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Journal articles on the topic 'Theaters Theater Theater'
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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 (December 1, 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 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.
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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 (March 19, 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 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.
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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 (November 12, 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 (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.
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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 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.
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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 (December 21, 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 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.
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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 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.
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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 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.
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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 (December 31, 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 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)
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Schmidt, Christian. "Das Dispositiv der Andacht." Zeitschrift für Literaturwissenschaft und Linguistik 50, no. 3 (September 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 Perspektive des Spätmittelalters.
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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 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.
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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 willingly.”
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M., Yatsiv. "LIGHT IN THE ARCHITECTURE OF MODERN THEATER BUILDINGS." Architectural Studies 6, no. 1 (September 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 foreign theaters is analyzed.
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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 occupation. It has become a useful tool for restoring human dignity and art.
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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 his other project, the Second City.
Since the emergence of improv in the US coincides with the renaissance of improvisation in theater, in this paper, I will look back at what may have prepared and propelled the emergence of improvised theater in the United States. Hence, this article is an attempt to look at the use of improvisation in theater and performing arts in the United States in the second half of the 20th century in order to highlight the various roles and functions of improvisation in the experimental theater of the day by analyzing how some of the most influential experimental theaters used improvisation as a means of play development, a component of actor training and an important element of the rehearsal process.
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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) (July 27, 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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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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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 theater descended from an elitist form of culture to a mass consumption good, available to partly illiterate populations.
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Kamenets, Aleksandr Vladlenovich, Irina Aleksandrovna Urmina, Elena Olegovna Kuznetsova, Lyubov Vladimirovna Molina, and Galina Ivanovna Gribkova. "The problems of fulfilling the culture formation potential of modern russian theater." LAPLAGE EM REVISTA 7, Extra-D (July 12, 2021): 252–59. http://dx.doi.org/10.24115/s2446-622020217extra-d1090p.252-259.
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The article focuses on the essential components of the contemporary theatrical process. The problems of drama and its recessionary trends are identified. Special attention is paid to the issue of values and ideals in dramaturgical work and significance for the further activity conducted by theaters. One of the pivotal aspects in the improvement of theaters’ work identified in the article is the task of optimization of the interaction between these institutions with the audience. The authors also examine the problems of modern theater directing that matter in terms of fulfilling the cultural and creative potential of modern Russian theaters. The authors associate the prospects of further improvement of the system of establishing theaters as cultural institutions with taking advantage of the opportunities for creating a more effective interaction between theater professionals and specialists working in the sphere of education.
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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 (December 31, 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, in regard to the current global pandemic crisis where theaters have been identified as risk zones for infection and consequently closed down. Why was the theatre at the time considered a safe and appropriate place even helping to counter the disease?
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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 (July 1, 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 2015 widmete sich das bundesweite Festival „Schultheater der Länder“ diesem Thema. Claudia Agnes Müller knüpft an diese Entwicklung an. Sie stellt in ihrem Buch aktuelle Projekte und Gruppen vor, die dem forschenden Theater zugerechnet werden, berichtet über eigene Theaterforschungsprojekte mit Studierenden in verschiedenen Ländern und zeichnet wichtige Entwicklungslinien des forschenden Theaters nach. So spannend sich das alles auch liest – welches Potential die beschriebenen Theaterprojekte für den (Fremd)Spracherwerb haben, wird trotz Ankündigung im Titel nicht erläutert – der/die Leser/in bleibt deshalb nach der Lektüre etwas ratlos zurück. Dass Müller am Ende ihrer Einleitung kurz die Aspekte aufzählt, die ihr Titel zwar erwarten lässt, die aber in ihrem Band leider „keinen Platz“ (10) finden können („Es wird ...
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Isakov, Yuriy I. "VITRUVIUS ON THE VALUE OF MUSIC FOR ENHANCING THE ARCHITECTURE OF THE ANTIQUE THEATER’S AUDIENCE SPACE. Part 1." Architecton: Proceedings of Higher Education, no. 4(72) (December 28, 2020): 10. http://dx.doi.org/10.47055/1990-4126-2020-4(72)-10.
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Vitruvius' legacy points to the importance of music in architecture for enhancing the acoustics of ancient theaters. In particular, he described in detail the sounding vessels, or ηχεια – “echea”, the effectiveness of which has not been proven. The effect of “echeas” on the acoustic parameters of a small classical Greek theater is investigated using computer modeling methods. The theater models developed take into account Vitruvius' recommendations and published research and measurements of ancient theater acoustic parameters reconstructed in our time. The descriptions of Vitruvius and the musical theories of Aristoxenus and Pythagoras were considered when developing the “echeas” models. Using the standard algorithm of the EASE4.4 program, the parameters of a small theater were calculated and the C50, C80, STI acoustic parameters of the theater’s sound field were found to benefit from the “echeas” or sounding vessels.
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Hartoni, Hartoni, Ahmad Bengar Harahap, and Tanti Kurnia Sari. "DIE ANALYSE DER AUFFÜHRUNG DES THEATERSTÜCKES “DIE MUTTER COURAGE UND IHRE KINDER” VON BERTHOLT BRECHT VON DEUTSCHSTUIERENDEN AN DER UNIMED IM JAHRGANG 2017-2018." STUDIA Jurnal Pendidikan Bahasa Jerman 7, no. 1 (May 7, 2019): 1. http://dx.doi.org/10.24114/studia.v7i1.9756.
