished the critic’s possibilities, his freedom in expressing thoughts, and on the other hand, it set a clear structure for presenting the material. In this period, as it has been at all times, the performance notices remained the most popular genre of theatre criticism. Portraits of actors were printed occasionally. Interviews were rather rare (usually with a producer). Conclusions. Theatre criticism of the second half of the 1930s–1940s existed in strict limits dictated by ideological reasons, because of which it only partially elucidated the stylistic changes that took place in the T. Shevchenko Kharkov Theatre in this period. For an objective analysis of the activities of the theatre, it is necessary to address to a wide range of sources, in particular the recollections of the direct participants of the then theatrical process that were published later, in period of ideological “thaw”.
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Anan, Nobuko. "Theatrical realism in manga: Performativity of gender in Minako Narita's Alien Street." Journal of Adaptation in Film & Performance 12, no. 3 (December 1, 2019): 133–41. http://dx.doi.org/10.1386/jafp_00002_1.
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Abstract This article examines different conceptions of realism in theatre and manga by focusing on gender performance in Minako Narita's manga, Alien Street (1980‐84). It depicts a male actor who plays female roles in realist theatre productions. I argue that the believability of this gender performance stems in part from the conventions of manga realism, where non-realistic signs are used to mark gender distinctions. However, in contrast to these conventions, this manga also highlights the performative nature of gender by revealing how a realist stage forces the performers to cite and repeat the conventional gendered practices. In doing so, Alien Street mixes manga and theatre realism and complicates our understanding of gender conventions.
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Zambrzycka, Marta. "Tradycja modernizmu i awangardy w ukraińskim malarstwie II połowy XX wieku." Studia Ucrainica Varsoviensia 6 (April 20, 2018): 397–416. http://dx.doi.org/10.5604/01.3001.0011.7999.
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The subject of the article is the infl uence of the Ukrainian modernism tradition and avant-garde on painting evolving in the second half of the 20th century in the Ukrainian Soviet Socialist Republic. The author of this article focuses on trends that do not correspond with the aesthetics of socialist realism being developed in opposition to it. The subject of the analysis is the generation work that debuted during the “Khrushchev Thaw” (1956–1964), called the generation of the sixties or nonconformists. The fi rst term includes painters, writers, poets, cinema and theater makers, as well as social activists. The second term both narrows the fi eld of interest to visual arts and extends the timespan from the Khrushchev Thaw to Perestroika.
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Shchukina, Yuliia. "Oleksandr Ivashutych, a student of Les Kurbas, as a universal figure in the theater of musical comedy." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 345–57. http://dx.doi.org/10.34064/khnum2-19.20.
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Background. Analyzing the origins of the school of Kharkiv Academic Theater of Musical Comedy, we cannot ignore its founders. People’s Artist of the UzSSR O. Ivashutych was a director, head of the theatre (during the 1940s), drama actor from the year of its founding (1929) to 1971. Methods and novelty of the research. The research is based on historicalchronological, biographical, typological, and comparative methods with an element of performances and roles reconstruction. Not much is known about O. G. Ivashutych. The only encyclopedic reference about him (from the “Encyclopedia of Modern Ukraine”) does not shed light on the director’s method, indirectly giving an idea only of the acting range. The work of Yu. Stanishevsky (1970) on the first forty years of musical comedy theaters of Ukraine (“Colors of Ukrainian operetta”) has several useful elements of reconstructions of the roles in the early period of O. Ivashutych’s work. N. Yermakova’s (2012) monograph “The Berezil Culture…” contains facts and important assessments of O. Ivashutych’s activity as a member of the Berezil Art Association. The author of this paper has collected more than 30 articles in the funds of scientific libraries and Specialized music and theater library of Kharkiv, as well as in the archives of KhATMK, and for the first time the information about the work of O. Ivashutych is analyzed. In addition, the actresses who worked with O. Ivashutych were interviewed. Therefore, this study is the first to reveal and systematize peculiarities of the creative path of O. Ivashutych, an actor, director, head of Kharkiv Theater of Musical Comedy. The director made about 40 productions on the stage of Kharkiv Theater of Musical Comedy and in Central Asia, where he was later evacuated. As an actor, O. Ivashutych played more than 100 versatile roles. The article aims to identify and characterize the main stages of the creative path of O. Ivashutych as well as differences between his acting and directing in different aesthetic eras. Results. O. Ivashutych’s creative individuality leaned towards the tragicomedy