Academic literature on the topic 'Theaters Theater Theater'

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 examines the creative activity of theatres in the southern Urals, Orenburg Region and Bashkortostan, reveals specific features and problems in the functioning of the studied institutions in the era of the thaw, studies repertoire policy of theaters. The repertoire updated and new theaters opened. Actors and directors found new forms of art self-expression. Drama art stops being the weapon of the political propaganda. The author has no opportunity to carry out a comparative analysis of this research with other researches as the subject has not been investigated by anybody yet.

Abstract. The article is devoted to the problem of the state of theatre life in the Terek region in 1917-1920, which is little studied in the regional historiography. The author introduces into the scientific circulation a corpus of new archival documents, which makes it possible to reconstruct the main activities of local theaters, to consider the influence of Moscow touring groups on the theatrical repertoire and audience preferences in the Terek region. The author dwelled on the difficulties experienced by theater companies in the difficult conditions of the revolution, the Civil War and the post-war devastation. The analysis of the documents allowed us to identify new forms of theatrical art, including workers, amateur and national theatrical societies, which fit well into the concept of educating the “new” Soviet person. In the conditions of the most fierce ideological battles, theaters were given the task of introducing the broad masses to art, who had previously been far from it and preferred simpler forms of leisure. In this regard, the repertoire of theaters was represented not only by classical works but also by revolutionary plays of mediocre quality. By trial and error, the theater acquired a new repertoire in a new environment, a spectator who was to educate and instill a good taste for highly artistic theatrical productions. The role of M. Bulgakov in the development of the proletarian theater is also interesting: the plays written by him had ideological fullness and in quality were much higher than those that were present in the repertoire of local theaters. Thanks to the writer’s efforts, the Ossetian Youth Studio was founded in Vladikavkaz, which became the basis of the future professional theater.

Boris Sushkevich and Nadezhda Bromley (Sushkevich-Bromley) are remarkable theatrical figures, actors and directors whose lot was connected with the bright and dramatic periods of our country’s theatrical life from the beginning to the middle of the 20th century. They devoted a part of their professional life to the 1st Studio of the Moscow Art Theatre (from 1919 — Moscow Art Academic Theatre), which later became a separate theater (Moscow Art Academic Theatre II, 1924—1936). Since the middle of the 1930s, they worked in leading Leningrad theaters — the Leningrad State Academic Drama Theater (Alexandrinsky Theatre) and the New Theater (1933—1953, now the Saint Petersburg Lensoviet Theatre). This article introduces little-studied archival sources of biographical nature related to the work of these outstanding cultural figures.Nadezhda Nikolayevna Bromley was a heiress of the Bromley — Sherwood creative dynasties, which had made a significant contribution to Russian culture. She joined the troupe of the Moscow Art Theater in 1908, performed on the stage of the 1st Studio (1918—1924), was one of the leading actresses of the Moscow Art Academic Theatre II after its separation, participated in its Directing Department being in charge of the literary part. Generously gifted by nature, N. Bromley wrote poems, short stories, novels; her fictional works “From the Notes of the Last God” (1927) and “Gargantua’s Descendant” (1930) earned critical acclaim. Two plays by N. Bromley were staged in the Moscow Art Academic Theatre II. One of them — the full of hyperbole and grotesque “Archangel Michael” — was passionately accepted by E.B. Vakhtangov and A.V. Lunacharsky, though never shown to a wide audience. At the Leningrad State Academic Drama Theater and the New Theater, N. Bromley not only successfully played, but also staged performances based on the works by A.P. Chekhov, A. Tolstoy, M. Gorky, F. Schiller, and W. Shakespeare.Boris Mikhailovich Sushkevich, brought up by the Theater School of the Moscow Art Academic Theatre and in the Vakhtangov tradition of the playing grotesque, is one of the most interesting and original theater directors of his time. His directorial work in the play “The Cricket on the Hearth” based on a Christmas fairy tale by Charles Dickens became the hallmark of the 1st Studio (and later of the Moscow Art Academic Theatre II as well). This play remained in the theatre’s repertoire until January 1936. B. Sushkevich was a recognized theatre teacher — with his help, the Leningrad Theater Institute (now the Russian State Institute of Performing Arts) was established in 1939. Together with N. Bromley, he managed to fill the New Theater with bright creative content and make it a favorite of the Leningrad audience.This research expands the understanding of a number of yet unexplored aspects of the history of theater in our country and recreates the event context of the era.