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AUSZUGDas Ziel dieser Untersuchung ist es, die intrinsische Aspekte des Theaters in der Aufführung “Die Mutter Courage und ihre Kinder” von Bertholt Brecht von Deutschstudierenden an der Unimed im Jahrgang 2017-2018 zu analysieren. Die Datenquelle in dieser Untersuchung sind die Aufführung des Theaters des LKK-Theaters. Die Daten der Untersuchung ist Dialogen und Szene die intrinsische Aspekte des Theaters sind. (1) die Charakaterisierung sind Protagonisten (Die Mutter, Katrin, Fejos) Antagonisten sind (Eilip, der schwarze Soldat, der weisse Soldat), (2) Einstellung des Theaters istim Oktoberfest an der Unimed gemacht. Die Theateraufführung findet vor der Bühne statt. Die Bühne ist im Hofvon FBS Unimed, (3) Perspektive des Theaters ist Die Perspektive des Theater ist dritte Person. Die dritte Person ist die Person zwischen zwei Sprecher bei dem Komunikation gesprochen wird, (4) Sprachstil ist Pleonasme,Sinekdok, und die Schritte, (5) das Erzählungsverlauf ist Erzählvorstellung, Konflikt, Konflikte mit den viele Proben, und Klimaks. (6) Thema ist die Mutter, eine starke und standhaffe, die so viele Probeleme in ihrem Leben hat. Lehre ist starr und geduldig erhalt die Prüfung, obwohl die grosse Probleme sind.Dieser Tätigkeit erscheint manchmal in der Szenen und Dialogen von dem Theater “Die Mutter Courage und ihre Kind ” von Bertholt Brecht. Die Ergebnisse der Untersuchung können die Erkenntnisse die instrisische Aspekte des TheatersdarstellenSchlüsselwörter : Aufführung des Theaters.
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Zlotnikova, Tanjana S., and Svetlana V. Girshon. "Amateur theaters: soviet past and current practices." Yaroslavl Pedagogical Bulletin 1, no. 118 (2021): 202–9. http://dx.doi.org/10.20323/1813-145x-2021-1-118-202-209.
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This work offers an overview of sources devoted to amateur theater as a socio-cultural phenomenon that existed on the territory of the Soviet state and in post-Soviet Russia. Since amateur theater as a socio-cultural phenomenon has a complex nature, it is advisable to apply an interdisciplinary approach to the study of its activities. The activities of amateur theaters are considered in historical, cultural and sociocultural contexts. The authors consider the sociological, pedagogical, organizational aspects of the activities of amateur theaters, as well as their contribution to the culturalpractices of the regions. Throughout the existence of the Soviet state, amateur theaters were considered as means of propaganda and education of amateur artists and their audiences in the spirit of Soviet ideology. Unlike professional theaters, amateur groups in the 60s instantly reacted to a change in ideological paradigms, asked sharp, uncomfortable questions, and reflected an active civic position. The thaw period was marked by the creative heyday of amateur studio theaters, which ended in clashes with Soviet censorship. In the 90s, after the Soviet dissolution and the abolition of the leading role of the CPSU in the life of the state, amateur groups entered the period of experiments both organizationally and aesthetically. A certain boundary of this period was the professionalization of some amateur groups and the cessation of the activities of others. The authors consider the cultural practices of amateur theaters since the 2000s, when the process of transferring part of amateur groups from departmental subordination to municipal was completed. Attention is also given to the conditions for the existence of amateur theaters in the Yaroslavl region nowadays. Amateur theaters position themselves mainly as a way of organizing active creative leisure of the adult population. The pedagogical component in their activities has an insignificant part, the repertoire is entertaining in nature. In the presence of two or three groups known outside the region, the main part of amateur theaters in the Yaroslavl region carry out a cultural and educational function in small settlements where there is no professional theater
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Jay, Jeff. "The Problem of the Theater in Early Judaism." Journal for the Study of Judaism 44, no. 2 (2013): 218–53. http://dx.doi.org/10.1163/15700631-12340373.
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Abstract Some scholars have characterized Jewish participation in Roman theatrical institutions as a departure from normative Judaism, while others have distinguished Jews in the diaspora, who attend the theaters, from Jews in Palestine, who criticize and reject them. Both of these narratives are inadequate because scholars have failed to analyze the sources in terms of the cultural and discursive dynamics of Roman theater-going in general. Critiques and accommodations of the theater are common among Jews who lived in both the diaspora and Palestine, for the nature of theatrical culture itself provided Jews with opportunities for vigorous dialogical give-and-take under a Roman imperium in which theaters and their shows were of utmost political and social importance.
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Greenleaf, Monika. "In medias res: A Diary of the Moscow Theater Season, 2007-2008." Slavic Review 67, no. 2 (2008): 422–36. http://dx.doi.org/10.1017/s0037677900023627.
