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Relevant bibliographies by topics / Theatre and art

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Academic literature on the topic 'Theatre and art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Theatre and art"

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

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The purpose of this paper is to develop the fundamental basis of the art of “theatre of shock”, as the art of the highest spiritual and emotional level, as well as to identify the characteristic features and directorial components that provide it. The methodology. We applied the analytic-conceptual and empirical approaches to identify the most energy-intensive artistic means of creating a theatrical product and the most effective directorial tools for influencing the spiritual-emotional sphere of the viewer by creating the highest energy and philosophical and aesthetic level that can bring the audience to a state of shock. The results. For the first time in art criticism, an analysis of the generalization and systematization of director’s tools and ways was carried out, the creation of a “shock” for the creation of theatrical art. The concept proposed by the author crowns the triangle that, together with the art of “dissimulation theatre” and the art of “excitement theatre”, is the technological trinity of theatrical art: dissimulation — excitement — shock. The study conducted by the author gives grounds to conclude that the creation of theatrical performances, belonging to the art of the highest spiritual and emotional level — to the art of “theatre of shock”, is possible if such fundamental components as: sealed module of dramaturgy, “muscles” of play events, scenographic directing, metaphorical vocabulary, means of psychological theater and energy field of actors’ “emission” are embodied in the stage space. The model of the “theater of shock” assumes complete domination over the emotions of the spectator, the deepest immersion in the whirlpool of dramatic events and bringing to a deep trance with a powerful energy field of emission. The topicality. This paper contains such terms as “theater of shock”, “theater of trance”, “scenographic directing”, “molecular directing” are introduced into scientific circulation. The practical significance. Scientific development of ways, methods and means of creating the “theater of shock” as a kind of the most powerful energy and philosophical-typical level can be implemented in the educational process. Along with this presentation the concept of “theater of shock” can have its continuation in the theses of students with degrees in the field of art history, opens the prospect of updating the theatrical palette.

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Lupu, Andreea Gabriela. "The Reconfiguration of the Theatre Space and the Relationship between Public and Private in the Case of Apartment Theatre." Romanian Journal of Communication and Public Relations 18, no. 3 (January 25, 2017): 77. http://dx.doi.org/10.21018/rjcpr.2016.3.217.

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<p>This article tackles the means of theatre space reconfiguration in the apartment theater (<em>lorgean theater</em>), simultaneously analyzing the relation between public and private specific to this form of art. Structured around both a theoretical analysis and a qualitative empirical investigation, this paper emphasizes the traits of the theatre space as component of an artistic product received by the audience, and its value in the process of artistic production, within the theatre sector. The case study of <em>lorgean theater, </em>including a participant observation and an individual interview, enables the understanding of these two aspects of the spatial configuration, emphasizing its hybrid nature in terms of spatial configuration and the public-private relation as well as the act of reappropriation of the domestic space through an alternative practice of theatre consumption.</p>

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Keatley, Charlotte. "Art Form or Platform? On Women and Playwriting." New Theatre Quarterly 6, no. 22 (May 1990): 128–40. http://dx.doi.org/10.1017/s0266464x00004206.

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This is the second in a series of interviews with women who are involved, in various capacities, in feminist theatre today, whose career paths intersect and connect with the feminist movement and the feminist theatre movement, tracing developments and shifts in the feminist theory and practice of the past fifteen years. The first interview, in NTQ21, was with Gillian Hanna of Monstrous Regiment, and provided an update of a previously published interview as well as a discussion of contemporary work: its aim was to keep alive and accurate the current debate about British feminist theatre groups. This interview carries on the discourse between feminist theatres and their intended audiences by making available the views and opinions of one of Britain's leading young women playwrights, Charlotte Keatley, along with a detailed account of the origins of her 1989 Royal Court success, My Mother Said I Never Should. Charlotte Keatley was born in London in 1960, but has lived in Leeds and Manchester since she was nineteen. Her many plays include Underneath the Arndale (1982). Dressing for Dinner (1983–84), Citizens (BBC 4, 1987–88), and My Mother Said I Never Should (Contact Theatre, Manchester, 1987, and Royal Court Theatre, London, February 1989; Gaieté Theatre, Paris, September 1989, and European tour). She has been directing playwriting workshops for students while in Cambridge on a Junior Judish E. Wilson Fellowship, 1988–89, and is currently at work on her next plays. The interviewer, and compiler of this series, Lizbeth Goodman, is a New Yorker who is now a Scholar of St John's College, Cambridge, where she is preparing her doctoral thesis on feminist theatre since 1968, and completing a book on the politics of theatre funding.