of Charlie Chaplin and Maryan Krushelnytsky. As a student of Les Kurbas in the Berezil Art Association and a member of the director’s laboratory of this theater, Les Ivashutych mastered the method of the famous avant-garde company, Les Ivashutich mastered the stage method of the famous avant-garde company, skillfully building rhythm of a performance and a role, turning to circusize, grotesque sharpening of images. In his directing work on the stage of the Musical Comedy Theater, O. Ivashutych, as a pupil of “The Berezil”, sought to consistently develop two repertoire trends: the embodiment of the best European classics (often exclusive in the country salon repertoire) and Ukrainian works (musical comedies and operettas by M. Verykivsky, M. Lysenko, O. Riabov). In our opinion, during these years L. Ivashutych drew a dash line of the European repertoire in his theater: he presented unique in the history of Kharkiv Theater of Musical Comedy operettas “The Borgia’s Garter” by K. Kraus, “Jeanne Who Cries and Jean Who Laughs” by J. Offenbach, “Ball at the Savoy” by P. Abraham (1940), “The Marriage Market” by V. Jacobi (1947), “The Eagle Feathers” by F. Farkas (1957), “Fraskita” by F. Lehár (1959), “The Waltz King” by J. Strauss (1961) and the first productions of famous operettas “Rose Marie” by G. Stotgardt and L. Friml (1942), “The Circus Princess” (1947), “Zorika (Gypsy Love)” by F. Lehár (directed by O. Ivashutych in the year of the composer’s death). In addition, O. Ivashutych staged four performances based on the musical comedies of the classic of Ukrainian operetta O. Riabov. The only performance, which could directly reveal the methodology of “The Berezil” was a fantastic comedy “Viy” (1951). The director also impressed with frank theatricality in circus scenes from the Milyutin’s operetta “Circus lights the fires” – together with choreographer A. Gulesco he managed to set up the style related to “girls” from “The Berezil” revues. Conclusions. Olexandr Ivashutych’s acting naturally evolved from the avantgarde of the 1920s – early 1930s, when he created, in particular, an eccentric image of Orpheus in the production of J. Offenbach, to the realistically psychological roles of 1950–1960, performed in a soft comedic manner (Amadeus in “The Bat”, Rooster in “Akulini”, Underwud in “The Kiss of Cianita”). L. Ivashutych worked as a director only during the period of the theater of “socialist realism”, which resulted in the corresponding realistic principles of his productions. However, even in such circumstances the director appreciated and skillfully used bright elements of theatrical imagery (fantasticality in “Viy” by M. Gogol, choreography in the spirit of the revue in “Circus lights the fires”). O. Ivashutych’s activity in Kharkiv Theater of Musical Comedy was based on the significant personal culture of the artist and his worldview of an intelligent leader.
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김경남. "The Meaning of the Realism Theater View Presented in the Latter Play of Cha Beom Seok - Centered on , , -." Journal of Korean drama and theatre ll, no. 48 (June 2015): 194–239. http://dx.doi.org/10.17938/tjkdat.2015..48.194.
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Subashi, Esmeralda. "Tennessee Williams's Dramatic World." European Journal of Language and Literature 3, no. 1 (December 30, 2015): 77. http://dx.doi.org/10.26417/ejls.v3i1.p77-82.
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Tennessee Williams has been regarded as the greatest Southern dramatist and one of the most distinguished playwrights in the history of American drama. He is undoubtedly the most renowned American dramatist of the second half of the 20th Century. This paper addresses and explores some of the main features of his dramatic works. His drama was a lyric or poetic one, and that is why the critic and scholar Frank Durham referred to him as “Tennessee Williams, theater poet in prose”. When David Mamet describes William’s plays as “the greatest dramatic poetry in the American language”, he shares the widely accepted opinion that Williams brought to the language of the American theater a lyricism unequaled before or after. He infuses his dialogue with lyrical qualities so subtle that the reader or hearer, unaware, responds not to realistic speech but, instead, to speech heightened by such poetic effects as alliteration, rhythm, onomatopoeia, and assonance. As a Southern writer, Williams was attuned to the natural rhythm and melody of Southern speech, a melody, he says, heard especially in the voices of women. Characterization is one of Williams’s strongest achievements as a dramatist. His people are imaginatively conceived yet so convincing that it is tempting to take them out of context and theorize about their lives before and after the action of the play. In place of realism, which stressed photographic duplication of the actual, a style that had dominated American stage for four decades, Williams insisted on a theater that was “plastic” that combined all the elements of production- dialogue, action, setting, lighting, even properties- in a unified, symbolic expression of a truth.
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Brown, Pete. "Telling the Truth in Historic Houses: How Substitutes Can Be Authentic." Collections: A Journal for Museum and Archives Professionals 16, no. 1 (February 17, 2020): 94–103. http://dx.doi.org/10.1177/1550190620904795.