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In this essay, Monika Greenleaf explores some reasons for, and directions of, the Moscow theater's growth as a cultural stimulus in Vladimir Putin's increasingly imperial, ideologically unified Russia. Focusing on four factors, the first part suggests why the theater, unlike the film industry, resisted collapse in the 1990s: directors’ studio theaters, the new “writer's theater,” the development of “autonomous and self-sustaining” institutions, and theater finance. The second part examines two functions of the theater in a postliterate age: to forge a richer sense of Russian identity by offering mimetic contact with, and choice among, many epochs of its historical and verbal heritage and to offer a traditional locus of resistance to the new regime of privatized spaces and bodies. Using a selection of current plays that reproduce past prose works in the present, Greenleaf analyzes the aesthetic effect of this encounter on the audience and its potential ideational ramifications.
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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 (January 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 an early modern version of cultural tourism. The theater thrived on a symbolic economy, a commodification of local color that drew people to the district, from in and outside London. I bring theories of space and tourism into play when considering the complexities of how a theater commodifies its neighborhood in this manner.
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Goldberg, Sander M. "Theater without Theaters: Seeing Plays the Roman Way." TAPA 148, no. 1 (2018): 139–72. http://dx.doi.org/10.1353/apa.2018.0006.
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Warstat, Matthias. "Was ist Theateranthropologie?" Paragrana 29, no. 1 (August 26, 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 eindrucksvolles Theater zu machen. Diese Anthropozentrik des Theaters (bzw. eines bestimmten Theaterkonzepts) ist im beginnenden 21. Jahrhundert in die Kritik geraten. Ein ‚posthumanes‘, nicht mehr so stark auf den menschlichen Akteur fokussiertes Theater wird vielfach gefordert in einigen Bereichen – etwa im Objekttheater und in mehr installativen Theaterformen – durchaus auch umgesetzt. Was bedeutet diese (partielle) Abwendung vom Menschen für das Verhältnis von Theater und Anthropologie? Ist es auch heute noch möglich, auf der Bühne Visionen eines neuen Menschen bzw. neuer Formen des menschlichen Zusammenlebens zu entwickeln? Wie steht es um die Theateranthropologie, die sich im 20. Jahrhundert sowohl als eine Spielart von Theaterpraxis als auch als wissenschaftlicher Forschungsbereich entwickelt hatte?
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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 (October 3, 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 “poupée” 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. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.
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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 (December 14, 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 pela profissionalização. A própria universidade vai, a partir daí, considerar o teatro como objeto de estudo. E os anos 70 serão, assim, marcados em quase todas as universidades europeias, pela criação de Departamentos de Estudos Teatrais. A década de 1980 viu florescerem novos festivais internacionais que revelam claramente a abundância de teatros universitários e a grande diversidade de suas práticas. Por ocasião dos Encontros de Liège (RITU), vai ressurgir no início dos anos 90, a questão da definicão do teatro universitário, que impulsiona os liegenises a organizar um Congresso Mundial em outubro de 1994, quando foi criada a Associação Internacional do Teatro na Universidade. A AITU organzia seu 11o. Congresso em 2016 em Manizales (Colombia). Palavras chave : AITU-IUTA, Teatro Universitário, História do Teatro Universitário ABSTRACT On the birth of the International University Theatre Association, or When a need of UT creates the organ IUTASince the creation of the first universities in the Middle Ages, the university theater activity was considered as a teaching aid to the subjects taught, and was primarily practiced intra muros. After the 2nd World War (1945), University Theatre would accentuate the phenomenon of openness and internationalization. Leaving the walls of the university, theater acquired more and more visibility, and numerous academic troops were tempted by professionalization. The university itself will now consider theater as a case study. And so the 70’s will be marked by the creation of Theater Studies Departments in universities all over Europe. The 1980’s saw a flowering of new international festivals which clearly reveal the abundance of university theaters and the great diversity of practices. On the occasion of the Liège Meetings (RITU), the question of the definition of university theater resurfaced in the early 90s, which pushed the organizers to set up a World Congress in October 1994. This led to the creation of the International University Theatre Association. The IUTA holds its 11th Congress in 2016 in Manizales (Colombia). Keywords: AITU-IUTA, University Theatre, History of University Theatre
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Tipa, Violeta. "Festival Under The Sign of Premieres. Lalka tez czlowiek, XIV Edition." Theatrical Colloquia 10, no. 1 (May 1, 2020): 191–203. http://dx.doi.org/10.2478/tco-2020-0014.
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AbstractThe International Festival of Puppet Theaters for Adults Lalka tez czlowiek, organized by the Una Teatr Niemozliwy in Warsaw is at the XIV edition. The festival, which takes place in the gold of autumn, captivates the theater audience by the fact that it always manages to bring together the most diverse theaters, as well as a varied selection of performances, which make use of the new technologies and experiments in the theatrical language. Here, at this festival, tradition meets modernity, provoking discussions about the problems of evolution, the trends of aesthetics, and the language of animation theater ... Each performed show has completed the calendar of events, having to say something new with more or less artistic mastery, directorial ingenuity, ideational message, etc.
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Balaban, O. I., O. M. Venher, and O. B. Opanasyk. "Market fundamentals of organization of work in the field of stage and audio-visual arts and production." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 200–214. http://dx.doi.org/10.34064/khnum1-53.12.
