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Journal articles on the topic 'Theater Theater Theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

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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2

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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3

Agaeva, Ekaterina V., Tikhon S. Sergeev, and Renata V. Mikhailova. "THE PROBLEM OF TRAINING THEATER PERSONNEL FOR CHUVASHIA IN THE 20–30s OF THE XX CENTURY." Vestnik Chuvashskogo universiteta, no. 2 (June 25, 2021): 5–10. http://dx.doi.org/10.47026/1810-1909-2021-2-5-10.

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In the 1920s Chuvashia was developing rapidly, and the growth in the number of cultural institutions was observed. The cadres of the creative intelligentsia were in demand, but there were no field-oriented specialized educational institutions in the republic. The issue of training specialists began to be dealt with at the level of state and party bodies. One of the first to open was the theater studio, which gave the opportunity to strengthen the staff of two republican theaters. Moderate funding allocated to support the theater arts, and the entire culture as a whole, of course affected its q

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4

Khubulova, Svetlana. "FORMATION OF THE NEW THEATER IN TIMES OF THE REVOLUTION AND CIVIL WAR ON TEREK." History, Archeology and Ethnography of the Caucasus 15, no. 1 (2019): 22–27. http://dx.doi.org/10.32653/ch15122-27.

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Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and th

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5

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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Agratina, Elena E. "Jean-Honoré Fragonard’s Work and the Theatre Culture of the 18th Century." Observatory of Culture 16, no. 4 (2019): 406–17. http://dx.doi.org/10.25281/2072-3156-2019-16-4-406-417.

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The article, for the first time, examines the work of the master of the 18th century Jean-Honoré Fragonard (1732—1806) within the context of the theatre culture of that time. Being a student of François Boucher (1703—1770), who was working as a theater decorator for a long time, Fragonard from his youth had the opportunity to join the world of theater. The painter’s passion for the stage greatly influenced the thematic and figurative composition of his works. Early historical paintings of Fragonard, such as “Jeroboam Sacrificing to Idols” (1752, School of Fine Arts, Paris), were create

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7

Cull Ó Maoilearca, Laura. "Die Gleichsetzung von Theater und Philosophie: Laruelle, Badiou & Gesten der Autorität in der Philosophie des Theaters." Performance Philosophy 3, no. 2 (2017): 487. http://dx.doi.org/10.21476/pp.2017.32179.

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In diesem Artikel werde ich François Laruelles Begriff der ‚Non-Standard‘ Ästhetik untersuchen, um eine kritische Perspektive auf Alain Badious vielfältige Äußerungen über die Philosophie des Theaters zu entwickeln. Während es zunächst so erscheint, als ob Badiou in Werken wie In Praise of Theatre (2015) aufgeschlossen gegenüber dem eigenen Denken des Theaters wäre und tatsächlich die Funktion der Philosophie im Verhältnis zu einem ontologischen Privileg zurückzustufen würde, das (von ihm) nun der Mengentheorie zugesprochen wird, werde ich aufzeigen, dass eben dieses Wohlwollen, aus einer Laru

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8

Vukajlov, Ljiljana, Aleksandra Milinkovic, Dijana Brkljac, and Olivera Dobrivojevic. "Evaluation model of the quality of theater locations: Case study - Novi Sad, Serbia." Facta universitatis - series: Architecture and Civil Engineering 15, no. 2 (2017): 225–38. http://dx.doi.org/10.2298/fuace170206017v.

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With the development of information technologies and weakening of the economic power of citizens in the Republic of Serbia, interest in classical theater has decreased. As a result of their reduced activity, theater facilities are gradually deteriorating, and some are being adapted while others are being closed. The main objective of this paper is to evaluate the quality of significant urban parameters, to observe the possibilities for improvement of the functioning of theaters, and to propose concrete measures for revitalization of their surroundings. The efficiency and validity of a defined

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9

Kułakowska, Katarzyna, Katarzyna Kalinowska, Olga Drygas, and Michał Bargielski. "Individual and Community Crises in a Pandemic: The Social Theater of Ambulatory Care." Pamiętnik Teatralny 69, no. 4 (2020): 63–84. http://dx.doi.org/10.36744/pt.455.