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Many historic house museums are a hotchpotch of architectural styles, furnishing, and fittings, reflecting the tastes and financial situations of generations of owners, and therefore rarely entirely “genuine” or complete. A few examples have been “frozen” at a point in time and remain an unchanging representation of the lives of the last owners, while others are carefully constructed art installations or pieces of theater. And yet, over centuries, museums have cultivated an aura of authenticity which leads visitors to assume that what we show them is “the real thing,” even if the evidence in front of them suggests the opposite. This case study explores two questions: by allowing historic house visitors to believe that what they are seeing is original (when it is not), are we jeopardizing a relationship based on trust? And conversely, will revealing the truth destroy the aura of realism that attracts our audiences in the first place?
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Vakhmistrova, Svetlana I. "S. Mamontov and V. Telyakovsky as two fields of attraction in the fate of F. Chaliapin1 and the Russian opera theater." Historia provinciae – the journal of regional history 5, no. 1 (2021): 146–82. http://dx.doi.org/10.23859/2587-8344-2021-5-1-4.
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Using meaningful historical material, the article explores the parallels of the creative careers of such great developers of the Russian opera of the late 19th – early 20th centuries as F. Chaliapin, S. Mamontov, and V. Telyakovsky. It was the period of rapid development of innovative stage direction, vocal art, and stage design. The outstanding organizers of theater business S. Mamontov and V. Telyakovsky were at the heart of that creative seething. Being representatives of different social strata (the merchant class and higher nobility), they attracted vivid talents and opened them the way of the private and state opera, respectively. The flourishing of operatic art led to a completely new level of performance. F. Chaliapin and a number of other outstanding representatives of Russian opera began their careers at that time. S. Mamontov’s Private Opera which played a significant role in the development of Russian operatic art was founded in 1896. The repertoire of this theater consisted of works by Rimsky-Korsakov, Mussorgsky, and Borodin. Innovative approaches to the opera performance which was considered as a living synthetic phenomenon integrating the concepts of production and stage design were implemented on the Russian stage for the first time. In its productions, Mamontov’s Private Opera used the principles of realism, which corresponded to the spirit of the works performed. Meanwhile, the development of Russian opera during this period was taking place against the background of complex social relations which aggravated many contradictions both in the life of the society as a whole with its differentiation into metropolitan and provincial life, and in the life on the stage with its specific very mobile interpersonal communications. The article focuses on the careers of S. Mamontov, F. Chaliapin, and V. Telyakovsky. Each of them made an invaluable contribution to the development of Russian opera. From the perspective of the historical culturological approach, the article examines the complicated relationship between the prominent Russian philanthropist and theater director Savva Mamontov, the flexible administrator Vladimir Telyakovsky, and the outstanding opera singer Feodor Chaliapin, and their influence on the formation of the personality of an opera performer and on the development of operatic art in Russia as a whole. The article presents abundant documentary evidence of the peculiarities of their relationship which ultimately determined the vector in the development of the Russian opera theater.
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Mrkalj, Zona. "Literary-critical thought in the interwar journal “Our Reality” (1936-1939)." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 81 (2015): 65–78. http://dx.doi.org/10.2298/pkjif1581065m.
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This work is a part of a comprehensive study of the role and importance of the magazine ?Our Reality? (1936-1939) and is an extension of the already published works by the same author: ?Our Reality? in the forties of the twentieth century, Twilight of lyric poetry in ?Our Reality? and the philosophical background of ?Our Reality?, the journal of literature, science, art and all the social and cultural issues. In addition to numerous critical articles about the old and new literary creations of writers who have worked in the interwar period, or those whose ideas were in line with program definition of this magazine, in ?Our Reality? are systematically published and peer reviews on literature and other arts, and are parallel presented as literary, theater, art, music and the film critique. Interesting views of the editorial and other staff of ?Our Reality? (Djordje Jovanovic, Jovan Popovic, Milos Savkovic, Alexander Vuco, Milovan Djilas, Radovan Zogovic, Velibor Gligoric ...) represent a valuable testimony of literary ideology based on the principles of engaged literary expression and based in social realism.
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Philips, Dougal. "Capitalist Realism and the Refrain: The Libidinal Economies of Degas." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 3 (May 1, 2011): 69. http://dx.doi.org/10.12681/syn.16921.
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This article looks to the work of Degas as an exemplar of a kind of Capitalist Realism, a kind of second generation realism following on from the earlier work of Courbet and Manet. It is posited here that Degas took up the mantle of a ‘corporeal’ realism distinguished from the Impressionists by its nuanced approach to the realism of the body, in particular to its place in the Parisian network of capital and desire. Degas’s paintings and his experiments with photography mapped two spaces: the space of the libidinal and capitalist exchange (theatre, café, stock-exchange) and the space of the production of painting. Further, Degas attempts to represent his own disappearance into both these spaces. Degas continued the politicised social project of realism but with a personalised, modernised vision that prefigures the realisms of the twentieth century.