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Background. Survival and further development is an acute problem for any modern Ukrainian repertory theater. According to the Law (which is only a framework, since it does not answer all the questions that arise), repertory theaters are non-profit organizations and exist for budget funds. The latter are steadily declining and depreciating in the conditions of market relations exist in modern Ukraine. The purpose of the article is to consider and propose methodological approaches to the development and implementation of innovations in the organization of cultural institutions in the field of cultural industries, theater, film and television. Presentation of the main material. The modern development of society is extraordinary – it is filled with changes and transformations caused by the influence of such phenomena as globalization, cheap labor, a large number of competitors. The spread of information and nanotechnology, computer networks is causing changes in the structure of organizations and cultural institutions, in particular, a reduction in their size, which, in turn, predetermines innovation as a result of a creative search for original, non-standard solutions to various problems. Globalization today is not only fierce competition. It also affects the human capital of enterprises, in particular, transforms the concept of a permanent place of work. Technogenic civilization and the rapid change of information technology make cultural institutions need to work extraordinary in such relevant areas as technology, personnel and organizational aspects of business. The most important qualities of the modern cultural space, concerning cultural and educational institutions, creative industries, are openness of thoughts and the possibility to avoid stereotypes. As a result of the development of market relations in Ukraine, cultural institutions have economic freedom, respectively, freedom in choosing directions and guidelines for development, as well as of markets for activities, determining directions for using and attracting own funds, creating a competitive policy, etc. In the same time, the following threats were identified that are relevant for any modern Ukrainian repertory theater, namely: 1) the growth of the budget deficit of the country and the region, which can suspend the budget maintenance of theaters; 2) an increase in inflation; 3) economic instability; 4) political instability; 5) the growth of tax rates; 6) a decrease in the solvency of the audience; 7) low demand from the audience for theatrical services; 8) significant variability in the needs of the audience; 9) a high level of competitiveness of other theaters and cultural institutions; 10) changes in public values; 11) low social consciousness of the population. Due to these conditions, the solution of the problem of survival and development requires the search for new strategic approaches to the organization of activities and management of these theaters, which seems quite relevant. The possibilities are contained in the Law itself, which allows theaters to earn money through various types of commercial activities. Strategically, the most promising is production, which is used by almost all foreign non-commercial theaters. The opportunities provided by “The Law on Public-Private Partnership”, 2010, in the fields of tourism, re-creation, culture and sports can be included in support of such activities. The effectiveness and profitability of cultural institutions depends on the quality of management, as well as monitoring the implementation and quality of services. The high potential of cultural institutions with an underestimation of activity and inefficient management leads to insufficient funding for the development of cultural institutions, a lack of working capital, and low material interest of workers. This situation makes it necessary to constantly increase the budget line for the maintenance of institutions. But to increase the budget revenues of cultural institutions, it is possible to use crisis management technologies. The development of crisis management methods by the management company (with an emphasis on theatrical activities) will be aimed at: protecting intellectual property and patenting by type of activity, developing and applying franchising schemes in theatrical activities; constant monitoring of the theater audience in order to identify trends in the development of culture and demand from the audience; collecting and summarizing the practice of successful European theater projects and managerial decisions to create a system of training the managerial staff of cultural institutions; collecting and analyzing information about the interaction of theaters with the external environment, tracking new trends and market contradictions; creating the basis for adjusting the regulatory framework; increasing the profitability of theaters; development of areas related to the core business; attraction and use of various types of financing (budget, grants, commercial, credit, investment funds); reduction of the budget load and the transition from current financing schemes to the financing of theater projects and programs; the creation of new financial instruments for the development of the theater, including depreciation and accumulation of income; the search for opportunities for the management company to implement external financial management and carry out financial planning, control over improving the effectiveness of theater management; creation of systems of motivation and interest of the creative team of theaters; creative audit of theatrical productions and repertoire policy, assessment of the positioning of theaters and theatrical productions. Summing up the above, we can reach the statements: 1) the rapid reduction of budget support for modern Ukrainian repertory theaters may end with a complete rejection of it; 2) under such conditions, it will be appropriate to study the experience of organizing the activities of foreign non-profit theaters that successfully survive in market conditions; 3) this becomes possible through the use of a rather specific activity called “producing”; 4) modern Ukrainian repertory theaters will have to master it; 5) for this purpose, it seems appropriate to create a "production center" in the theater, which can be started as a startup; 6) this creates a new creative and production system that becomes productive.
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Samitov, Dmitry G. "THE FIRST REGIONAL THEATRES OF THE UNITED STATES AS AN ALTERNATIVE TO BROADWAY COMMERCIALISM." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 190–96. http://dx.doi.org/10.17223/22220836/40/16.
