Relevant bibliographies by topics / Theater Theater Theater Actors

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
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Academic literature on the topic 'Theater Theater Theater Actors'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Theater Theater Theater Actors"

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Veksler, Asya F. "Nadezhda Bromley and Boris Sushkevich: Actors, Directors, Vakhtangov Followers (Materials for a Creative Biography)." Observatory of Culture 17, no. 5 (2020): 526–37. http://dx.doi.org/10.25281/2072-3156-2020-17-5-526-537.

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Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (A
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Morozova, Irina Pavlovna. "Theatre activity in the southern Urals at the initial period of the thaw." Samara Journal of Science 6, no. 4 (2017): 169–73. http://dx.doi.org/10.17816/snv201764211.

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The paper deals with the problems of theatre activity development in the southern Urals at the initial period of the thaw. The research objective is to define what changes happened in the theatre activity in the Southern Urals after Stalins repressions in 1953-1964. For the research the author used periodicals, archival documents, books about the theater. The research has shown that after Stalins personality cult exposure there were big theater changes in the southern Urals. People became more interested in the theatre. It was in Bashkiria where the theater developed greatly. The paper examine
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Krutova, Marina S. "“An Actor Is a Priest in Buffoon’s Clothes”." Observatory of Culture 16, no. 3 (2019): 278–89. http://dx.doi.org/10.25281/2072-3156-2019-16-3-278-289.

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The article raises the actual questions: if the theater can be Christian and who in that case the actor is — “a priest” or “a buffoon”. The purpose of this article is to consider the issue of “Christian theater” at different levels: historical, psychological, social. The article analyzes the issues of actors’ personalities formation and their religious sear­ches. There are considered the conditions of Christian upbringing in families and faith preservation in the complex historical period of the Russian history of the late 19th — mid-20th century. The no­velty of this study lies in the fact th
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Szuster, Magdalena. "Theater Without a Script—Improvisation and the Experimental Stage of the Early Mid-Twentieth Century in the United States." Text Matters, no. 9 (December 30, 2019): 374–92. http://dx.doi.org/10.18778/2083-2931.09.23.

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It was in the mid-twentieth century that the independent theatrical form based entirely on improvisation, known now as improvisational/improvised theatre, impro or improv, came into existence and took shape. Viola Spolin, the intellectual and the logician behind the improvisational movement, first used her improvised games as a WPA worker running theater classes for underprivileged youth in Chicago in 1939. But it was not until 1955 that her son, Paul Sills, together with a college theater group, the Compass Players, used Spolin’s games on stage. In the 1970s Sills made the format famous with
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Wagner, Meike. "Performing in Crisis Mode: the Munich National Theater, the Great Exhibition and the Cholera Epidemic in 1854." Pamiętnik Teatralny 69, no. 4 (2020): 39–61. http://dx.doi.org/10.36744/pt.561.

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In 1854, the city of Munich had arranged for the “First General German Industrial Exhibition” to promote German industry to the world and invited a global audience to the event. At the same time, Franz Dingelstedt, director of the National Theater, organized a festival displaying the finest actors from Germany. Right after the opening of the festival, cholera started raging in the city and leaving 3,000 deaths in the final count. The author sketches out the role of the theatre in this crisis, when Dingelstedt was ordered by the king to keep the theatre open at any cost. This appears awkward, i
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Gilula, Leah. "No Sabras in the Fields?" Israel Studies Review 36, no. 1 (2021): 128–43. http://dx.doi.org/10.3167/isr.2021.360109.

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The Cameri Theatre of Tel Aviv has always presented itself as the first repertory theater in the Yishuv that represented the sabras, creating the impression that its actors and artists were themselves mainly sabras and Hebrew their native language. However, this image, based chiefly on the successful performance of the play He Walked through the Fields, does not reflect reality. The article questions the myth by exploring the actual number of sabra theater artists and actors in the troupe, their place and measure of influence. Exposing this image sheds light on The Cameri Theatre at its beginn
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Neamțu, Carmen. "Genres of Cultural Journalism: Theatre Review." Cadernos de Literatura Comparada, no. 44 (2021): 227–38. http://dx.doi.org/10.21747/2183-2242/cad44a13.

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This paper focuses on cultural journalism and its main species. After a brief review of the main genres of the cultural writing press, I will dwell on the theater chronicle, trying to see what style of writing is circumscribed and what are the main steps in writing a theatre review. Based on my 23 years of experience as a journalist in the daily generalist and specialized cultural press (Cultural Magazine of the Romanian Writers' Union, ARCA), I dare to say that the secret of any theater review lies in the balance between the information transmitted and the journalist's comment, between the st
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Mally, Lynn. "The Rise and Fall of the Soviet Youth Theater TRAM." Slavic Review 51, no. 3 (1992): 411–30. http://dx.doi.org/10.2307/2500052.