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Michael, Kobi, Rob Geist Pinfold, Nadav Shelef, Hayim Katsman, Paul L. Scham, Russell Stone, Haim Saadoun, et al. "Book Reviews." Israel Studies Review 34, no. 2 (September 1, 2019): 144–68. http://dx.doi.org/10.3167/isr.2019.340209.
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Stuart A. Cohen and Aharon Klieman, eds., Routledge Handbook on Israeli Security (New York: Routledge, 2018), 350 pp. Hardback, $220.00.Wendy Pearlman and Boaz Atzili, Triadic Coercion: Israel’s Targeting of States That Host Nonstate Actors (New York: Columbia University Press, 2018), 367 pp. Hardback, $65.00.Dmitry Shumsky, Beyond the Nation-State: The Zionist Political Imagination from Pinsker to Ben-Gurion (New Haven, CT: Yale University Press, 2018), 320 pp. Hardback, $40.00.Moshe Hellinger, Isaac Hershkowitz, and Bernard Susser, Religious Zionism and the Settlement Project: Ideology, Politics, and Civil Disobedience (New York: SUNY Press, 2018), 348 pp. Hardback, $95.00.Avi Sagi and Dov Schwartz, Religious Zionism and the Six-Day War: From Realism to Messianism (New York: Routledge, 2018), 134 pp. Hardback, $140.00.Yoav Peled and Horit Herman Peled, The Religionization of Israeli Society (New York: Routledge, 2018), 250 pp. Hardback, $150.00.Joel Peters and Rob Geist Pinfold, eds., Understanding Israel: Political, Societal and Security Challenges (New York: Routledge, 2018), 292 pp. Hardback, $145.00. Paperback, $51.95. Kindle, $25.98.Orit Bashkin, Impossible Exodus: Iraqi Jews in Israel (Stanford, CA: Stanford University Press, 2017), 320 pp. Hardback, $85.00.Shapiro Prize Winner: Diego Rotman, The Stage as a Temporary Home: On Dzigan and Shumacher’s Theater (1927–1980) [in Hebrew] (Jerusalem: Magnes Press, 2017), 354 pp. Paperback, $33.00.
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Virchenko, Tetiana, and Roman Kozlov. "Ukrainian Intellectual Drama of the 2000s." Revista Amazonia Investiga 10, no. 38 (April 12, 2021): 39–50. http://dx.doi.org/10.34069/ai/2021.38.02.4.
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In spite of the presence in contemporary scientific works, the terms ‘intellectual drama’ and ‘intellectual theater’ have blurred boundaries. The aim of the article is to identify productive genres and methods of intellectualization in Ukrainian drama of the 2000s. The category of genre was taken as the basis for material structuring. Genre analysis is combined with a poetics analysis of a literary work and an analysis of theatrical techniques that promote intellectualization. Regardless of the genre determined by a writer for a work, no matter what generation an author identifies himself with, the play-writers are common in the importance of keeping eye on the today’s world. But this does not condition the realism of the content of scripts or when performed on the stage. The study confirms that parable drama, intellectual and philosophical drama, biographical drama, drama of the absurd belong to the actual genres of intellectual drama. The synthesis of styles, arts, and acting provocations is dominated on the Ukrainian stage of the 2000s. Escalation of conflict is emphasized by means of special stage features (a moving platform, specific color or sound, etc.). The conflict of self-identification is among the variety of inner conflicts presented in plays.
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Vassiliev, Anatoli. "Studio Theatre, Laboratory Theatre." New Theatre Quarterly 25, no. 4 (November 2009): 324–32. http://dx.doi.org/10.1017/s0266464x0900061x.