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Beumers, Birgit, and Nick Worrall. "The Moscow Art Theatre." Modern Language Review 95, no. 1 (January 2000): 291. http://dx.doi.org/10.2307/3736474.

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Anderson, Addell Austin. "The Ethiopian Art Theatre." Theatre Survey 33, no. 2 (November 1992): 132–43. http://dx.doi.org/10.1017/s0040557400002362.

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The Ethiopian Art Theatre was founded in response to the racial strife of early twentieth-century Chicago. From 1910 to 1920, the migration of Southern blacks to Chicago more than doubled the black population from 44,103 to 109,458. White citizens felt threatened by the influx, fearing unemployment and epidemics in crime and health. Racial tensions increased from 1917 to 1919 as white gangs openly assaulted blacks. So-called “neighborhood improvement societies” bombed black homes and realty offices suspected of attempting to break up white residential areas. The Chicago Association of Commerce and the Chicago Tribune encouraged blacks to return to the South.

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Esche, Charles, and Mark Lewis. "Afterword: Art and Theatre." Afterall: A Journal of Art, Context and Enquiry 2 (January 2000): 111–15. http://dx.doi.org/10.1086/aft.2.20711410.

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Helguera, Pablo, Ohad Meromi, Xaviera Simmons, and Paul David Young. "Turning Theatre into Art." PAJ: A Journal of Performance and Art 34, no. 1 (January 2012): 169–82. http://dx.doi.org/10.1162/pajj_a_00083.

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Dissertations / Theses on the topic "Theatre and art"

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Marchant, James Charles. "Plato Would Hate This: Two Theatres with Successful Controversial Work." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1288706705.

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Jordan, Noel. "'Controversial art' : investigating the work of director Rosemary Myers." Connect to thesis, 2001. http://repository.unimelb.edu.au/10187/1160.

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Arena Theatre Company’s Eat Your Young is examined as an intrinsic case study. The aim is to investigate the role of a director in the creation of an original multi-media theatre production designed for young people. The study explores the current social, political and cultural position of young people and argues that they are viewed and portrayed as a marginalised “other”. The history of Arena Theatre Company is documented in relation to the development of Theatre in Education from its British roots to the Company’s current emphasis on contemporary artists exploring the possibilities of multi-art form technology. The development of multi-media usage in theatre over the past century is outlined in order to gain an understanding of Arena’s place within this technological experimentation. Utilising ethnographic methodology, including participant observation, “unstructured” interactive interviews and the construction of participant monologues, the creative rehearsal and planning process of Eat Your Young is chartered over a five month period. The outcomes of the study confirm the literature relating to the qualities of a good director: they are leadership, vision and the ability to collaborate. The metaphor chief architect is coined to describe the central figure of the director, Rosemary Myers. The case study discusses the development of a Company culture where artists work in an intensive social and interactive environment and it identifies the unique pressures and individual responsibility of the role of director.

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Eren, Buglalilar. "Theatre And Struggle: A Sociological Analysis Of The Political Theatre In Turkey Between 1960-1971." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614246/index.pdf.

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This thesis investigates the relationship between the social movement and theatre art in Turkey between 1960 and 1971 and investigates how the development of a dependent capitalism influenced the development of the classes and the political theatre. It tries to reveal the convergences between the political ideology of the classes, their organizations and the aesthetic ideology of the field of cultural production. While doing so it investigates the ties between the ideological and practical aspects of the class struggle, the artists&rsquo
aesthetic views and their relations of production.

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Anderson, David James. "Theatre criticism : a minor art with a major problem /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487591658173705.