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 quality. But the enthusiasm of I.S. Maksimov-Koshkinsky, I.A. Slobodsky and other people of art allowed to continue the work of personnel training. In the 1920s and 1930s, training of creative intelligentsia cadres reached a new qualitative level. Financing of cultural institutions, provision with qualified teaching staff, regulation of admission, training, and graduation in educational institutions yielded positive results. In 1935, a theater vocational school was opened in Cheboksary. In 1934, a special collective farm-state farm department was opened at the extramural department of the State Institute of Theater Arts, and a little later, in 1940, a specialized Chuvash theater studio was opened. The activity of the theater school was curtailed, but specialists training was successfully conducted by the studio under GITIS (the Russian University of Theatre Arts). In the pre-war years, 6 new theaters were opened in the republic. The national creative intelligentsia was formed.

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 Laruellschen Perspektive, eine andere Form von philosophischem Authoritarismus konstituiert. Das heißt, während Badiu bekanntermaßen das Theater als „ein Ereignis des Denkens“ beschreibt, „das direkt Ideen hervorbringt“ (Badiou 2009, 121), wird dieser Text von Laruelle ausgehend argumentieren, dass Badiou sich zuletzt als Autorität über das positioniert, was als Theater im „eigentlichen Sinne“ gilt (vgl. Badiou 2015, 72); sein eigenes Denken in performativer Weise als normative Ausnahme und als Türhüter dieser Ausnahme festlegt.

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 research methodology were tested on three representative examples, the Serbian National Theater, the Youth Theater, and the Novi Sad Theater, located in Novi Sad in Serbia. Upon recognition of the current state of the spatial, physical, functional and ecological conditions of the areas surrounding the representative theaters, the current problems were recorded, and measures are proposed that would be necessary for the theaters? revitalization.

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 urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.

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 resulting treatments that theaters of ambulatory care use in a pandemic: therapy, conjuring, and revolution. The article is based on materials collected during two studies: a funded research project on the anthropological and social activity of the Węgajty Theater, carried out at the Institute of Art of the Polish Academy of Sciences, and a survey among theater staff during the pandemic, initiated by the Zbigniew Raszewski Theater Institute in Warsaw. (Trans. K. Kułakowska)

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 Perspektive des Spätmittelalters.

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 scores for specific urban aspects obtained on the basis of the conducted research and previously collected data, it was found that the average score of the location quality of theaters is 6 of maximum 10, based on the established scoring and evaluation of the determined aspects within the research. Since the active functioning of the theaters at the local level is important for the development of the traditional culture of the population, it is justified to propose specific measures transformation of the theater immediate environment and to implement them as soon as possible for 30 existing theaters in the Republic of Serbia.

Thesis (M.F.A.)--West Virginia University, 2007.
Title from document title page. Document formatted into pages; contains iv, 61 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 23).