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This article offers a preliminary diagnosis of Polish social theaters with regard to the crises of the individual and the community during the Covid-19 pandemic. The interpretive framework is Lidia Zamkow’s concept of the theater of ambulatory care, which allows us to locate the activity of social theaters in the context of Michel de Certeau’s tactics and Jack Halberstam’s low theories. The theater of ambulatory care recognizes the needs of individuals and communities in a pandemic crisis and reacts to them in different ways. We distinguish and describe three ideal types of diagnoses and the r

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Warstat, Matthias. "Ästhetik der Anwendung: Thesen zur gegenwärtigen Relation von Theater und Alltag." Paragrana 26, no. 2 (2017): 26–41. http://dx.doi.org/10.1515/para-2017-0018.

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AbstractDas Verhältnis von Theater und Alltag ist heute im Wandel begriffen. Als Ereigniskunst ist das Theater mit seinen Praktiken des Hervorhebens und Zeigens traditionell um Außeralltäglichkeit bemüht: Es will seinem Publikum etwas Besonderes bieten, das aus den Routinen des Alltags herausragt. Von daher besteht eine Art natürlicher Distanz zwischen Theater und Alltag, die aber überbrückt werden kann und historisch von vielen (etwa sozialrealistischen oder dokumentarischen) Theaterformen auch schon in Frage gestellt oder überwunden wurde. In jüngster Zeit, so die These dieses Beitrags, ist

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11

Koo, Taehwan. "A Study on the Little Theater Movement of Theater Group 'Shilhum Theatre'." Journal of Korean Theatre Education 34 (June 30, 2019): 5–21. http://dx.doi.org/10.46262/kte.34.1.1.

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12

Carlson, Marvin A. "Roofed Theaters of Classical Antiquity, and: Theater Design, and: Theater Technology (review)." Theatre Journal 49, no. 4 (1997): 537–38. http://dx.doi.org/10.1353/tj.1997.0096.

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13

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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14

Germay, Robert. "DO NASCIMENTO DA ASSOCIAÇÃO INTERNACIONAL DE TEATRO NA UNIVERSIDADE, OU QUANDO UMA NECESSIDADE DO TU CRIA O ÓRGÃO AITU." O Teatro Transcende 21, no. 1 (2016): 30. http://dx.doi.org/10.7867/2236-6644.2016v21n1p30-41.

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RESUMO Do nascimento da Associação Internacional de Teatro na Universidade, ou Quando uma necessidade do TU cria o órgão AITUDesde a criacão das primeiras universidades na Idade Média, a atividade teatral universitária esteve diretamente ligada às matérias ensinadas como um auxiliar do ensino, e essencialmente praticada intra muros. Após a 2a. guerra mundial (1945), o teatro universitário iria acentuar o fenômeno de sua abertura e de sua internacionalização. Rompendo os muros da universidade, o teatro conquistaria cada vez mais visibilidade, e inúmeros grupos universitários se veriam tentados

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15

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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16

M., Yatsiv. "LIGHT IN THE ARCHITECTURE OF MODERN THEATER BUILDINGS." Architectural Studies 6, no. 1 (2020): 46–52. http://dx.doi.org/10.23939/as2020.01.046.

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The article discusses the role and functions of light in the space of modern theater buildings outside the auditorium and stage space. The architectural and structural factors of the formation of the lighting environment in modern theater buildings are determined; trends and features of the functioning of light in the space of modern theaters are revealed. The influence of the architectonics of buildings on the nature of the illumination of theatrical spaces is established. The experience of the formation of the lighting environment of theater buildings on the example of modern domestic and fo

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17

Zawistowska, Monika. "Teatr czasu wojny 1939–1945 w świetle zadań i wartości." Dydaktyka Polonistyczna 15, no. 6 (2020): 202–12. http://dx.doi.org/10.15584/dyd.pol.15.2020.14.

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The publication describes the activity of Polish theater during the Second World War. It is an attempt to look at theater from the perspective of the tasks and values it presented in this particularly difficult period. The article describes the functioning of open and underground theaters and theaters operating in concentration camps. The above-mentioned activities cannot be reduced to one formula or a specific species. In these conditions, the artistic level and innovation of many performances amaze. Paradoxically, this most dramatic theater achieved its greatest autonomy during the occupatio

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18

Rakow, Christian. "Theater. Pop-Theater." POP 6, no. 1 (2017): 87–93. http://dx.doi.org/10.14361/pop-2017-0115.