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“Young people need their own theater, akin to their own spirit,” wrote the actor Nikolai Kriuchkov in a memoir of his life in the theater in the 1920s and 1930s. While he acknowledged that the Soviet Union had developed a network of professional Komsomol theaters aimed at youth, Kriuchkov charged that in general these theaters simply duplicated the repertoire of conventional stages. But TRAM, an acronym for the Theater of Working-Class Youth (Teatr Rabochei Molodezhi), where Kriuchov got his start, was different. “It had its own topical themes, its own character, and young people went willingl
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Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.

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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität i
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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 (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 tem
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Dissertations / Theses on the topic "Theater Theater Theater Actors"

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Shane, Rachel. "Negotiating the creative sector understanding the role and impact of an artistic union in a cultural industry : a study of Actors' Equity Association and the theatrical industry /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1158512076.

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Hedden, Jason. ""Hidden Voices: A Creation through Collaboration with Fellow MFA Actors and Community Partner Turning Point."." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392069669.

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Blasenak, Andrew Michael. "Six Companies in Search of Shakespeare: Rehearsal, Performance, and Management Practices by The Oregon Shakespeare Festival, The Stratford Shakespeare Festival, The Royal Shakespeare Company, Shakespeare and Company, Shakespeare’s Globe and The Ame." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354047834.

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Kochensparger, Jonathan Wayne. ""Disability On Stage": The DisAbility Project (USA) and Graeae Theatre (UK) Theatre's Impact on Disabled Actors: A Comparative Study." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1574727755697283.

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Roche, Christopher M. ""Hidden voices: a creation through collaboration with fellow MFA actors and community partner Turing Point." Outreach & engagement: working portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392302865.

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Schutt, Megan Faye. ""Hidden voices: a creation through collaboration with fellow MFA actors and community partner Turning Point." Outreach & engagement: working portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392714012.

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Garcia, Antonio. "Hidden Voices: A creation through collaboration with fellow MFA actors and community partner Turning Point. Outreach & Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391590550.

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Trujillo, Anthony. ""Hidden Voices: A Creation through collaboration with fellow MFA actors and community partner Turning Point." Outreach & Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392804247.

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Brown, Adrian. ""Hidden Voices: A creation through collaboration with fellow MFA actors and community partner Turning Point." Outreach & Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392897628.

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McBride, Tanya Chu. "Hidden Voices: A Creation through Collaboration with Fellow M.F.A. Actors and Community Partner Turning Point, Outreach and Engagement Working Portfolio." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392909296.

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Books on the topic "Theater Theater Theater Actors"

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Theater. Atheneum Books for Young Readers, 1996.

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Actors, audiences, and historic theaters of Kentucky. University Press of Kentucky, 2000.

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Schriften zum Theater. Suhrkamp, 2011.

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Robert, James. Twenty names in theater. M. Cavendish, 1990.

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About the theater. Sheep Meadow Press, 2008.

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Lacombe, Brigitte. Lacombe: Cinema/theater. Schirmer/Mosel, 2001.

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Rothe, Friedrich. Arthur Schnitzler und Adele Sandrock: Theater über Theater. Rowohlt, 1997.

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Rothe, Friedrich. Arthur Schnitzler und Adele Sandrock: Theater über Theater. Rowohlt Taschenbuch Verlag, 1998.

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Haider-Pregler, Hilde. Überlebens-Theater: Der Schauspieler Reuss. Holzhausen, 1998.

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Veṅkaṭacelaṃ, Rāvi. 77 ēḷḷa nāṭakānubhavaṃ. Aśok Pablikēṣans, 2000.

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Book chapters on the topic "Theater Theater Theater Actors"

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Scannapieco, Anna. "«Il Sacchi mi mandava tratto tratto de’ fasci di quelle strane, e mostruose opere di quel Teatro…»: Carlo Gozzi e il teatro spagnolo." In Studi e saggi. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.26.

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The contribution proposes a reflection on the greatest author of the 18th Century Italian theater who drew on the dramaturgical heritage of the siglos de oro. The main elements dealt with are: Carlo Gozzi's theoretical reflection on the characteristics of Spanish theater; the fundamental role in the repêchage that the actors of Antonio Sacco's company had in that theater, for which the author provided - according to him - a "voluntary friendly assistance"; finally, the most significant data that emerge, or could emerge, from the first National Edition of the works of Carlo Gozzi (launched in 2011).
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Cheok, Adrian David. "Interactive Theater Experience with 3D Live Captured Actors and Spatial Sound." In Art and Technology of Entertainment Computing and Communication. Springer London, 2010. http://dx.doi.org/10.1007/978-1-84996-137-0_3.

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Schneider, Helmut J. "Theater." In Bonner Enzyklopädie der Globalität. Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-13819-6_85.

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Edie, James M. "Theater." In Contributions to Phenomenology. Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-017-5344-9_156.

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Frohn, Elke Sofie. "Theater." In Metzler Lexikon Religion. J.B. Metzler, 2000. http://dx.doi.org/10.1007/978-3-476-03704-6_134.

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Dox, Donnalee. "Theater." In Encyclopedia of Sciences and Religions. Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-1-4020-8265-8_1437.