Ausgangspunkt der vorliegenden Arbeit war es, das theaterhistorische Phänomen des chinesischen experimentellen Theaters komparatistisch sowohl als das Ergebnis der Begegnung zweier sehr verschiedener kulturhistorischer Linien (China/ Europa) zu beschreiben als auch in den traditionellen Kontext chinesischer Theaterinnovationen einzuordnen und aus ihm heraus zu erklären. Behandelt wird u.a. der machtpolitische Kontext interkultureller Begegnungen. Es stellt sich die Frage, ob man auf einem "transzendentalen Hügel hockend" China beobachten kann. Man ist immer wieder mit der Frage konfrontiert, aus welcher Perspektive man bei der Untersuchung anderer Kulturen zu adäquaten Ergebnissen kommen kann. Soll man einen aussenstehenden Beobachterposten behaupten oder soll man anerkennen, dass die eigene Anwesenheit vor Ort den Beobachtenden bereits involviert in das zu Beobachtende oder soll man sich seiner eigenen Aktivität bewusst werden und den ohnehin fiktiven Objektivitätsstatus bewusst aufgeben? Ich konnte während der Arbeit an der Inszenierung "Leg deine Peitsche nieder - Woyzeck" in Peking künstlerische und Alltagskommunikation erleben und Einsichten gewinnen, die ohne diese Arbeit unmöglich gewesen wären. Die chinesische Kultur hat bereits frühzeitig Schriftsysteme und eine Schriftkultur ausgebildet. Dennoch haben meine Untersuchungen ergeben, dass die Bereiche der Wissensvermittlung (Lern- und Lehrverhalten), der darstellenden Künste und der sozialen Kommunikation bis in unser Jahrhundert hinein von einer Tradition oraler Techniken und Kommunikation geprägt sind. Ganz wesentlich ist z.B. traditionell der Aspekt der LEIBLICHKEIT bei der Wissensvermittlung. Das Leibwissen eines Lehrers wird durch ständiges Üben und Wiederholen durch den Schüler in dessen Leib inkorporiert. Die Schüler (im profanen, im religiösen oder künstlerischen Bereich) werden hauptsächlich in das WIE der Übungen, nicht aber in das WARUM eingewiesen, weil sich aus der Logik dieses Denkens ergibt, dass sich aus der ausgefeilten Qualität des Geübten mit der Zeit der Sinn dessen über den Leib des Schülers von selbst erschließt. Oralen Techniken von Wissensvermittlung ist es eigen, dass sie dem Wiederholen größeren Wert beimessen als dem Neuerfinden. Dies ist eine Traditionslinie, die noch heute für das chinesische Sprechtheater wirksam ist. Innovation im chinesischen Kontext bedeutet vor allem Detailinnovation, aufbauend auf ein gegebenes Modell. Die chinesische Gesellschaft verfügt über ein reiches Instrumentarium theatraler Kommunikation. Aufgrund der Sozialstruktur und des ausgeprägten Relationsdenkens verfügen die kulturell Kommunizierenden über "shifting identities" wie Jo Riley es für die Darsteller im chinesischen traditionellen Musiktheater feststellte und wie Rosemarie Juttka-Reisse ein adäquates Phänomen für die Praxis von sozialem Rollenwechsel in sozio-kulturellen Kommunikations- und Interaktionsprozessen nachwies. "Shifting identies" bedeutet, dass Kommunizierende in der Lage sind, spontan und flexibel auf neue Kommunikationskontexte mit dem entsprechenden performativen Instrumentarium zu reagieren. Dieser Umstand hat weitreichende Konsequenzen für die Rollengestaltung im chinesischen Theater. Zum Beispiel ist der Brecht'sche Begriff der Verfremdung aus diesem Grunde NICHT oder bestenfalls nur partiell auf das chinesische Theater anwendbar. Die Brecht'sche Verfremdungstheorie ist nicht dem chinesischen Theater abgeschaut, sondern auf das chinesische Theater projiziert. Im Zusammenhang mit dem Leiblichkeitskonzept steht eine spezifische Vorstellung der EINVERLEIBUNG von Wissen, auch nicht-chinesischen Wissens. Beispielsweise wird bis in die 1990er Jahre hinein immer wieder auf die VERDAUUNGSMETAPHER zurückgegriffen. Das Einverleibungsprinzip, welches in engster Verbindung mit dem chinesischen Ahnenkult steht, ist mindestens einmal einer Fundamentalkritik unterzogen worden. Kurioserweise geschah dies nach der Einverleibung westlichen Wissens, insbesondere der Fortschrittsidee und der Vorstellung evolutionärer historischer Weiterentwicklung. Lu Xun nämlich prägte die Metapher der Menschenfresserei, die sich auf die als reaktionär erkannte Einverleibung "feudalistischen" Wissens aus der alten, dem Westen unterlegenen chinesischen Gesellschaft bezog. Seither gibt es die "fortschrittliche" und die "reaktionäre" Verdauung, wobei der Diskurs um kulturelle Identität, um Erneuerung und Bewahrung immer wieder neu festzulegen versucht, was gegebenfalls nützlich oder nutzlos ist. Die Entstehung des chinesischen experimentellen Theaters ist ohne das Eingebettetsein in historische Linien der chinesischen Theatergeschichte nicht erklärbar. Aneignungsmuster in bezug auf die