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19

Vukajlov, Ljiljana, Aleksandra Milinkovic, and Dijana Brkljac. "Recommendations for urban revitalization of theater locations: A case study - Republic of Serbia." Facta universitatis - series: Architecture and Civil Engineering 17, no. 4 (2019): 387–400. http://dx.doi.org/10.2298/fuace190708023v.

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Theater location quality is researched according to a pre-formed model with the aim to improve quality in the functioning of theaters in settlements of the Republic of Serbia. An omnipresent process of globalization has led to significant changes in the field of culture, and thus a reduction in interest for classic theater performances has occurred. The poor condition of theater buildings in architectural and structural terms as well as their immediate environment, in urbanistic sense, is the result of neglecting the field of culture on a national level for many years. By summing up the total

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20

van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the

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21

Stănescu, Mirona, and Daniel Andronache. "The Importance of Theater Pedagogy from a Student's Perspective. An Empirical Study in a German-Speaking Elementary School in Romania." Educatia 21, no. 18 (May 21, 2020): 109–18. http://dx.doi.org/10.24193/ed21.2020.18.11.

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Could school and theater be seen as a symbiosis? The roots of the school theater go back to the 15th century. Early on, the educators recognized the importance of drama for the development of the students. But what do the students think about the theatrical education for their own development? This paper presents the results of a qualitative research designed to explore the role of education through theater for the personal, social skills and aesthetic development of the students. For this purpose, a semi-structured interview was used. In our qualitative study we examined the effects of theatr

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22

Lupu, Andreea Gabriela. "The Reconfiguration of the Theatre Space and the Relationship between Public and Private in the Case of Apartment Theatre." Romanian Journal of Communication and Public Relations 18, no. 3 (2017): 77. http://dx.doi.org/10.21018/rjcpr.2016.3.217.

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<p>This article tackles the means of theatre space reconfiguration in the apartment theater (<em>lorgean theater</em>), simultaneously analyzing the relation between public and private specific to this form of art. Structured around both a theoretical analysis and a qualitative empirical investigation, this paper emphasizes the traits of the theatre space as component of an artistic product received by the audience, and its value in the process of artistic production, within the theatre sector. The case study of <em>lorgean theater, </em>including a participant ob

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Jovanov, Lazar. "Theatre City and Identity: Narodno pozorište-Nepszίnház-KPGT". Issues in Ethnology and Anthropology 11, № 1 (2016): 63. http://dx.doi.org/10.21301/eap.v11i1.3.

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This study considers the concept of Theatre City and its role in the formation of the desired identity of a community. More specifically, the research is at a crossroads of sociological and anthropological use of this theater form, in a function of the reconstruction of the community, examining the relationship between theater and the city, as a functional European theater concept, which has the potential to generate multiple socio-cultural values, participating in the formation of the so-called free spaces, free theater, which rejects the idea of elitism because it is intended for the wider p

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Man Hong, Dao. "The Stanislavsky system plays an important role in the theater of Vietnam." Voprosy kul'turologii (Issues of Cultural Studies), no. 3 (February 18, 2021): 238 (280)—243 (285). http://dx.doi.org/10.33920/nik-01-2103-04.

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K.S. Stanislavsky plays an important role in the theater of Vietnam. Konstantin Sergeevich Stanislavsky (real name Alekseev; 1863–1938) — actor, director, theater teacher, founder and director of the Moscow Art Theater (Moscow Art Theater). People's Artist of the USSR (1936). An activist, thinker and major theater theorist, he, on the basis of modern science, created a school of theatrical art — the Stanislavsky generation. In addition to a successful psychological approach to the performing arts, he also contributed greatly to the formation of progressive art and art for the people. English v

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Schmidt, Christian. "Das Dispositiv der Andacht." Zeitschrift für Literaturwissenschaft und Linguistik 50, no. 3 (2020): 417–34. http://dx.doi.org/10.1007/s41244-020-00175-y.