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The article aims to draw attention to the problem of the emergence and development of creative troupes of a new type. Non-profit theatres became noticeable to the public after a ten-year dominance of Broadway productions played on stages of American the ater. Contrary to Broadway and its commercialism non-profit theatres turned to art, becoming its alternative. The venues mostly performed musicals, uncomplicated comedies, musical shows. Huge halls, high ticket prices led to the fact that the theatre turned to a major business. The desire of theatrical figures to realize their creative powers in the art theatre led many of them to the idea of creating their own companies in opposition to the Broadway theatre in many regions of the United States. It was the nascence of the movement of non-profit theatres that became an alternate to Broadway commercialism, attracted all the new creative forces of the American theatre. Analyzing the activities of number of non-profit theatres such as Cleveland Playhouse, Arena Stage, Alley Theater, the conclusion was made that they all played an important role in the development of the movement of the regional theatres of the United States. The famous “Arena Stage” Theatre, like other regional theaters, developed traditions of non-profit theatres of the USA, including the ideas of “little” and “arti” theatres. The study of non-commercial drama theatres in the United States is relevant for modern Russia. Exploring the process of evolution of noncommercial companies the author concluded that the theatre is primarily a creative, artistic institution, that is to be valued precisely for its contribution and influence on the spiritual life of the audience.
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Faschingeder, Gerald. "Konfliktzone Theater Überlegungen zur (entwicvklungs-) politischen Bedeutung des Theaters." Journal für Entwicklungspolitik 20, no. 3 (2004): 76–107. http://dx.doi.org/10.20446/jep-2414-3197-20-3-76.
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Gil, Ricard. "Does Vertical Integration Decrease Prices? Evidence from the Paramount Antitrust Case of 1948." American Economic Journal: Economic Policy 7, no. 2 (May 1, 2015): 162–91. http://dx.doi.org/10.1257/pol.20120245.
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I empirically examine the impact of the 1948 Paramount antitrust case on ticket prices using a unique dataset collected from Variety magazine issues between 1945 and 1955. With information on prices, revenues, and theater ownership for an unbalanced panel of 393 theaters in 26 cities, I find that vertically integrated theaters charged lower prices and sold more admission tickets than nonintegrated theaters. I also find that the rate at which prices increased in theaters was slower while integrated than after vertical divestiture. These findings together with institutional details are consistent with the prediction that vertical integration lowers prices through the elimination of double marginalization. (JEL G34, K21, L11, L22, L42, L82)
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Pitts L, Donna. "Sound levels in movie theaters: is there a potential for hearing loss?" Journal of Otolaryngology-ENT Research 11, no. 2 (2019): 119–22. http://dx.doi.org/10.15406/joentr.2019.11.00420.
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Purpose: The goal of this study was to determine the frequency of attendance at movie theaters, the most popular genres of movies, the sound levels inside movie theaters, and if, based on frequency of attendance, a relationship could be established between temporary threshold shift and noise levels inside movie theaters. Method: A survey was first distributed to moviegoers at several different venues. Movies were selected based on the most popular genres. A noise logging dosimeter was utilized during the viewing of 16 movies in two different multiplex theaters to determine if sound levels exceed those deemed hazardous by the Occupational Safety and Health Administration. Results: Results indicated that most surveyants go to the movie theater about once a week. The noise levels obtained for 16 movies did not exceed those established by OSHA as hazardous in nature. Conclusion: Given that the maximum dose recorded by any movie viewed was 7.6% (out of 100%), it is highly unlikely that the average person would sustain a temporary threshold shift from movie viewing alone. Even if a person attended the movie theater on a daily basis, there is no evidence to suggest that movie viewing alone could cause a temporary shift in hearing.
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Kopecký, Jiří, and Lenka Křupková. "The “Slavic spirit” and the opera scene in Olomouc, 1830–1920." Studia Musicologica 58, no. 3-4 (December 2017): 341–61. http://dx.doi.org/10.1556/6.2017.58.3-4.4.
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In 1830, a new theater building was opened in the Olomouc Upper square. The stable theatrical life enriched enormously the cultural life of the city and encouraged the development of publishing activities in the field of music journalism and publishing. The public debates on the artistic value of theater performances, on abilities of particular artists and on other subjects gained new quality after the 1860 October diploma because Czechs living in and around the traditional German town put pressure on theater directors and demanded Czech plays on the stage. The fights for the national repertoire on the stage of the Olomouc Provincial Theater are demonstrated in this essay in two contrary ways: at first, the introduction of Czech dramas into the German scene during the 1860s is discussed, then the intensive promotion of German operas during the 1880s and 1890s when internationally played Slavonic operas were performed in all theaters. The director Carl König (1862–1868) offered a contract to many artists who were able to speak both German and Czech, so he could open an independent subscription for the Czech public. The relatively tolerant atmosphere allowed König’s company to give performances in both languages and connect the Olomouc theatrical life to the Prague Provisional Theater. However, Czech nationalism was getting stronger during the 1870s and provoked competitive and unfriendly reactions on German side. The arguments for refusal of Smetana’s and Tchaikovsky’s operas by the directors of the Olomouc theaters are discussed on the basis of archival sources as well as articles published in contemporary periodicals.
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Iacona, Roberta, Kiran Chima, Ami Kotecha, and Amulya Saxena. "Surgical Perspectives for Pediatric Theater Teams during the SARS-CoV-2 Pandemic and Beyond: Narrative Review and Mandatory Tasks Guidelines." European Journal of Pediatric Surgery 31, no. 04 (June 20, 2021): 305–10. http://dx.doi.org/10.1055/s-0041-1731293.