Aufnahme neuer Anregungen aus anderen Kulturen haben eine traditionelle Logik entwickelt, die man nur erkennen und einordnen kann, wenn man sich ausführlich den historischen Voraussetzungen und Rahmenbedingungen von Theater in China widmet. Deshalb bin ich auf diese historischen Linien ausführlich eingegangen. Das experimentelle Theater in China setzt diese Linie fort. Deshalb kann man schlussfolgern, dass das chinesische Sprechtheater "eine Art Pekingoper mit anderen Mitteln" ist, und nicht ein bürgerlich-westliches Sprechtheater mit chinesischer Kolorierung. Das chinesische Theater hat sich über die langen historischen Zeiträume seiner Entstehung als sehr aufnahmefähig für interkulturelle Anregungen gezeigt. Man kann sagen, dass es das Ergebnis dieser Interaktionsprozesse ist. In diesem Sinne ist die Integration westlicher Theaterstile und damit auch die Entstehung des experimentellen Theaters als traditionelle Strategie im Umgang mit dem Fremden anzusehen. Es handelt sich tendenziell nicht (nur) um einen Ausdruck von Modernität, sondern von Tradition. Es ist in der chinesischen Theatergeschichte nicht um die Echtheit/ Authentizität des adaptierten ausländischen Materials gegangen, sondern hauptsächlich um die Anwendbarkeit im eigenen Kontext. Das wiederum führt folgerichtig zu dem Schluss, dass es z.B. keine "falsche" Rezeption westlichen Theaters in China geben kann, sondern nur eine chinesische. Der experimentelle Zugang zu neuen Formen innerhalb der chinesischen Theaterkultur ist ein historisch praktizierter. Die chinesische Praxis des Experiments ist historisch verbunden mit einer Praxis des Ausprobierens, Integrierens, Ausschmückens, einer Art Patchwork-Strategie. Im Gegensatz zum westlichen Begriff des Experiments ist diese Praxis nicht an abstrakte Hypothesenbildung und die systematische Beweisführung gebunden. Hauptinstrument neuer Erkenntnisse war die empirische Beobachtung. Die Entstehung des experimentellen chinesischen Theaters im 20. Jahrhundert, welches erstmals an verschiedene Begrifflichkeiten gebunden wird und nicht einfach als historische Praxis dem chinesischen Theater inhärent ist, deutet auf eine neue Qualität dieses Phänomens in der chinesischen Theatergeschichte hin. Die neue Qualität im Vergleich zur historisch-experimentellen Praxis besteht darin, dass die chinesische Kultur erstmals in ihrer Geschichte als Hochkultur Asiens mit einem ernstzunehmenden, hegemonial operierenden Feind konfrontiert war, der mit seinem ökonomisch-militärischen Potenzial die Qualität der chinesischen Kultur als Ganzes in Frage stellte. Nun sahen sich die chinesischen Eliten gezwungen, die westlichen Mittel zum chinesischen Zweck des Überlebens zu machen. Aus diesem Grunde wurden westliche Ideen und Praktiken, wie z.B. das bürgerliche Sprechtheater rezipiert. Dies musste als Praxis aber auch als Begriff umgesetzt werden. Aus diesem spezifischen Entstehungskontext ergibt sich eine unterschiedliche Richtung der Theateravantgarden in China und im Westen. Während die historische Theateravantgarde im Westen in ihrer Kritik am bürgerlichen Theaterkonzept und in ihrer Auseinandersetzung mit Industrialisierungs- und Technologiesierungsprozessen auf "Retheatralisierung" des Theaters drängte, gingen die chinesischen Theaterkünstler den entgegengesetzten Weg. Die neuen historischen Erfahrungen ließen sich in den volkstümlichen Geschichten und den historischen Analogien des traditionellen chinesischen Theaters und in ihrer stilisierten Theatralität nicht mehr adäquat darstellen. Plötzlich wurde ein neues Realismuskonzept, welches nach DETHEATRALISIERUNG drängte, wesentlich. Darüberhinaus gehört es zur historischen Linie des chinesischen Theaters, dass es stark profitierte sowohl von nicht-chinesischen Anleihen anderer Theaterkulturen als auch von den Volkskünsten der eigenen Kultur. Es waren zunächst Laiendarsteller und Amateurtheaterkünstler, die in den 1920er Jahren die vielfältigen Kategorien des chinesischen "experimentellen" Theaters erfanden und später in einen professionellen Status überführten. Neben den kulturellen Einflüssen des westlichen Imperialismus war China ebenfalls mit dem hegemonialen Bestreben insbesondere des sowjetischen Kulturimperialismus konfrontiert. Die sowjetische Kulturpolitik favorisierte das Stanislawski-Konzept. Dieses wurde dann zunächst, nach Gründung der VR China 1949, zu einem der Grundpfeiler der Idee eines neu zu entwickelnden chinesischen Nationaltheaters. Seit den 1980er Jahren wird es zunehmend kritisiert. Seitdem werden andere westliche Konzepte interessant. Dazu gehören die Konzepte der westlichen historischen Avantgarde ebenso wie die des absurden und weitestgehend postmodernen Theaters. Seit den 1990er Jahren sind zwei Haupttendenzen im modernen chinesischen Theater festzustellen. Zum einen unterliegt das Theater rigiden Kommerzialisierungstendenzen. Zum anderen sieht sich das Theater einer Vielzahl neuer Unterhaltungsmedien (TV, Kino, Karaoke, Shows etc.) gegenüber, die es veranlassen, sich verstärkt auf die spezifischen Möglichkeiten theatralen Ausrucks zu besinnen. Das führt dazu, dass nun sowohl das theatrale Potenzial des klassischen chinesischen Theaters interessant wird ebenso wie die Retheatralisierungsversuche der westlichen Avantgarde. Seit Mitte der 1980er Jahre ist eine erneute, hitzige Debatte über Begriff und Inhalt von experimentellem Theater im chinesischen Kontext zu beobachten.