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Grothues, Nicole M. "Celebrity and the Broadway Musical: Perceptions, Practices, and Prospects for an American Art Form." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306240634.

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Brooks, Cassandra M. "Cultural Exchange: the Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc699929/.

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The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge.

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Wegescheide, Javier. "Murder Bird: Art and Love's Twisted Relationship." Ohio University Honors Tutorial College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1399974988.

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Droth, Barbara Elektra. "Live art, life art : a critical-visual study of three women performance artists and their documentation." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48339/.

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This thesis is a 'practice-led' project that uses observational documentation methods, a long-term collaboration with three live artists, and a narrative analysis to encourage a visual display of 'knowing' the person who makes live art, the performance work itself and the reality of producing and archiving live art. My practice of documenting live performances produces digital representations of the three artists I collaborated with. The fragmented and non-linear expressions of the live performances, which can be viewed in the video documents, also find echo in the life history interviews of the artists. Triangulated with an examination of the artists' websites, these diverse texts provide insight into how the live artists make sense of their embodied autobiographical experiences in a virtual environment. A post-structuralist narrative analysis proposes that the live and online performance-narratives constitute the artists' self as 'an artist' and examines these texts for ideas of the 'self-portrait' and of 'life as experienced'. The research suggests this is especially helpful to the audience's meaning-making processes when engaging with Live Art. The thesis investigates the three artists' representations of the body, specifically their strategies to compel a disruptive reading of nudity, femininity and motherhood. Other performative strategies found in these artists' work lead to discussions on ritual enfleshed in performance, based on Richard Schechner's (1995) understanding of iterative practices, and of participatory incantations that integrate narratives found in myths into narratives of selfhood and community. This thesis aims to develop the understanding of contemporary performance art pratice through examples of three artists' autobiographical performativity in live and online environments. The thesis advances narrative theory beyond its literary framework through a visual and practice-based approach. By linking narrative theory with visual methods this project seeks to demonstrate that experiential approaches could be relevant to narrtaive researches, visual anthropologists, performance ethnographers, as well as live artists, all faced with the inevitability of mediatisation. It contributes to ideas on the digital dispersions of the live artists' identity as not a fracturing of the unified body experienced in live performance but instead as a place for the artists to exercise agency through virtual performativity. The thesis consists of two parts, a website (http://bsdroth.wix.com/thesis2013) and a written text. The online videos and the written text, when read together, form a performative analysis towards the 'knowing who' of the artists. It contributes to the growing interest in methodologies that investigate, document and present cultural experiences and their perceived value. The online presentation of my practice also demonstrates the digital and virtual environment the live artists' work operates in, as exemplified in this thesis. The website is a physical manifestation of integral ideas in this project, around authenticity, ownership and virtual experiences.

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Cormier, Jason Briggs. "Learning to listen the collaboration and art of the SITI Company /." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1133357032.

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Evans, Christine. "Art, war, and objects : reality effects in the contemporary theatre." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318314.

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Books on the topic "Theatre and art"

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Erven, Eugen van. Community Theatre. London: Taylor & Francis Inc, 2004.

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Community Theatre. London: Taylor & Francis Group Plc, 2004.

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Kharkrang, Roland. Theatre, art and life. New Delhi: Omsons Publications, 1994.

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Theatre, the human art. New York: Harper & Row, 1987.

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Sporre, Dennis J. The art of theatre. Englewood Cliffs, N.J: Prentice Hall, 1993.

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Alvin, Goldfarb, ed. Theatre: The lively art. 8th ed. New York: McGraw-Hill Higher Education, 2012.

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The Moscow Art Theatre. London: Routledge, 1996.

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Bernini: Art as theatre. New Haven: Yale University Press, 2012.

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Archer, Stephen M. Theatre: Its art & craft. 3rd ed. San Diego, Calif: Collegiate Press, 1993.

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Dusigne, Jean-Francois. Le theatre d`art. Paris: Theatrales, 1997.