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AbstractThis is a narrative review during the ongoing coronavirus disease 2019 (COVID-19) pandemic to streamline workflow of pediatric surgical patients in operating theaters and for theater teams involved in their management. Pediatric patient anxiety in theaters, aspects of communication, and optimizing vision during surgery during the pandemic have also been addressed. The COVID-19 pandemic has led to the creation of pathways in the surgical management of patients. As the pandemic progressed, hospitals developed pathways to offer increased protection to staff during procedures. This narrative review provides a clear perspective in the management of pediatric patients in operating theaters. Guidelines received from National Health Authorities and Societies affiliated with surgery, endoscopic surgery, anesthesiology, and endoscopy were carefully reviewed regarding their recommendations and data emerging from reports on COVID-19 were selected to compile the pathways specific for pediatric patients and staff. The workflow pathways have been successfully implemented during the pandemic and include a section on patients for endoscopy as well as approach to endoscopic surgery and open procedures. Theater room ergonomics that were successful during the pandemic have been outlined along with identification of areas specific to the pediatric patient anxiety, interteam communication/identification, and visor-related vision. The guidelines used successfully during the pandemic for pediatric theater teams can be used or adapted for formulating local hospital guidelines in other centers that could be valuable in patient management beyond the pandemic.
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Goldmann, Kerry L. "Keepers of the Culture at 3201 Adeline Street." California History 98, no. 1 (2021): 98–120. http://dx.doi.org/10.1525/ch.2021.98.1.98.
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This article examines how the increase in the numbers of black-operated theaters between the 1960s and 1980s molded the character of black cultural and social movements in the West and nationally. The emphasis placed on institutionalizing black theater demonstrated a significant cultural front within the larger social, political, and economic conflicts of this era. These theatrical institutions were physical manifestations of the heart of Black Power campaigns, facilitating community outreach and sovereignty through separatism. Black theaters reflected local distinctions in leadership and ideology but within a broader, national call for black liberation and black autonomy. Professional theater impresarios Nora and Birel Vaughn began laying the foundations for their theater, the Black Repertory Group, in Oakland, California, in 1964. A repertory theater company performing in a fixed location, Black Rep would cycle through a repertoire of black-culture-specific plays, providing black performers and playwrights both recognition and income. Operating in a black-owned space gave Black Rep control over its productions and performance. Giving neighbors and community leaders the opportunity to participate behind the scenes or even perform in Black Rep theatrical productions endeared the troupe to its supporters, enmeshing Black Rep as a valued communal institution. Black Rep opened its space as an autonomous black community center, running voter registration drives, social and political gatherings, and classes in black culture and history that spread the values of the Black Arts and Black Power movements. In the right place at the right time, Black Rep led a black repertory theater movement that spanned the nation. More importantly, Black Rep survives to this day. It stands as a testament to the strength and vision of the women leaders of black theater, and to the values of coalition building, economic self-sufficiency, and community-based activism that guided its founders.
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Hofmann, Gert. "Ingrid Hentschel (2007) Dionysos kann nicht sterben - Theater in der Gegenwart." Scenario: A Journal of Performative Teaching, Learning, Research II, no. 2 (July 1, 2008): 105–7. http://dx.doi.org/10.33178/scenario.2.2.8.
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„Im Gegenwartstheater, und hier meine ich dramatische Texte sowohl als Inszenierungen und Aufführungen, zeichnet sich die Kunst durch eine Bemühung um neuerliche Vergegenwärtigung des Menschlichen aus. Eine Vergegenwärtigung, die erst durch den Kontrast zu den elektronisch und seriell erzeugbaren Bildwelten und ihren Illusionstechniken in aller Schärfe deutlich wird: Theater situiert sich als das anthropologische Medium schlechthin.“ (9) Es gehört zum Schwierigsten in den Kunstwissenschaften, Gegenwartsphänomene über das Engagement der Tageskritik und Konsumentenlust hinaus auf ein Reflexionsniveau zu heben, das Evidenzmomente erzeugt, welche den Kunstdiskurs im theoretischen wie auch praktischen Sinne auf eine bleibende Weise zu inspirieren vermögen. Ingrid Hentschel hat sich einer solchen Herausforderung mit ihrem jüngst erschienen Buch Dionysos kann nicht sterben. Theater in der Gegenwart bewusst gestellt. Denn in gesteigertem Maße besteht diese Schwierigkeit für eine Kunst des Theaters, welche in den performativen Aspekten ihrer Praxis, Inszenierung und Aufführung, das Literarische, Sprachlich-Semantische des Texts bewusst zu überwältigen unternimmt. Hentschel weist zu Recht darauf hin, dass dies bereits auf gewisse avantgardistische Bewegungen des frühen 20. Jahrhunderts zutraf – man denke nur an Antonin Artauds grandiose Experimente zur Etablierung eines „Theaters der Grausamkeit“ – aber im Theater unserer Zeit und der jüngsten Vergangenheit, also in der Theaterszene der „Jahre vor ...
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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 (December 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 efforts to resemble the metropolis, notably by the local patriotism of Pressburg inhabitants who wanted their locality to be regarded as a leading Hungarian town. The opera performances and their reception in the newspapers demonstrate the history of culture of the town, mentalities and collective identifications of its citizens, and last but not least the history of culture of Central Europe.