The starting point of this paper was both to describe the theatre-historical phenomenon of Chinese experimental theatre in a comparative way, as the result of the encounter of two culture-historical lines differing very much (China/Europe) and to put it in its proper historic context and thus to explain from its context. The power-political context of intercultural encounters is dealt with. The question arises whether one would be able to watch China at all " sitting on a transcen-dental hill". You are constantly facing the question from which perspective you can achieve adequate results when researching/ investigating foreign cultures. Should you maintain your (external) observer status or should you recognise that your own presence at the site involves the observer what he watches or should you consciously give up the anyhow fictitious status of objectivity. While staging "Put down your whip - Woyzeck" in Beijing at the State theatre called Central Experimental Theatre I could experience both artistic and every-day communication, without which this paper would and could never have been written. The Chinese culture has developed writing systems and a written culture early on in history. Nevertheless, my study has shown, that instruction (learner and teacher behaviour), performing arts and social communication have been highly influenced by the oral tradition of communication throughout the centuries. The aspect of corporality in instruction is essential. The teacher's incorporated knowledge is transferred to the student's body through permanent exercise and repetition/revision. The student (worldly, religious and artistic spheres) is taught HOW to do the exercise but not necessarily WHY because part of this thinking is the idea that the awareness of the meaning of the skill comes to the student through his body. This implies that it is a characteristic feature of oral instruction/information stresses repetition rather than innova-tion. This line of tradition has always been efficient for the Chinese spoken drama, even today. Innovation in a Chinese context means chiefly innovation of detail based on a model given. The Chinese society developed a rich variety of tools of theatrical communication. Due to the social structure and a well-developed relational thinking the cultural communicators have "shifting identities" as Jo Riley stated it in terms of the performers in the Chinese traditional music thea-tre. Rosemarie Juttka-Reisser confirmed an adequate phenomenon for the practice of switching social roles in processes of socio-cultural communication and interaction. "Shifting identities" means that communicators are capable of spontaneously and quickly responding to new communication contexts through adequate performative sets of instruments. This has an impact on the performance of roles in Chinese theatre. Therefore the Brechtian term of alienation, for instance, can not or only partly be applied to Chinese theatre. Thus, the Brechtian theory of alienation is not derived from Chinese theatre but rather projected to it. Linked to the concept of incorporation of knowledge is a specific image of incorporation of knowledge including the non-Chinese one. Up to the 1990s the metaphor of digestion had been used again and again. The principle of incorporation which is closely connected with ancestor cults underwent fundamental criticism at least once. Curiously enough, this happened after the incorporation of Western knowledge, in particular of the idea of progress and evolution/ revolution. Lu Xun coined the metaphor of cannibalism. This relates to the traditional incorporation of the so-called "feudal" knowledge based in the Chinese culture which has been understood as inferior to the West. Since then there has been "progressive" and "reactionary" digestion; discourse about cultural identity, about renewal and preservation of Chinese values has always been trying to re-determine what is useful or useless respectively. The appearance and existence of