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Frohn, Elke Sofie. "Theater." In Metzler Lexikon Religion. J.B. Metzler, 2005. http://dx.doi.org/10.1007/978-3-476-00091-0_526.

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Schneider, Helmut J. "Theater." In The Bonn Handbook of Globality. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-90382-8_18.

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Shigeto, Nuki. "Theater." In Handbook of Phenomenological Aesthetics. Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2471-8_66.

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Gödde, Susanne. "Theater." In A Companion to the Archaeology of Religion in the Ancient World. John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886809.ch25.

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Conference papers on the topic "Theater Theater Theater Actors"

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Frank, Carlos, Carlos De Marziani, Eduardo Del Valle, and Andres Frank. "A THEATER THAT LACKS ACTORS / SLOW ADOPTION OF THE "INVERTED CLASSROOM" (FLIPPING)." In 14th International Technology, Education and Development Conference. IATED, 2020. http://dx.doi.org/10.21125/inted.2020.0837.

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Gagneré, Georges, Tom Mays, and Anastasiia Ternova. "How a Hyper-actor directs Avatars in Virtual Shadow Theater." In MOCO '20: 7th International Conference on Movement and Computing. ACM, 2020. http://dx.doi.org/10.1145/3401956.3404234.

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Koji Iida, Shiroh Itai, Takabumi Watanabe, and Yoshiyuki Miwa. "Public viewing with shadows: Design of theater-type space where remote actors and audiences can coexist using the shadow as their own agents." In 2008 RO-MAN: The 17th IEEE International Symposium on Robot and Human Interactive Communication. IEEE, 2008. http://dx.doi.org/10.1109/roman.2008.4600745.

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Chandler, Corey D., Gloria Lo, and Anoop K. Sinha. "Multimodal theater." In CHI '02 extended abstracts. ACM Press, 2002. http://dx.doi.org/10.1145/506443.506642.

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Lorig, Gray. "Electronic theater." In ACM SIGGRAPH 92 Visual Proceedings. ACM Press, 1992. http://dx.doi.org/10.1145/131340.260553.

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"Theater Missile Defense." In Space Programs and Technologies Conference. American Institute of Aeronautics and Astronautics, 1995. http://dx.doi.org/10.2514/6.1995-4000.

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Bryce, Renee, and Vicki Allan. "Mystery Bug Theater." In 2011 24th IEEE-CS Conference on Software Engineering Education and Training (CSEE&T). IEEE, 2011. http://dx.doi.org/10.1109/cseet.2011.5876109.

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Velho, Luiz. "VR Kino+Theater." In 2019 IEEE Conference on Virtual Reality and 3D User Interfaces (VR). IEEE, 2019. http://dx.doi.org/10.1109/vr.2019.8797795.

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Felidre, Wagner, Leonardo Furtado, Daniel A. da Costa, Bruno Cartaxo, and Gustavo Pinto. "Continuous Integration Theater." In 2019 ACM/IEEE International Symposium on Empirical Software Engineering and Measurement (ESEM). IEEE, 2019. http://dx.doi.org/10.1109/esem.2019.8870152.

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Lewis, Matthew. "Bowen virtual theater." In the SIGGRAPH 2003 conference. ACM Press, 2003. http://dx.doi.org/10.1145/965333.965389.

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Reports on the topic "Theater Theater Theater Actors"

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Kabat, Brian W. The Sun as a Non-state Actor: The Implications on Military Operations and Theater Security of a Catastrophic Space Weather Event. Defense Technical Information Center, 2010. http://dx.doi.org/10.21236/ada525043.

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Newman, J. L. Theater Missile Defense. Defense Technical Information Center, 1998. http://dx.doi.org/10.21236/ada351808.

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Medlock, Glenn, and Christopher M. Stacy. Pacific Theater Operations. Defense Technical Information Center, 2011. http://dx.doi.org/10.21236/ada559809.

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NICHOLS RESEARCH CORP HUNTSVILLE AL. Theater Missile Defense. Defense Technical Information Center, 1990. http://dx.doi.org/10.21236/ada219432.

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Harmatz, Howard I. Joint Theater Missile Defense. Defense Technical Information Center, 1996. http://dx.doi.org/10.21236/ada309658.

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Krahling, William M. Expeditionary Theater Opening Strategy. Defense Technical Information Center, 2013. http://dx.doi.org/10.21236/ada589227.

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Nehrkorn, Thomas, Rose N. Hoffman, Jeanne Sparrow, Min Yin, and Stan Ryckman. Theater Analysis Procedures (TAP). Defense Technical Information Center, 1997. http://dx.doi.org/10.21236/ada340975.

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Meyer, S. Soviet Style Theater Assessments. Defense Technical Information Center, 1989. http://dx.doi.org/10.21236/ada269791.

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Canavan, G. H. Theater SBI cost-effectiveness ratios. Office of Scientific and Technical Information (OSTI), 1993. http://dx.doi.org/10.2172/10190169.

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Pate, Steven W. Transforming Logistics: Joint Theater Logistics. Defense Technical Information Center, 2006. http://dx.doi.org/10.21236/ada448696.

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