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Anatoli Vassiliev must be ranked with the most prominent of the internationally acclaimed directors of the late twentieth century and the beginning of the twenty-first; and history will surely place him among the great director-researcher-pedagogues of the Russian and world theatre, starting with Stanislavsky and including Meyerhold and Vakhtangov. In this conversation, Vassiliev discusses the unique situation of theatre activity in Russia in the early decades of the twentieth century, where the studio, or laboratory, was integral to the very life of the theatre as a specific, collaborative, and ensemble practice and a comprehensive artistic institution. He situates the School of Dramatic Art, which he founded in 1987, in this context, extending the latter's reach to Maria Knebel and Andrey Popov, who were his teachers on the directing course at GITIS in Moscow (State Institute of Theatre Art, now known as the Russian Academy of Theatre Art). He graduated from GITIS in 1973. Vassa Zheleznova, referred to in this interview, was the acme of Vassiliev's explorations of psychological realism, after which he developed forms of what he calls ‘play structures’ (or ‘ludic structures’). Actors working in these structures project externally in clearly articulated ways rather than go inwards, towards and within emotional states of being, as is typical of psychological-realist performance in the Russian tradition. Vassiliev's reversal of established performance modes led to his current preoccupation with ‘verbal structures’, which are underpinned by his understanding of words as ideas oriented to symbolic and metaphysical sense rather than to psycho-emotional interpretation. The spatial and luminary dimensions of play, together with movement, music, and song that is formal, operatic, rather than in any other kind of vein, defines such later works as Mozart and Salieri (2000) and Onegin's Journey (2003). They have won him great acclaim in Russia and abroad for their innovative approach outside the parameters not only of realism but also of a range of other familiar aesthetic configurations. Vassiliev has directed productions in various countries in Europe, and has also conducted prolonged research workshops as well as working demonstrations there. In this conversation, which took place in June 2009, Vassiliev refers to several underlying principles of his work and reflects upon the importance to him of Grotowski, his last mentor.
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SUHANJOYO, SHIRLY NATHANIA. "KAJIAN RUANG DAN CAHAYA SEBAGAI TANDA PADA PERISTIWA TEATER REALIS." Serat Rupa Journal of Design 1, no. 2 (January 19, 2018): 306. http://dx.doi.org/10.28932/srjd.v1i2.455.
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Realism in theatre brings in reality of life through stage illusion accompanied with signs that can be applicated for event’s truth attainment. This make the aesthetics of art can be completely felt.Sign in space can be functioned as illustration that brings in act and atmosphere in theatre and it can be explained by arrangement of space and all of its elements. This arrangement is set as one unity such as forms, colors and materials, in order to make those elements support each other in its display. In a realist theatre show,lighting role important; lighting can show object and strengthen act, atmosphere, emotion in order to create act according to concept and further become symbol of script needs. Qualitative and interactive description is applied in order to analyzing space context connected to visual sign system. This system is used in stage, while for the lighting;intensity, color, distribution and movement apply it. Analysis result of space and light as sign explains that human do feel space and its affair into a representation of real life, therefore understanding of script is needed in order to better create the concepts and its imagination. Keywords: element; realist; semiotic; stage
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Martí Mestre, Joaquim. "Els fraseologismes en l’obra dramàtica d’Eduard Vidal i Valenciano." Revista de lenguas y literaturas catalana, gallega y vasca 24 (January 15, 2020): 81. http://dx.doi.org/10.5944/rllcgv.vol.24.2019.26408.
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En aquest article s’estudien les unitats fraseològiques en l’obra dramática d’Eduard Vidal i Valenciano, un dels impulsors del teatre català contemporani. El caràcter costumista i realista d’aquest teatre comporta un treball elaborat sobre el llenguatge, que inclou una rica fraseologia, reflex del llenguatge popular i col·loquial. Seguint el mètode filològic i els coneixements de la lexicografia històrica, centrem el nostre estudi especialment en les unitats fraseològiques no enregistrades en els diccionaris o que adquireixen en Vidal un sentit diferent al conegut, i, tenint en compte els estudis metodològics sobre la variació fraseològica i els coneixements de la dialectologia, s’estudien les variacions i les modificacions creatives sobre les unitats fraseològiques, i la manera com s’evidencia la variació dialectal en aquestes unitats.Our aim in this contribution is to focus attention on the phraseological units of the theatrical work of Eduard Vidal i Valenciano, one of the promoters of contemporary Catalan theater. The realism of this theatrical production involves a detailed work about the language. This work includes a rich phraseology taken from colloquial language. In accordance with the philological and comparative method and with the researches in historical lexicography, we focus on idiomatic expressions that don’t appear in dictionaries or that have a special meaning in the theatrical work of Eduard Vidal i Valenciano. Furthermore, taking into account the methodological studies on phraseological variation and the dialectological research, we study the variations on phraseological units.
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Bogdanova, Olga. "Bibliography of Georgy Chulkov’s literary and critical works of 1903 –1922." Literary Fact, no. 16 (2020): 413–35. http://dx.doi.org/10.22455/2541-8297-2020-16-413-435.