the Chinese experimental theatre can not be explained without it being embedded in the line of Chinese (theatre)history. Patterns of acquisition in terms of the perception of new stimuli from other/foreign cultures have developed a traditional logic which can only be recognized and categorized if you have a deeper understanding of the historic condition and the whole framework of theatre in China. Therefore I dealt with this historical line in detail. The experimental theatre in China continues this line to a certain extend. This results in the Chinese spoken theatre being "a kind of Beijing opera with a different approach" but not a bourgeois Western spoken drama with a Chinese touch. Throughout its history the Chinese theatre has always readily absorbed intercultural stimuli. So you can say that these processes of interaction have contributed to contemporary Chinese theatre. Thus you can regard the integration of Western theatre styles including the development of the experimental theatre a highly traditional strategy for encountering and dealing with the foreign element. This strategy is not an expression of modernity only but mainly of tradition. Chinese theatre history was not particularly interested in the authenticity of the adopted foreign material but in its application within the Chinese context. This has led to the conclusion that there cannot be any "wrong" perception of the Western theatre in China but only a Chinese. The experimental approach to new forms within the Chinese theatre culture has been used all the time. The Chinese experimental practice has indeed been linked with integrating, ornamenting and trying out resulting in a kind of patchwork. In contrast to the Western term of experiments this practice does not depend on abstract hypotheses and proofs systematically shown. This is partly due to Western sciences focussing on mathematics while Chinese sciences were concentrating on dealing with problems of relations (physics). Therefore they (have) preferred empirical observation to mathematical analysis in order to achieve new knowledge. In contrast, the experimental Chinese theatre in the 20th century, reflects a new quality in their approach to theatre which, for the first time, attempts to use concepts like in the Western theatre. The reason for this new approach resulted from the fact that for the first time in its history Chinese culture as an Asian high culture was faced with a serious hegemonially operating enemy that questioned the quality of the Chinese culture as a whole through its economic and military potential. The Chinese intellectual elite was forced to respond to the Western threat by using Western methods (including spoken drama) in order to survive: using a Western means to a Chinese end. These specific historical circumstances and power relations have led to different directions of avantgarde theatre movements in China and the West in the early 20th century. Western and Chinese theatre artists went opposite ways: while the former initiated the Re-theatralisation in their criticism of the bourgeois theatre concept and of industrialisation; the latter focused on De-theatralisation which had become a new concept, that of realism/ naturalism. The new experiences of the time could no longer be expressed in their folktales and historical analogies of the traditional Chinese theatre and its stylised theatricality. Amateurs (in particular students of big cities) were the first to invent the various categories of a Chinese "experimental" theatre and later transformed its status into a professional one. Apart from cultural influences of Western (including Japan) imperialism China faced the same problems with the Soviet cultural imperialism. The Soviet cultural policy favoured Stanislavsky's concept. This idea became the basis of a new Chinese national theatre which was to develop after the formation of the People's Republic of China in 1949. Since the 1980s it has increasingly been criticised. In addition other Western concepts have attracted attention including concepts of the Western historical avantgarde, the theatre of the absurd and post-modern theatre. Since the 1990s two major tendencies of modern Chinese theatre can be stated. On the one hand, the theatre is subject to rigid tendencies of commercialisation (which means that the state cut the subsidies), on the other hand, the theatre is confronted with a variety of new entertainment media (TV, cinema, karaoke, shows etc.) which make it remember its specific oppor-tunities of theatrical expression (now including traditional Chinese theatre forms). At the moment a new heated debate about the term and the content of experimental theatre is going on.