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Zusammenfassung Der Beitrag schlägt mit dem ›Dispositiv der Andacht‹ ein Modell für ein Netz von Subjektivierungsstrategien vor, in dem sich geistliche Spiele vor der Zeit des Theaters verorten lassen. Er stellt die Prämisse der Alterität des mittelalterlichen Theaters zurück, um einen Zugriff zu gewinnen, der nicht leitend am Theater der Neuzeit orientiert ist. Die theater- und literaturgeschichtliche Perspektive, die dadurch in den Hintergrund gerät, lässt sich in den geistlichen Dramentraditionen der Frühen Neuzeit wieder einholen. Für eine Erfindung des frühneuzeitlichen Theaters aus der P

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26

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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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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Steiner, Anne. "Claudia Agnes Müller (2015): Forschendes Theater. Chancen und Potential im Kontext von Spracherwerb, transkultureller Landeskunde und studentischer Performance." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (2016): 120–23. http://dx.doi.org/10.33178/scenario.10.2.12.

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Forschendes Theater hat sich als eine besondere Spielart des Theaters etabliert. Die Zahl der Performancegruppen, die gesellschaftliche Realität erforschen und – oft gemeinsam mit ihrem Publikum – soziale Wirklichkeit(en) ausloten und mit biographischem Material experimentieren, scheint in den letzten Jahren explodiert zu sein. Angekommen ist das forschende Theater auch in der Wissenschaft, Tagungen wie „Forschendes Theater in sozialen Feldern“ an der FH Dortmund im November 2016 setzten sich bereits mit dem Thema auseinander. Und auch in der Schule wird forschendes Theater betrieben – schon 2

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Moisand, Jeanne. "Dal tempio monumentale alla baracca da fiera: mutamenti dello spazio urbano e luoghi teatrali a Madrid e Barcellona alla fine del secolo XIX." MEMORIA E RICERCA, no. 29 (March 2009): 29–45. http://dx.doi.org/10.3280/mer2008-029003.

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- This article compares the construction of theaters in Madrid and Barcelona from the 1830's to the 1910's by looking at the various forms and types of theaters, as well as those who funded them. As the history of books has shown, we can gain a better understanding of the social uses of cultural goods by analyzing the material forms in which they are produced and distributed. In the two Spanish main capital cities, the architectural evolutions of theater buildings, social changes in the constructors' milieux, and the movement of theater sites out of the city centers to suburban areas, show how

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Schewe, Manfred. "Drama und Theater in der Fremd- und Zweitsprachenlehre." Scenario: A Journal of Performative Teaching, Learning, Research I, no. 1 (2007): 142–53. http://dx.doi.org/10.33178/scenario.1.1.8.

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Zwischen dem Bereich Drama/Theater und dem Bereich Fremdsprachenvermittlung gibt es seit jeher Verbindungslinien. Zumindest war der Lehrer immer schon ein Akteur, der den Schülern etwas so ‘vorzuspielen’ versuchte, dass die Aufmerksamkeit des Lernerpublikums gebannt blieb; und eigentlich haben Lehrer und Schüler im fremdsprachlichen Unterricht immer schon ‘Theater’ gespielt, indem sie so taten, als ob die Unterhaltung in der fremden Sprache für sie natürlich sei. Der folgende Beitrag zeichnet wichtige Entwicklungsetappen des Brückenbaus zwischen den Bereichen Drama/Theater und Fremd-/Zweitspra

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Rakow, Christian. "THEATER: THEATER ALS popKONZERT." POP 2, no. 2 (2013): 76–80. http://dx.doi.org/10.14361/pop.2013-0214.

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Rakow, Christian. "THEATER: THEATER ALS POPKONZERT." POP 3, no. 2 (2013): 76–80. http://dx.doi.org/10.14361/pop.2013.0214.

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Kaiser, Johanna. "„Theater, Theater — einfach wunderbar!“." Sozial Extra 37, no. 11-12 (2013): 27–30. http://dx.doi.org/10.1007/s12054-013-1087-x.

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Misirača, Marko. "50 Years of Drama from Bosnia & Herzegovina in Theater Festival of Bosnia and Herzegovina in Jajce: A Short History of Bosnian Theater Plays Through an Overview of Participation in the B&H Theater Festival in Jajce." Društvene i humanističke studije (Online) 6, no. 3(16) (2021): 59–70. http://dx.doi.org/10.51558/2490-3647.2021.6.3.59.

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The text reviews the presence of Bosnian drama and prose literature on professional theater stages in BiH through performances that participated in the Theater Festival of BiH in Jajce in the last 50 years. Through an overview of the participation of performances at one of the most important state festivals, the presence of BiH plays in professional theaters in Bosnia is analyzed in the mentioned period - the treatment of BiH dramas by theaters as well as perceptions of them by the professional audience.