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Bibliography of literary and critical works (books, articles, reviews, conversations, notes, “letters”, etc.) by Georgy Ivanovich Chulkov (1879 –1939), compiled and published on these pages for the first time, gives an idea of the range of creative interests and the evolution of aesthetic views of one of the major literary and cultural figures of Russian Symbolism in the first two decades of the 20th century. Poet, translator, novelist, playwright, literary critic and journalist, publisher, and since the 1920s also a literary critic, who created serious scientific works about A.S. Pushkin, F.I. Tyutchev, F.M. Dostoevsky and other writers, and memoirist, author of valuable memoirs about the literary life of the Silver Age “Years of travel” (1930), Chulkov was also a sensitive theater and art critic, who collaborated with V.F. Komissarzhevskaya, V.E. Meyerhold, M.V. Dobuzhinsky, E.E. Lansere, Z.A. Serebryakova and others. Having linked his creative fate with such iconic magazines of the Silver Age as “Novyi put'”, “Voprosy zhizni”, “Zolotoe runo”, and then “Narodopravstvo”, whose editorial policy he influenced and in some cases determined, Chulkov often and regularly acted as a literary critic, ideologist of literary trends of “mystical anarchism” and “mystical realism”, a fighter for the social and national significance of contemporary literature. Chulkov's literary criticism is not only an important part of his creative legacy, but also an irreplaceable feature of the complex and diverse literary movement of the first two decades of the 20th century
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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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Gottlieb, Vera. "Theatre Today - the 'new realism'." Contemporary Theatre Review 13, no. 1 (February 2003): 5–14. http://dx.doi.org/10.1080/104868003200063487.
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Staniskyte, Jurgita. "Treading the Borderline." Nordic Theatre Studies 26, no. 1 (October 1, 2018): 32–43. http://dx.doi.org/10.7146/nts.v26i1.109732.
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Duringthesecond decadeof theIndependence, i.e. at thebeginningof thetwenty-first centurythe increasing number of performances trying to escape the tradition of anti-mimeticrepresentation and to re-engage with reality appeared on the Lithuanian theatre stage.Fragments of everyday reality, ?real?personalities onstage, autobiographic narratives, historicdocuments, authentic spaces were becoming increasingly popular, allowing some critics toproclaim theeagerly awaited ?return to realism?. However, acloser analysisof thistendency ofcontemporary Lithuanian theatre can lead one to believe that such performances do notdemonstratetheurgeto return to thetraditional notion of realist representation, but rather toplayfully flirt with reality and its reception in the fictional world of theatre. In the light oftheoretical and practical revisions of the concepts of reality and its representation, youngLithuanian theatrecreatorsarenot somuch interested in truthful representation of reality, butrather in a performative investigation of processes of representation and their effects onaudience perception. One might add that while engaging with the codes of reality or ?real?material onstage, contemporary Lithuanian artists try to dismantle the binary oppositionbetween realistic representation and anti-realistic playfulness, which dominated the symbolicmentality of modern Lithuanian theatre. Various forms of playing with reality and fiction onthe Lithuanian theatre stage, their underlying principles and wider cultural implications ofsuch games are the object of investigation of this article. A comparative analysis ofperformances from Lithuania and Estonia will help to highlight the specific character ofLithuanian theatre as well as to define the patterns of playing with reality present on thepost-Soviet Lithuanian stage.
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DIAMOND, CATHERINE. "The Palimpsest of Vietnamese Contemporary Spoken Drama." Theatre Research International 30, no. 3 (October 2005): 207–22. http://dx.doi.org/10.1017/s030788330500146x.
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Unlike most Southeast Asian theatres, Vietnam has created a sizeable corpus of scripted spoken dramas that continue to be popular in performance with urban audiences. Initially influenced by French classicism and Ibsenist realism, the Vietnamese spoken drama, kich noi, very quickly adapted to local social realities and survives by readily incorporating topical subjects. While keeping abreast of current social issues, the theatre nonetheless makes use of its multi-cultural heritage, and in any given modern performance one can see the layers of influence – traditional Sino-Vietnamese hat boi/tuong; Vietnamese cheo theatre, Cham dance, French realism, Soviet constructivism and socialist realism, and most recently, western performance art. The Vietnamese playwrights, set designers, directors, and actors have combined aspects of the realistic theatre with the conventions of their suppositional traditional theatre to come up with a hybrid that is uniquely Vietnamese. It is argued that these manifold layers should be regarded as a kind of palimpsest rather than just as pastiche.
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Shamina, Vera B. "MEET JOHN BRENDAN KEANE ON RUSSIAN SCENE." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 3 (September 1, 2020): 80–94. http://dx.doi.org/10.18522/2415-8852-2020-3-80-94.
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The article off ers a commentary on a selected fragment of the Russian translation of the play “Th e Field” by the contemporary Irish playwright John Brendan Keane, which was fi rst staged at the annual theater festival in Perm in October 2020. Th e choice of this play as one of the main events of the international Martin McDonagh Festival is explained. Th e article highlights the scale of the festival program, which since 2014 includes performances from 57 countries; the role of organizational and creative initiatives of the theater “At the Bridge” (dir. Sergey Fedotov), creative interpretations of Irish realias and artistic ideas of playwrights on the stage of Russian theaters; an active reception of art critics and the festival-goers. Special attention is paid to the creative idea and cultural contexts of Keane’s play “Th e Field”, as well as the tasks faced by the translator of the play into Russian.