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Book chapters on the topic "Theatre and art"

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Pickering, Kenneth, and Jayne Thompson. "Moscow Art Theatre." In Naturalism in the Theater, 145–61. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-32911-0_8.

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Newey, Katherine. "Art." In Women’s Theatre Writing in Victorian Britain, 110–34. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230554900_5.

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Gizło, Dagmara. "Theatre and psychotherapy." In The Art of Experience, 59–93. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003053422-3.

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Chinoy, Helen Krich. "Art That Shoots Bullets." In The Group Theatre, 167–83. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137294609_11.

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McGerr, Katherine. "The Art of Failure." In Why the Theatre, 120–24. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003017615-21.

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Gordon, Mel. "Performance Artist/Art Performer: Laurie Anderson." In Contemporary American Theatre, 195–204. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_11.

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Brodzinski, Emma, and Tony Evans. "Ethics, theatre, and judgement." In Art in Social Work Practice, 18–28. 1st Edition. | New York: Routledge, 2018. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315144245-4.

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Gizło, Dagmara. "The theatre of Marina Carr." In The Art of Experience, 124–93. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003053422-5.

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Jurkowski, Henryk. "Between Literature and Plastic Art." In Aspects of Puppet Theatre, 76–82. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-33845-7_3.

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Champagne, Lenora. "Once Upon a Time in Performance Art." In Contemporary American Theatre, 177–93. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21582-9_10.

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Conference papers on the topic "Theatre and art"

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Bannò, Mariasole, and Giorgia Maria D'Allura. "Art-based methods: Theatre Teaches and Business Theatre." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9249.

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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.

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Foster, Frank, and Joan Collins. "Computer animation festival/electronic theatre." In ACM SIGGRAPH 95 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '95. New York, New York, USA: ACM Press, 1995. http://dx.doi.org/10.1145/216037.225466.

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Yeşilyurt, Kübra, and Pelin Dursun Çebi. "BODY AND SPACE INTERACTIONS IN THE ART OF THEATRE." In 3rd Arts & Humanities Conference, Barcelona. International Institute of Social and Economic Sciences, 2018. http://dx.doi.org/10.20472/ahc.2018.003.005.

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Savenkova, Lubov G. "Theatre Art In The Information Age: Youth Audience Perception Features." In EEIA 2019 - International Conference "Education Environment for the Information Age". Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.09.02.81.

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Filatova, Natalia. "Russian Comedians and the First Theatre School in Russia For the 350th Anniversary of the First Theatre School in Russia." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.81.

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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.

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7

Khaustova, Dariya. "REPERTORY THEATRE MARKETING: WHAT WORKED YESTERDAY MAY NOT WORK TOMORROW." In 7th SWS International Scientific Conference on ART and HUMANITIES - ISCAH 2020 Proceedings. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscah.2020.7.1/s23.11.

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8

Alesenkova, Victoria. "Types of Transsemantic Constructions in the Russian Director’s Theatre of the 21st Century." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.012.

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9

Oosthuizen, Patrick H. "A Numerical Study of the Effect of Inlet Vent Position and Size on the Velocity and Temperature Distributions in a Smaller Naturally Ventilated Theater in Canada." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-36781.

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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©.

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10

Polozova, Irina Viktorovna, and Arina Sergeyevna Chirila. "Russian Provincial Musical Theatre in the First Quarter of the 20th Century in Saratov: Main Trends and Phenomena." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.005.

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Reports on the topic "Theatre and art"

1

Ivy, Michael E. Sustainment of Theater Army Forces: The Essence and the Art. Fort Belvoir, VA: Defense Technical Information Center, May 1990. http://dx.doi.org/10.21236/ada235124.

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2

Wall, Alan R. Theater Missile Defense in World War II - Some Operational Art Considerations. Fort Belvoir, VA: Defense Technical Information Center, February 1999. http://dx.doi.org/10.21236/ada363065.

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3

Zamzow, Mark R. Theater Airlift: Are we Realizing its Full Potential? Fort Belvoir, VA: Defense Technical Information Center, April 1995. http://dx.doi.org/10.21236/ada329041.