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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.

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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poup&#233;e” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wa

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Babenko, Valeriia. "PREVENTION OF TRADITION, REGULARITY OF POSITIVE RECEIVES, DELL’ARTE CANONICAL CODE REVALUATION. COMMANDARY TRANSFORMATION OF COMMEDIA CIVILE RUSTICALE INTO COMMEDIA DELL’ARTE (ITALIAN DRAMATURGY)." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 63–69. http://dx.doi.org/10.28925/2412-2475.2019.1310.

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The author of the article studies the peculiarities of comedy dell’arte, regularities of its poetic techniques. Particular attention is drawn to the style and genre of the dramatic works. The masks of dell’arte (mainly zan), having gone from the notion of a dual creature that is on the verge of a funny and terrible, profane and sacred («spirits and ghosts» of the cult of the crops of fertility, devils of the mysterious action), to the mask types of comedy del arte and further - masks-characters in the work of Goldoni, at the turn of the 19–20 centuries, turned into a symbol of the ancient thea

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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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Dunkelberg, Kermit. "Confrontation, Simulation, Admiration: The Wooster Group's Poor Theater." TDR/The Drama Review 49, no. 3 (2005): 43–57. http://dx.doi.org/10.1162/1054204054742444.

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The Wooster Group's Poor Theater questions the state of contemporary performance by trying on the styles of a vanished group, the Polish Laboratory Theatre, dissolved in 1984; and a vanishing one, the Ballett Frankfurt, disbanded in August 2004 (half a year after Poor Theater had its first showing) and resurrected as the smaller Forsythe Company in 2005.

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Berkutbayeva, Kamshat, and Aliya Mombek. "Synthesis of arts: theater curtain as an aesthetic category." Pedagogy and Psychology 42, no. 1 (2020): 236–42. http://dx.doi.org/10.51889/2020-1.2077-6861.30.

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In training a specialist of creativity higher education institutions, knowledge of special aspects of theatrical art is importance. The subject of this article is the theater curtain, aspects of its application in various historical eras of the development of the theater as a cultural phenomenon. The author’s systematization of information about the theater curtain as an integral element of any theatrical production is based on a deep understanding of its role not only as a technical tool, but also as a spatial composition of the theater performance and the auditorium as a whole. The mentioned

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Rodriguez, Chantal. "Is One Octopus Enough?" Theater 49, no. 1 (2019): 6–21. http://dx.doi.org/10.1215/01610775-7253739.

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Likening Latinx theater to many octopuses with many legs, Chantal Rodriguez reflects on the 2017 Encuentro de las Américas Festival, hosted in Los Angeles by the Latino Theater Company, which included the first international convening of the Latinx Theatre Commons. Rodriguez describes current and emerging trends in Latinx theater across the Americas as expressed over the course of two panel discussions and among small-group participants. Recounting how these geographically diverse conveners responded to questions concerning Latinx aesthetics, political activism, funding, festivals, and inclusi

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Patsunov, V. "Conceptual basis of the art of “Theatre of Shock”." Culture of Ukraine, no. 72 (June 23, 2021): 131–35. http://dx.doi.org/10.31516/2410-5325.072.18.

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The purpose of this paper is to develop the fundamental basis of the art of “theatre of shock”, as the art of the highest spiritual and emotional level, as well as to identify the characteristic features and directorial components that provide it. The methodology. We applied the analytic-conceptual and empirical approaches to identify the most energy-intensive artistic means of creating a theatrical product and the most effective directorial tools for influencing the spiritual-emotional sphere of the viewer by creating the highest energy and philosophical and aesthetic level that can bri

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Cohn, Ruby. "Theater in Recent English Theater." Modern Drama 30, no. 1 (1987): 1–13. http://dx.doi.org/10.3138/md.30.1.1.

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Sofer, Andrew. "All Theater Is Revolutionary Theater." Theatre Survey 47, no. 2 (2006): 341–42. http://dx.doi.org/10.1017/s0040557406340306.

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Sawara, Shinichi, Fukushi Kawakami, and Kiyoteru Ishii. "Saitama Arts Theater (Main Theater)." Journal of the Acoustical Society of America 115, no. 5 (2004): 2441. http://dx.doi.org/10.1121/1.4782060.