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Василенко, Вадим. "Between small village and world: trilogy “Ost” by Ulas Samchuk." Слово і Час, no. 1 (February 20, 2020): 3–28. http://dx.doi.org/10.33608/0236-1477.2020.01.3-28.
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The paper considers the trilogy of novels by Ulas Samchuk “Ost” as a genre variety of a family chronicle. The main issues are its genre nature, correlation of the work with traditions of the classic Ukrainian novel and the modern novel forms, its relation to the concept of “high literature”, the ideological and aesthetic views of the author.
The main point of the paper is the interpretation of Ulas Samchuk’s novel as an attempt to implement the idea of high literature substantiated by him. The concept of high literature in Ulas Samchuk’s sense is related to the concept of classical literature, and the very idea of literary work in exile is connected with the idea of the lost statehood.
The realistic basis of Ulas Samchuk’s novels originates in his understanding of realism as an artistic style and principle of depicting reality, the “universal key to the door of reality”. At the same time, the researcher testifies to the blurring of style shapes in Ulas Samchuk’s postwar prose and points to the combination of realistic traditions and modernist tendencies in it.
Focusing on the concept of generation and family in the novel, the author emphasizes the relations between the generations, because each one plays its significant role in the complex drama of the family and national histories. The family, as the subject of action and one of the main actors in the theater of history, becomes a symbolic embodiment of the trauma generated by history.
The notion of idyllic chronotope is connected with the sacred space of family, the motive of searching harmony. The basic element of such chronotope is the topos of hamlet as a form of ideal national existence. The idea of destroying the hamlet during the revolution is related to the process of destroying the family idyll. In general, the history of Moroz’s family in Ulas Samchuk’s novel is a reflection of the national history, and the destroyed space of the family is a field in which the Soviet totalitarianism repressive mechanisms were tested.
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Bisaha, David. "Theatre, Communication, Critical Realism (review)." Theatre Journal 64, no. 2 (2012): 303–4. http://dx.doi.org/10.1353/tj.2012.0041.
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Rapetti, Valentina. "La rinascita della tragedia dallo spirito del blues nel teatro di August Wilson." Le Simplegadi 18, no. 20 (November 2020): 147–61. http://dx.doi.org/10.17456/simple-163.
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Born in 1945 in Pittsburgh, Pennsylvania, August Wilson was the most prolific and represented African American playwright of the twentieth century. His Century Cycle, a series of ten plays that chronicle the lives of African Americans from the early 1900s to the late 1990s, is an expression of Wilson’s spiritual realism, a form of drama that, while adhering to some conventions of the Western realist tradition, also introduces elements of innovation inspired by blues music and Yoruba cosmology. This essay analyses the double cultural genealogy of Wilson’s work to show how, despite respecting the Aristotelian principle of mìmesis, his playwriting draws on a quintessentially black aesthetic. In conceiving of theatre as a ritualistic performative context where music and words intertwine, Wilson restored what Friedrich Nietzsche regarded as the authentic spirit of Greek tragedy – the harmony between Dionysian and Apollonian – while at the same time injecting an African American ethos into the Western theatrical canon.
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CHATTERJEE, PARTHA. "Theatre and the Publics of Democracy: Between Melodrama and Rational Realism." Theatre Research International 41, no. 3 (October 2016): 202–17. http://dx.doi.org/10.1017/s0307883316000419.
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The theatre that developed in late nineteenth-century India, especially in the Bengal and Maharashtra regions, catered to an audience that was much wider than the new educated middle-class males who introduced the European stage form in Kolkata, Mumbai and Pune. Driven by private capital, the new Indian theatre adopted the melodrama as its main dramatic form. When performance capital shifted to the more lucrative field of cinema in the middle of the twentieth century, the melodramatic form again became the chief narrative mode. Such is its power that it has become the principal rhetorical form of popular democracy in India. In the decades after independence, theatre was rescued from imminent death by the support provided by state agencies which sponsored the production of a national theatre canon and style, as opposed to the prevailing regional ones. However, with bureaucratization and political interference, theatre in India today must revert to its one inherent superiority over the cinema – the immediacy of its encounter with small audiences.
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Watson, Anna. "Norwegian Political Theatre in the 1970s: Breaking Away from the “Ibsen Tradition”." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 50. http://dx.doi.org/10.7146/nts.v28i1.23972.