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Forenza, Brad. "Sustained Community Theater Participation as Civil Society Involvement." Nonprofit and Voluntary Sector Quarterly 46, no. 3 (July 20, 2016): 549–66. http://dx.doi.org/10.1177/0899764016660385.
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Community theaters proliferate in every state in the nation, yet they are rarely considered in civil society research. Participation in civil society is capable of producing individual (psychological empowerment) and community-level outcomes, yet less is known about how community theaters might be capable of producing the same. Guided by the empirically tested dimensions of intra-organizational empowerment, this qualitative study interrogates four internal processes of voluntary membership in a community theater (shared beliefs, opportunity role structure, social support, and leadership). Directed content analysis of 14 in-depth interviews support and extend our understanding of existing theory for this less examined population. Implications for policy, practice, and future research are discussed.
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Berkutbayeva, Kamshat, and Aliya Mombek. "Synthesis of arts: theater curtain as an aesthetic category." Pedagogy and Psychology 42, no. 1 (March 30, 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 features may have a substantial, geographical, historical, political and functional character. Certainly, the theater curtain as an object of research is one of the most interesting phenomena of such a scientific field as art criticism. From her point of view, the theater curtain has come a long way in development in search of better stage and artistic expression, thereby representing a specific sign system. The study of the phenomenon of the theater curtain on examples of venues at the international level allows to take a fresh look at the genesis and current state of issues of the artwork of the productions of Kazakhstan theaters.
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Zimnica-Kuzioła, Emilia Anna. "Polityka teatralna w Polsce po transformacji ustrojowej." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 15, no. 2 (September 19, 2018): 111. http://dx.doi.org/10.17951/l.2017.15.2.111.
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<p>Artykuł dotyczy organizacji życia teatralnego w Polsce po roku 1989. W okresie transformacji ustrojowej nastąpiły zmiany w zakresie funkcjonowania instytucji kultury, w tym i teatrów. Polityka państwa określana jest przez pojęcia decentralizacji czy dewolucji (odejście od monopolu państwowego, przekazywanie instytucji kultury władzom gminnym i samorządom wojewódzkim) i deregulacji (proces odchodzenia od kontroli państwa, ideologiczna niezależność instytucji kultury). Publiczne teatry w Polsce reprezentują model teatru repertuarowego, którego podstawą jest stały zespół aktorski. Wzrasta jednak liczba teatrów niepublicznych (teatry <em>non-profit</em>, zarejestrowane jako stowarzyszenia lub fundacje, nie nastawione na zysk i teatry komercyjne).</p><strong>Theater Policy in Poland after the Political-System Transformation</strong><p>SUMMARY</p><p>The article discusses the organization of theatrical life in Poland after 1989. During the political-system transformation there were changes in the operation of cultural institutions, including theaters The State policy is defined by the concepts of decentralization or devolution (departure from State monopoly, handing over of cultural institutions to gmina [commune] authorities or provincial self-governments) and deregulation (the process of departing from State control, ideological independence of cultural institutions ). Public theaters in Poland represent the model of repertory theater based on a permanent team of actors. However, the number of non-public theaters is growing (non-profit theaters registered as associations or foundations, and commercial theaters).</p>
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Warstat, Matthias. "Kann Theater töten? Überlegungen zu Brecht und Artaud." Paragrana 20, no. 1 (August 2011): 316–27. http://dx.doi.org/10.1524/para.2011.0024.
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ZusammenfassungDer Beitrag behandelt die Bedeutung der Metapher des Tötens für Theaterdiskurse der Avantgarde mit Blick auf Texte von Brecht und Artaud. Das Töten und Sterben auf der Bühne, ein altes Phantasma der europäischen Theatertradition, gewann in modernen Visionen eines neuen Theaters starkes Gewicht als Verweis auf radikale, krisenhafte Wirkungen von Kunst und Theater.
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Warstat, Matthias. "Körperwissen im therapeutischen Theater." Paragrana 25, no. 1 (June 1, 2016): 333–45. http://dx.doi.org/10.1515/para-2016-0017.
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AbstractIn dem Beitrag werden ausgewählte Formen therapeutischen Theaters aus dem 20. Jahrhundert auf ein in ihnen wirksames Körperwissen befragt. Besondere Bedeutung kommt dabei dem Katharsis-Begriff zu: Im modernen therapeutischen Theater, so die These, begegnet die Idee der Katharsis, d. h. der Reinigung und Entladung von Affekten, in einer speziellen Variante, die man als ‚Handlungskatharsis‘ bezeichnen kann: Kathartische Effekte werden nicht einem Publikum, sondern den Akteuren versprochen. Zugleich werden diese kathartischen Effekte als ein körperlich sichtbares und damit auch überprüfbares Phänomen konzipiert. Körperwissen erscheint als ein diagnostisches Wissen, das zur Kontrolle der Beteiligten eingesetzt werden kann. Zu beobachten ist ein reger Transfer von Körperwissen aus dem engeren Bereich des (Kunst-)Theaters in andere gesellschaftliche Teilsysteme. Diese Transfers fügen sich ein in eine einflussreiche Spielart gesellschaftlicher Theatralität, die sich theatrales Handeln als Test, d. h. als ein Mittel der Aufdeckung und Prüfung von Subjektivitäten zunutze macht.