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Carlson, M. "All Theater Is Revolutionary Theater." Modern Language Quarterly 67, no. 3 (2006): 416–18. http://dx.doi.org/10.1215/00267929-2006-010.

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Laslavíková, Jana. "Between province and metropolis. The opera repertoire of the Pressburger Stadttheater in the late nineteenth century." Studia Musicologica 58, no. 3-4 (2017): 363–77. http://dx.doi.org/10.1556/6.2017.58.3-4.5.

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The establishment and development of the Municipal Theater in Pressburg in the period 1886–1920 was closely linked with the cultural and social development of the city in the period following the Austrian-Hungarian Compromise in 1867. The theater was built by the rising stratum of Pressburg townsmen, based on a requirement of the Hungarian government. The theater was in the possession of the town that rented it to theater directors and their German and Hungarian companies. The theater had a primacy among provincial theaters in Hungary. This was mainly due to the vicinity of Vienna and the effo

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Warstat, Matthias. "Was ist Theateranthropologie?" Paragrana 29, no. 1 (2020): 189–201. http://dx.doi.org/10.1515/para-2020-0014.

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AbstractWichtige Reformperioden des europäischen Theaters im 20. Jahrhundert waren mit der Frage verbunden, wie neue Konzeptionen des Menschen und des menschlichen Zusammenlebens auf der Bühne zur Darstellung kommen können. Das Theater schien prädestiniert zu einer solchen Reflexion über Möglichkeiten des Menschlichen, weil es zugleich weithin als eine anthropozentrische Kunstform galt. Noch in Zusammenhang der Neoavantgarde seit den 1960er Jahren wurde in einflussreichen Manifesten die Auffassung vertreten, mehr als den einzelnen, vor Publikum exponierten Menschen im Raum brauche es nicht, um

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Sumpeno, Sumpeno. "PROSES KREATIF SUTRADARA RACHMAN SABUR DARI TEATER PAYUNG HITAM BANDUNG." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 18, no. 2 (2021): 120–33. http://dx.doi.org/10.24821/tnl.v18i2.5743.

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Abstrak: Rachman Sabur adalah salah seorang sutradara teater dari kelompok Teater Payung Hitam Bandung. Sejak kecil ia sudah mulai suka menonton berbagai pertunjukan seperti sandiwara sunda, tari, wayang dan reog. Proses kreatif Rachman Sabur menyutradarai drama verbal dan teater non verbal mendapat pujian dari berbagai tokoh teater dan mempunyai banyak penonton. Penelitian ini menggunakan pendekatan proses kreatif Graham Wallas yang dikemukakan oleh Irma Damayanti dalam buku Psikologi Seni (2006) yang meliputi Preparation (persiapan), Incubation (pengeraman), Ilumination (ilham, inspirasi), v

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Bly, Mary. "Playing the Tourist in Early Modern London: Selling the Liberties Onstage." PMLA/Publications of the Modern Language Association of America 122, no. 1 (2007): 61–71. http://dx.doi.org/10.1632/pmla.2007.122.1.61.

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This article attempts to reconstruct a mental cartography of early modern London, the ensemble of material, social, and symbolic codes that made up the social architecture of the city. The article extends Steven Mullaney's work by giving scholars a more accurate understanding of the geography of London and its liberties, especially those that housed private theaters, such as Shakespeare's Blackfriars. I look in particular at the liberty of the Whitefriars, arguing that between 1600 and 1615, two theaters used the liberty's reputation to draw visitors to both the theater and the neighborhood in

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Tsihan, Xia. "INTERPRETATION OF MUSICAL GENRE IN THE WORKS OF R. IGNATIEV AND K. BREITBURG." Arts education and science 1, no. 2 (2021): 121–25. http://dx.doi.org/10.36871/hon.202102015.

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Theater in Russia has for a long time neither cultivated nor encouraged the pursuit of entertainment and commercial success. Perhaps that is why, the first attempts to integrate the musical into the Russian theater environment ended in failure. "My Fair Lady" by F. Loewe, staged at the Stanislavsky and Nemirovich-Danchenko Theatre, "Avtograd–1929", staged at the Satire Theater and the "Chicago" musical, after several performances, were removed from the repertoire or, like enterprise productions, ceased to exist. The purpose of this research is to determine the reasons for the growing popularit

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