ZusammenfassungAngesichts einer vielfältiger werdenden Gesellschaft und gleichzeitig stetig rückläufiger Besuchszahlen stellt sich die Frage, welche Bedeutung Theater in der Stadtgesellschaft haben. Wer ist der Motor für mögliche Veränderungen in den Häusern und welche Erwartungen und Wünsche richtet das Publikum an seine Theater? Anhand von qualitativen Interviews mit Mitarbeitenden aus denStädtischen Theatern Chemnitz,demTheater für Niedersachsenin Hildesheim und demMaxim Gorki Theaterin Berlin und unterstützt durch eine Spielzeitanalyse, beleuchtet dieser Beitrag die Binnenperspektive der Theater.

ZusammenfassungAusgehend von der spezifischen Förderung Freien Theaters in Niedersachsen, identifiziert der Beitrag Verknüpfungen zwischen Förderung, Produktions- und Arbeitsbedingungen sowie der Ästhetik anhand der beiden Fallbeispiele „Theater an der Glocksee“ und „Markus&Markus“. In diesem Spannungsfeld kristallisiert sich in der Freien Theaterszene eine besondere Marktökonomie heraus, in der Künstler*innen, Häuser und Förderer*innen mit unterschiedlichen Strategien ihre Zielsetzungen legitimieren.