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4

Torcolini, Kevin M. Theater Nuclear Weapons - Are They Really an Option for an Operational Commander? Fort Belvoir, VA: Defense Technical Information Center, March 1997. http://dx.doi.org/10.21236/ada328180.

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5

Claxton, Randy O. Detainee Healthcare in Theater Hospitals: Are Air Force Medics Prepared for the Challenge. Fort Belvoir, VA: Defense Technical Information Center, April 2009. http://dx.doi.org/10.21236/ada539475.

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6

Villanueva-Benito, I., and I. Lacasa-Mas. The use of audiovisual language in the expansion of performing arts outside theater: Don Giovanni’s case, by Mozart. Revista Latina de Comunicación Social, October 2017. http://dx.doi.org/10.4185/rlcs-2017-1217en.

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7

Leupold, Michael W., and Bryan Newkirk. Are Joint Deployment Distribution Operations Centers (JDDOCs) an Effective Instrument for Overcoming Combatant Commanders' Intra-Theater Logistical Challenges. Fort Belvoir, VA: Defense Technical Information Center, May 2005. http://dx.doi.org/10.21236/ada463668.

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8

Prysyazhnyi, Mykhaylo. UNIQUE, BUT UNCOMPLETED PROJECTS (FROM HISTORY OF THE UKRAINIAN EMIGRANT PRESS). Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11093.

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In the article investigational three magazines which went out after Second World war in Germany and Austria in the environment of the Ukrainian emigrants, is «Theater» (edition of association of artists of the Ukrainian stage), «Student flag» (a magazine of the Ukrainian academic young people is in Austria), «Young friends» (a plastoviy magazine is for senior children and youth). The thematic structure of magazines, which is inferior the association of different on age, is considered, by vital experience and professional orientation of people in the conditions of the forced emigration, paid regard to graphic registration of magazines, which, without regard to absence of the proper publisher-polydiene bases, marked structuralness and expressiveness. A repertoire of periodicals of Ukrainian migration is in the American, English and French areas of occupation of Germany and Austria after Second world war, which consists of 200 names, strikes the tipologichnoy vseokhopnistyu and testifies to the high intellectual level of the moved persons, desire of yaknaynovishe, to realize the considerable potential in new terms with hope on transference of the purchased experience to Ukraine. On ruins of Europe for two-three years the network of the press, which could be proud of the European state is separately taken, is created. Different was a period of their appearance: from odnogo-dvokh there are to a few hundred numbers, that it is related to intensive migration of Ukrainians to the USA, Canada, countries of South America, Australia. But indisputable is a fact of forming of conceptions of newspapers and magazines, which it follows to study, doslidzhuvati and adjust them to present Ukrainian realities. Here not superfluous will be an example of a few editions on the thematic range of which the names – «Plastun» specify, «Skob», «Mali druzi», «Sonechko», «Yunackiy shliah», «Iyzhak», «Lys Mykyta» (satire, humour), «Literaturna gazeta», «Ukraina і svit», «Ridne slovo», «Hrystyianskyi shliah», «Golos derzhavnyka», «Ukrainskyi samostiynyk», «Gart», «Zmag» (sport), «Litopys politviaznia», «Ukrains’ka shkola», «Torgivlia i promysel», «Gospodars’ko-kooperatyvne zhyttia», «Ukrainskyi gospodar», «Ukrainskyi esperantist», «Radiotehnik», «Politviazen’», «Ukrainskyi selianyn» Considering three riznovektorni magazines «Teatr» (edition of Association Mistciv the Ukrainian Stage), «Studentskyi prapor» (a magazine of the Ukrainian academic young people is in Austria), «Yuni druzi» (a plastoviy magazine is for senior children and youth) assert that maintenance all three magazines directed on creation of different on age and by the professional orientation of national associations for achievement of the unique purpose – cherishing and maintainance of environments of ukrainstva, identity, in the conditions of strange land. Without regard to unfavorable publisher-polydiene possibilities, absence of financial support and proper encouragement, release, followed the intensive necessity of concentration of efforts for achievement of primary purpose – receipt and re-erecting of the Ukrainian State.

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