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The dominant theatre aesthetic in Norwegian theatre has been, and remains at large to be, psychological-realism and the bourgeois “living room drama”. In a Norwegian context this tradition is best represented by Henrik Ibsen’s dramas, staged at Nationaltheatret and Den Nasjonale Scene. However, throughout the 20th century there have been several attempts to break with the “Ibsen tradition”, especially among left-wing political and socially engaged theatre-makers and playwrights such as Gunvor Sartz, Olav Daalgard, and Nordahl Grieg in the 1930s, and Jens Bjørneboe and Odin Teatret in the 1960s. I argue that the clearest and most decisive break with Realism and the Aristotelian dramaturgy, in a Norwegian political theatre context, was made in the late 1970s, instigated by the independent theatre groups Perleporten Teatergruppe and Tramteatret. Their break did not only constitute an aesthetic and dramaturgical break, but also a break in organizational terms by breaking the hierarchy of the institutional theatre ‘machine’. Perleporten Teatergruppe and Tramteatret aimed at making a political, progressive theatre both in form and content. Perleporten and Tramteatret were both inspired by contemporaneous political and experimental theatre in Europe and Scandinavia as well as by the historical avant-garde experiments, and, for Tramteatret’s part, the workers' theatre movement from the 1920s and 30s in their search for a theatre that could express the social and political climate of the day. In this article, I will place Tramteatret and Perleporten Teatergruppe’s debut performances Deep Sea Thriller (1977) and Knoll og Tott (1975) within a historiographical and cultural-political context.
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Harari, Dror. "and the Tradition of 1960's New Realism: Between Theatre and Art." Samuel Beckett Today / Aujourd'hui 22, no. 1 (October 1, 2010): 423–33. http://dx.doi.org/10.1163/18757405-022001029.
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While Beckett's minimalism seems to draw his theatre further into its centre of gravity, it also pushes it in a counter move to its medial boundaries. This article examines Beckett's most compact piece, (1969), in the context of the major changes in the art world of the 1960s – particularly, the emergence of “new realist” sensibility in France – and suggests its consideration as a manifestation of “new theatre,” which blurs the line between theatre and the plastic arts.
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Lacey, Stephen. "Naturalism, Poetic Realism, Spectacle: Wesker's ‘The Kitchen’ in Performance." New Theatre Quarterly 12, no. 47 (August 1996): 237–48. http://dx.doi.org/10.1017/s0266464x0001023x.
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When Stephen Daldry took over the artistic directorship of the Royal Court in 1994, the first play he chose to direct was a revival of one of the great successes of the theatre's early occupancy by the English Stage Company, Arnold Wesker's The Kitchen. In the following article, Stephen Lacey sees this as in part a defining statement of Daldry's own relationship to the theatre and its traditions, and he offers a detailed comparison between Daldry's production and John Dexter's original in 1959, as revived in 1961. Exploring in particular the directors' – and the designers' – differing perceptions of the elements of naturalism and theatricality which co-exist in the play, he also contrasts Dexter's end-on use of the Court's picture-frame stage with Daidry's reconstruction of the theatre to provide an in-the-round ambience. This, he suggests, is emblematic of a new relationship not only between the play and its audience, but of changed perceptions between the 'fifties and the 'nineties concerning the nature and potential of social realism in the theatre.
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Gevorkyan, Tatiana M. "‘I live as long as I work…’." Voprosy literatury, no. 6 (December 20, 2019): 133–50. http://dx.doi.org/10.31425/0042-8795-2019-6-133-150.
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The essay is devoted to the memory of the critic, philologist and Dostoevsky scholar Karen Stepanyan. His long-time friend T. Gevorkyan carefully reconstructs their encounters as well as episodes of Stepanyan’s personal and scholarly biography: from their first meeting as first-year philology students of Yerevan university to their city walks in Moscow in the 2000s; from Stepanyan’s early student papers and essays on theatre to his later books – To Realize and to Say: ‘Realism in the Highest Sense’ as Dostoevsky’s Creative Method [ Soznat i skazat: ‘Realizm v vysshem smysle’ kak tvorcheskiy metod F. M. Dostoevskogo ] (2005), The Visitation and Dialogue in Dostoevsky’s Novels [ Yavlenie i dialog v romanakh F. M. Dostoevskogo ] (2010), and Dostoevsky and Cervantes [ Dostoevsky i Servantes ] (2013), and to the publication of the almanac Dostoevsky and World Culture [ Dostoevsky i mirovaya kultura ]. While Gevorkyan devotes plenty of attention to Stepanyan’s scholarly legacy and carefully maps its milestones, her essay primarily serves to portray his persona, that of a close and untimely departed friend.
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Pyzik, Teresa, and William W. Demastes. "Beyond Naturalism: A New Realism in American Theatre." American Literature 61, no. 3 (October 1989): 502. http://dx.doi.org/10.2307/2926860.
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