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Jiang, Hao, and Si Jia Jiang. "Zoning and the Special Theater District in New York." Applied Mechanics and Materials 174-177 (May 2012): 2472–80. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.2472.
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This paper evaluates the effectiveness of New York City’s attempts to promote its theater industry through zoning tools, which sheds light on balancing historic preservation and sustainable development. Using the original zoning resolutions and secondary data, this paper will analyze the changing problems, solutions, costs and benefits of setting up a Special Theater (Sub)District in order to protect a socially-desirable use and to recapture the value of private development at the same time. It will conclude that landmarking the theaters to be preserved provided them with legal protection and substantial funds created by the transfers of development rights (TDRs), while controls on Floor Area Ratio (FAR), usage and contextual requirements effectively shaped the area’s three dimensional form; the Special Theater Subdistrict has been highly successful.
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Schweiger, Christina, Dagmar Höfferer-Brunthaler, Ingrid Krottendorfer, Judith Fuchs, and Mike Rumpeltes. "„Schule ist der lebendige Konsensversuch“." schule verantworten | führungskultur_innovation_autonomie, no. 1 (July 2, 2021): 174–79. http://dx.doi.org/10.53349/sv.2021.i1.a46.
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Das Theater der Jugend in Wien, eine fixe Größe im Kulturbetrieb, bietet Theater für Kinder und Jugendliche ab sechs Jahren. Zu seinem umfangreichen theaterpädagogischen Programm gehört auch die Zusammenarbeit mit Schulen. Das Theater der Jugend agiert generationenverbindend, reagiert auf aktuelle Entwicklungen und exemplifiziert in seinen Stücken, dass wir alle in einem Boot sitzen. Darüber, wie wichtig ein sicherer Hafen ist und wie eine Führungskraft zur Sicherheit und Stabilität in diesen Zeiten beitragen kann, spricht der künstlerische Leiter des Theaters der Jugend, Thomas Birkmeir. Er berichtet, was er in der Pandemie von seinen Mitarbeiter*innen gelernt hat und was er ihnen zurückgeben konnte, warum er auch als Führungskraft an der Aufklärung festhält und welche Themen ihm für die Zukunft wichtig sind.
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A. Semenova, E., and . "Street Theater in Modern Media Space." International Journal of Engineering & Technology 7, no. 4.38 (December 3, 2018): 459. http://dx.doi.org/10.14419/ijet.v7i4.38.24604.
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Street theater is viewed in modern media space as a reduced, repeatedly duplicated carnival area. M.M. Bakhtin’s understanding of reduced forms of carnival laughter, which include humor, irony, sarcasm, is applied. The modern festival movement of street theaters in the beginning of the 21st century is analyzed. It is proved that despite the fact that street theater actively uses new interactive means of media communication, containing various information (audio-visual, acoustic, computing, optical, imagery, artistic, scenic, etc.) and contributing to the acceleration of information dissemination and audience expansion, this form of theater is rapidly degenerating. Street theater is transformed into a serious socio-cultural game. But despite the fact that media technologies offer not excess but poverty (deficit) instead of extravagant human nature, the carnival origin is preserved not in replicable formats of street theater, but in informal communication between urban and rural youth. This makes it possible to talk about the preservation of modern man's vital need for street theater and carnival communication. The analysis of these issues is based on the views of M.M. Bakhtin, V.B. Shklovsky, Guy Debord, and J. Baudrillard.
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Warstat, Matthias. "Theater als Praxis der Verunsicherung." Paragrana 24, no. 1 (August 1, 2015): 189–200. http://dx.doi.org/10.1515/para-2015-0017.
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Abstract In modernen und zeitgenössischen Ausprägungen partizipatorischen Theaters, insbesondere auch in therapeutischen Theaterformen, wird die Aufführung häufig als eine Art Schutzraum aufgefasst, in dessen Grenzen Experimente, Wagnisse, Wutausbrüche, Beichten, Kämpfe und andere riskante Praktiken mehr als andernorts möglich sind. Heilsame Wirkungen erhofft man sich davon, im Theater Gefühle zuzulassen, die im Alltag nicht ohne Weiteres ihren Platz finden. Die Rede vom Theater als Schutzraum steht allerdings in einem seltsamen Gegensatz zur Denkfigur der Transgression, deren Bedeutung für die programmatischen Diskurse der Avantgarden kaum hoch genug eingeschätzt werden kann. Transgressive Praktiken sind dadurch gekennzeichnet, dass sie die Grenzen von Räumen mehr oder minder gewaltsam überschreiten - und gerade dadurch ein hohes Maß an Unsicherheit hervorbringen. Wird ein Theater, das sich überschreitenden Handlungen verpflichtet fühlt, jemals Schutzräume bereitstellen können? Übersieht die Rede vom Theater als einem „konsequenzverminderten“ Handeln möglicherweise die Risiken, die mit Theaterformen in der Tradition der Avantgarde verbunden sind? Fragen wie diese verweisen auf ein handlungstheoretisches Problem, nämlich auf Dissonanzen zwischen (künstlerischen) Praktiken und ihren jeweiligen Rahmungen bzw. zwischen Akt und Kontrakt.