Many smaller churches and similar buildings in Canada have been converted into small theaters. Such theatres are often not fitted with an air-conditioning system. For performances in the fall these theaters sometimes rely on buoyancy driven natural ventilation to moderate the indoor air temperature. Such ventilation systems usually involve near floor inlet vents and a roof level air discharge system. A preliminary numerical study of the effect of inlet vent position and size on the performance of such a system has been undertaken. A simple model of a typical theater building of the type considered has been used. The heat generated by the audience has been represented by a uniform heat flux distributed over the audience area. Inlet vents have been assumed to be located low on the side walls of the theater and the air-flow leaving the theatre has been assumed to be through vents at the top of a chimney system. The flow has been assumed to be steady and symmetrical about the vertical center-line through the building. The Boussinesq approach has been adopted. The standard k-epsilon turbulence model has been used. The solution has been obtained using the commercial CFD solver ANSYS FLUENT©.

The article covers the history of the development of theatrical art in Saratov: from its origins to the present. The theaters of Saratov are listed, prominent theatrical figures are mentioned. Attention is drawn to the fact that the year 2019 is declared the Year of the Theater in Russia.

In Sicily there are 19 show venues including ancient theaters and theatrical architectures. Many of these structures are fully functional and subject to visitor flows such as the theater of Syracuse and that of Taormina. They are object of interest and curiosity, revealed in the eighteenth century during the grand tour by travelers and landscape painters, in the last twenty years they have become reasons for study in various scientific areas as from acoustics to archeology, always passing through digital surveying. Studied through classical photogrammetry, structure from motion (SFM), 3D laser scanner, their representation as well as by increasingly refined and detailed two-dimensional graphics, makes use of 3D representations and techniques of virtual reality (VR) and augmented reality (AR). Due to their particular geometry, the need for studies and research is considered essential to deepen the methods of the surveys and plan their developments. Examples and problems for the archaeological survey are reported with the aim of critically evaluating the current state of the art of 3D survey, the potential and possible future developments, in the present study the results obtained for the survey of the Taormina theater (ME) and in-depth analysis of the versure environments.

Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have been organized by official or non-official institutions to solve financial problems. In Turkey, all the movie theaters closed down on the 16th of March 2020 by the Ministry of Internal Affairs. Some halls opened in July and August, however, because of lack of audience and of the increasing number of patients they have closed down again in November. 2019 was a bad year for the sector yet 2020 was even worse with the decline of the audience by the ratio of %90. Before the pandemic, there were some problems in terms of halls. In this context, some movie theaters tried to find solutions not to lose the audience and find financial support. Beyoğlu Movie Theater that began operating in 1989, had some financial problems before the pandemic. The managers of the hall created a project called “Beyoğlu 1989”, which was a kind of electronic bulletin, and started sending e-mails to the subscribers. This project, which was implemented for the first time in Turkey, has reached the 57th issue and 800 subscribers today and has turned into a kind of weekly electronic-digital cinema newspaper that is also promoted on the Instagram account of the Beyoğlu cinema with 45 thousand followers. The broadcast also follows the cinema agenda and undertakes the task of a written-visual archive. In conclusion, a movie theater that started operating in the analog age, today use all the possibilities and utilities of the digital age and also with the help of its owners and followers, creates a communication ecology to prevent the shutdown. The aim of this article is to examine an electronic bulletin (also a film magazine) “1989”, which is first in Turkey, with the qualitative method.

The article describes the names of allegories with the component “God” in the plays of school theaters of the late XVII century — early XVIII century. The meanings of the names of these images, the features of the names of allegorical figures and their functions are considered.

The paper aims to investigate the use of arts in teaching, specifically the art of theater, to provide the new skills searched from the job market. Our work compares the two experiences of the Theatre Teaches performed at University of Brescia and of Business Theatre at University of Catania. The idea of the paper is based on the scientific collaboration among the two co-authors involved, during the last 10 years, on the development of innovative method of teaching focused on non- technical skills. After depicting the incumbent needs of non-technical skills searched from the job market, the comparison on the use of theatre in the two Universities highlighted how both methods support the development of relational, cognitive and managerial soft skills, even if in a different way: when using Theatre Teaches the major skills concern the cognitive ones, while when using Business Theatre the major skills concern the relational ones. Furthermore, it emerges that Theatre Teaches is more effective with cognitive engagement while Business Theatre with emotional engagement. Both are effective in the behavioral engagement (i.e. physical participation in an activity), which emerges as the distinctive characteristic of theatre art-based method.